Big Big Train, GRIMSPOUND (Giant Electric Pea, 2017). Tracks: Brave Captain; On the Racing Line; Experimental Gentleman; Meadowland; Grimspound; The Ivy Gate; A Mead Hall in Winter; and As the Crow Flies.
The band: Greg Spawton; Andy Poole; David Longdon; Nick D’Virgilio; Rachel Hall; Danny Manners; Dave Gregory; and Rikard Sjöblom.
The Rating: Perfect. Beyond prog.
Go, go, go said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
–T.S. Eliot, “Burnt Norton.”
There can be no doubt that Big Big Train is not just one of the best bands of third-wave prog, but also one of the best bands of the rock era. I suspected this when I first heard THE UNDERFALL YARD back in 2009 and was moved at every good level of my being. Subsequent releases from the band have only confirmed this for me. Every note, every lyric, and every brushstroke matter for the band. They take their music seriously, and they take us—their followers—seriously. Aside from the music (if there is, in any reality, such an “aside”), it’s clear that the two founders and mainstays of the band, Greg Spawton and Andy Poole, know how to form and leaven communities.
Big Big Train, FOLKLORE (Giant Electric Pea, 2016).
The band: Greg Spawton; Andy Poole; Danny Manners; David Longdon; Dave Gregory; Rachel Hall; Nick D’Virgilio; and Rikard Sjöblom. Engineered by Rob Aubrey.
Tracks: Folklore; London Plane; Along the Ridgeway; Salisbury Giant; The Transit of Venus Across the Sun; Wassail; Winkie; Brooklands; and Telling the Bees.
The centerpiece of third-wave prog, Big Big Train, matters. How they write music matters; how they write lyrics matters; how often they perform live matters; how they package their music matters; and how they market what they do matters. They are a band that has evolved significantly over twenty-plus years of existence, a restless band that never quite settles on this or that, but rather keeps moving forward even as they never stop looking back. In their art, they move forward; in their ideas, they move backward. All to the good.
Big Big Train, STONE AND STEEL (GEP, 2016), blu-ray; and Big Big Train, FROM STONE AND STEEL (GEP, 2016), download.
Twelve stones from the water. . . .
Yesterday, thanks to the fine folks at Burning Shed, the first blu-ray release from Big Big Train, STONE AND STEEL, arrived safely on American soil. Then, today, thanks to the crazy miracle of the internet, Bandcamp allowed me to download FROM STONE AND STEEL.
In a span of twenty-four hours, my musical world has been thrown into a bit of majestic ecstasy.
2016 might yet be the best year yet to be a fan/devotee/admirer/fanatic (oh, yeah: fan) of the band, Big Big Train. I’ve proudly been a Passenger since Carl Olson first introduced me to the band’s music around 2009. And, admittedly, not just A fan, but, here’s hoping, THE American fan. At least that’s what I wanted to be moments after hearing THE UNDERFALL YARD for the first time.
Big Big Train, ENGLISH BOY WONDERS (Giant Electric Pea, 1997; 2008)
14 Tracks on the re-released version, 2008. Interior/booklet art by Jim Trainer.
ENGLISH BOY WONDERS is, by far, the most “English” of all of Big Big Train’s albums. Articulate, intelligent, penetrating, and romantic, the album should properly be listened to under grey skies with fog clinging to the land, an iron-gated cemetery to one side and a beautiful pale-skinned, red-headed woman just out of reach on the other, with a slight bit of drizzle in 55-degree weather. The listener, of course, should be wearing tweed and fiddling with his pipe. Perhaps, he should also have a battered, leather copy of Wordsworth or Tennyson as well.
I exaggerate, but only slightly.
As explained at the EBW promotional site:
English Boy Wonders was originally recorded on a limited budget & released by GEP in a semi-complete state in 1997. It has been unavailable for many years. For the 2008 re-release, Big Big Train have returned to the original master tapes & have re-recorded much of the album. Additional sections of music have also been written to complete the album as it was once intended. A bonus track featuring Martin Orford has been included & the album has been completely remixed & remastered by Rob Aubrey.
English Boy Wonders tells the heart breaking story of a doomed relationship across its 80 minutes of music & words. The album is a unique blend of progressive rock & English pop featuring many of Big Big Train’s finest songs.
Never shy about his melancholic, autumnal imagination, Greg Spawton actively and openly wrote a heart-wrenching story about loss on this second Big Big Train album. And, not just loss. . . but desire, hope, longing, and unrequited love.
For those of us—and we are becoming immense in our numbers—who have come to fall in love with David Longdon’s voice (a voice I consider to be the single finest in the current era of rock), it’s difficult to hear BBT without him. And, yet, on EBW, it was so. No Longdon. Not yet. He’s not the only one missing. A quick look reveals, of course, no Manners. No D’Virgilio. No Gregory.
Holy schnikees, what is this thing I hold so delicately in my hands? How can it be so great as it is without those four distinctive personalities?
Well, at least Poole and Spawton are here. And, thank the Northern pantheon of gods, very much so. One can hear them and their brilliance in every note. Not only is EBW so very English, it is so very BBT. The complexity of the arrangements, the searing guitar, the swirling keyboards, the anxious drums, and Spawton’s heart rending lyrics. Yes, this is Big Big Train. With all BBT releases, Spawton and Poole never shy away from reflecting those they admire. There’s some mid-period Genesis here, but there is also quite a bit of atmospheric jazz, with keyboards and drums far more daring than Collins and Banks ever tried.
And, for the newer release, the unofficial member of the band, that Anglos-audiophilic genius Rob Aubrey lends his extraordinary skills to EBW.
While the entire album is excellent and a must own, the tracks that lodge themselves firmly in the soul and mind are “Albion Perfide,” “Out of It,” “Reaching for John Dowland” and “The Shipping Forecast.”
A review of “The Underfall Yard” from The Underfall Yard by Big Big Train (English Electric, 2009). Song and words by Greg Spawton. Additionally: David Longdon, vocals and vocal arrangements; Dave Gregory, guitars; Nick D’Virgilio, drums; Andy Poole, bass and keyboards; and [see image on right for a full list]
As much I love albums, I’m always looking for that perfect song. The song that longs to linger in our souls after we’ve heard its last notes. The song that cries to the heavens in triumph, praise, and rage. The song that hovers over that second away from eternity, rooted in the human condition, but reaching for timelessness.
In my first two pieces of this series, I looked at Rush’s “Natural Science” (1980) and The Tangent’s “Where Are They Now” (2009)? In this article, I turn to none other than a well-recognized masterpiece, a (perhaps, THE) cornerstone of third-wave prog, “The Underfall Yard” (2009) by Big Big Train. It originally appeared at the final track of Big Big Train’s 2009 album of the same name, the first to feature the vocals of the incomparable David Longdon.
Six seconds short of twenty-three minutes in length, “The Underfall Yard” is epic in every sense of the meaning of the word. I once gave it to a non-prog friend of mine as an introduction to the genre. He liked it (really, who couldn’t?), but he also joked, “Brad, when I started the song, I didn’t realize I’d have to miss dinner to finish it.”
The lyrics of the song reveal its scope best:
Using available light
He could still see far skies,
Beyond, above, and yet below the far skies rests (not contentedly) deep time. Indeed, given the song, one must imagine deep time as equal parts restless but also confident in its restlessness, sure of itself even in its transitions.
Always a superb lyricist, Spawton reveals his most intimate and poetic sense in this song overall. The words are at once hopeful and melancholic, the piece as a whole trapped in a slowly shifting twilight. The loss is of England’s entrepreneurial and industrial moments of the interwar era, the parents Edwardian, but the children Georgian.
As one stands with Spawton, watching this scene fade in golden and royal hues, he might just as readily be standing with King Alfred hopeful against heathen men as hairy as sin; with Harold of Hastings, tilting against a bastard’s armies; or with Winston Churchill, toiling and sweating against those would rend idyllic places such Coventry with insidious and inhumane progress.
Spawton’s words endlessly capture that which is always true but never quite obvious to all at all times.
The opening moments of the song move from an earnest guitar into a driving and equally earnest interplay of bass and drums, Gregory, D’Virgilio, Poole, and Spawton weaving something both tribal and civilized. More guitars appear, jutting and jetting. Strings emerge as if from the land itself. At 1:45, David Longdon’s voice enters into the art itself with the necessary pitch, the perfect lilt and quaver, and a resonant meaning. If Spawton is coming from sacred soil, Longdon is coming from the heavens, thus allowing the horizon and sky to meet in an infinite moment.
Almost uniquely among singers, Longdon possesses both assuredness and humility in all of his vocal arrangements, but none more so than in this song. While his voice is the voice of a man, it also is the voice of a chorus of men, a plea for generations.
Chasing a dream of the west
Made with iron and stone
Man, in Spawton’s vision, if armed with genius and integrity, reshapes the land, not in man’s image, but in the sacramental, Adamic way had things in Eden not soured.
These are old hills that stand in the way
breaking the line.
It came out of the storm,
out of the sea
to the permanent way
Using just available light,
he could still see far.
Even in his broken state, some men–seers, prophets, bards, skalds, poets and prog rockers–can see beyond the immediate, toward that which is far and that which is deep. Of all creatures, they alone can imagine the heights and the depths of existence.
In Spawton’s vision, England becomes not just another place on this earth, but a place sacred, sacred because man has recreated nature, not through domination, but through creative understanding, the soul and the intellect of each in harmony, not tension.
One is reminded of Spawton’s counterpart in the world of poetry, T.S. Eliot.
A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.
–T.S. Eliot, Little Gidding
Even the timeless moment, though, can not be seen or understood forever. Timeless moments—the light falling on a secluded chapel—lasts only as long as man knows to look for it. As with all things of beauty, truth, and goodness, it is fleeing, at least through our abilities to perceive, incorporate, and understand.
Roofless engine houses
distant hills like bookends
frame electrical storms
moving out to sea
away from England.
Spawton’s words and Longdon’s voice combine to make the above lyrics not only the most moving parts of the song, but combine to make one of the most moving parts of any song in the rock era.
I could never even count how many times I’ve listened to this song over the last five years. Every time, my stomach drops and my heart and soul swell when I hear this. Every single time.
And, yet, despite the loss of the thing itself, the moment in all of the revelation of its glory, Spawton knows—with the greatest thinkers of the western tradition—that memory can comfort us. Perhaps memory alone.
Parting the land
with the mark of man,
the permanent way,
Using just available light,
he could still see far.
The imprint is true. It always exists. We, however, must choose to remember. When we do, the world becomes just a little brighter. Using just available light.
And, thus, Big Big Train reveals its ultimate contribution to the world of art. Somethings are worth remembering, whatever the cost, and memory itself is a precious and delicate thing beyond any cost.