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.
Tracks: Wassail; Lost Rivers of London; Mudlarks; and Master James of St. George.
As far as I know, I’ve never tasted Wassail.
Of course, I come from Bavarian peasant stock and possess, sadly, not a drop of Anglo-Saxon or Celtic blood in my veins. My wife, however, is blessed with Celtic as well as Swedish ancestry, and I’m more than happy to have played a role in passing those genes on to our rather large gaggle of children.
As far back as I remember, though, my very German-American family drank something that sounds quite similar, at least in essence if not in accidents, to Wassail, Gluhwein. Even the very word Gluhwein conjures not just the scents of warm cinnamon, cloves, and anise, but also the idea of heavenly comfort and satiation.
Much the same could be said of all of Big Big Train’s music. Not that it doesn’t have its share of tensions and darker moments within the music, but, it’s hard to imagine a band in the world today that better understands the goods and beauties of this world than does Big Big Train. They find glory in even the most ordinary of things. And, rightly so.
Wassail is a triumph, frankly. Not a huge triumph in the way The Underfall Yard or English Electric were each immense, almost overwhelming, triumphs, but a triumph, nonetheless.
A good, little truth.
In Greek, one would employ a word that has become utterly perverted over the last hundred years to describe Wassail best: a “dogma.” Literally, translating it from Greek to Latin, a dogma means a “good little thing,” a thing good in and of itself whether we understand its relation to larger truths or not.
Such is Wassail. A good little truth, whether we understand its relation to anything else or not. Only four songs at 25 minutes and 39 seconds, Wassail ends all too quickly. And, yet, for those nearly 26 mintues it plays, it fills our souls to the brim.
The opening song, “Wassail,” is a sing-songy English folk tune, completely with poetic and thoughtful lyrics. Here is the apple—the symbol of the devil, the instrument that caused the Fall, and the fruit that, to this day, brings so much love and joy. How can one thing be so loaded down by so many meanings—from the very existence of the universe and our relation in it, to the very thing that serves at the heart of what our grandmothers make best? This is a Longdon song, pure and simple. It is, for all intents and purposes, the sequel to Hedgerow, but without the rock edge.
The second song, “Lost Rivers of London,” is as much a Greg Spawton-song as the first was a Longdon song. What remains of the ancient world under the very streets of the city that represents so much good and truth in this world? What has nature wrought, our ancestors cultivated, and our current generation forgotten? These are quintessential Spawton questions, and, of course, true to Gregorian form, he serves as our modern natural historian, our urban archeologist, and our prog bard.
The third song, “Mudlarks,” is also a Spawton song, but its fullness comes across as a Big Big Train song more than the song of any one person. On “Mudlarks,” every member of the band, contributes and plays his or her heart out. Of the four songs, this is the most pop-rock oriented, despite the use of a whole set of rather folksy strings.
The final song of the EP, “Master James of St. George,” reveals just how much the band has evolved since the song first appeared—rather gloriously—on The Underfall Yard. Recorded live at Peter Gabriel’s Real World Studios, this version of “Master James” is much more layered than the original. Whereas the original offered a folksy minimalism, this version is layered almost beyond reason. The new strings add much but what really comes to the fore in this version is Danny Manner’s keyboards.
The Wassail version of “Master James” in no way makes the original obsolete. Quite the opposite. This new version just makes those of us who love BBT justifiably a little prouder of them. For, really, this version shows just how truly alive their music is, how much depth it possesses, and long it will be remembered. . . long after any of us have vanished from this world.
Let us just hope when we get there (wherever “there” is), we know which apple to choose. It’s pretty clear that BBT wishes us well, and they’ve even kindly provided the soundtrack for that journey.
Danny Manners, uprightbassplayer and keyboardist extraordinaire, is stating this as of today:
TUE 30 SEP, 10:40 – The dust settles…
We are pretty much sold out for the August 14th & 15th gigs.
An additional matinée performance on Sunday 16th August is likely: we’re in the process of deciding. Assuming we go for it, it would still be a couple of weeks before tickets went on sale. They would be available to everyone, not just this group.
A Big Big thank you from the band for your enthusiasm, and for the willingness of many people to travel long distances to see us. We had better be good after this…
Once again, apologies for the slightly chaotic way tickets became available. (King’s Place are not a regular rock venue and hence not really set up to handle pre-sales/restricted sales.) Luckily, their policy of not making balcony seats available until the stalls are filled, which might be rather annoying in itself, ensured that there were still some tickets available for people who only checked FB at the appointed hour on Monday morning.
The important thing is that the vast majority of tickets went to members of this group.
Looking forward to meeting many of you next August….
Big Big Train
If you’ve not noticed before, we progarchists kind of, sort of, really, really like Big Big Train. So. . . it’s with much excitement that we report this.
The Classic Rock Society of the U.K. has just awarded BBT with three well-deserved awards: 1) David Longdon for best vocals; 2) “East Coast Racer” as the best track of the year; and 3) Big Big Train as Great Britain’s best band.
The progarchists of progarchy hq in central Hillsdale County of Michigan are doing a little victory dance for our friends across the Atlantic.
Congratulations to Greg Spawton, David Longdon, Nick D’Virgilio, Dave Gregory, Danny Manners, Andy Poole, and Rob Aubrey. And, of course, to Jim Trainer as well. Amazing and brilliant and wonderful.