Tag: Greg Spawton

Live at Last – Big Big Train Rock The USA (Sweetwater, 3/1/24)

On By Bryan MoreyIn Big Big Train, progressive rock2 Comments

Big Big Train, Live at Sweetwater, Fort Wayne, IN, March 1, 2024
Band: Alberto Bravin (lead vocals, keyboards, guitar), Nick D’Virgilio (drums, vocals), Oskar Holldorff (keyboards, backing vocals), Clare Lindley (violin, vocals, keyboards, guitar), Rikard Sjöblom (guitars, keyboards, vocals) and Gregory Spawton (bass, bass pedals, acoustic guitar/12-string), and Cade Gotthardt (trumpet, keyboards)
Setlist: Folklore, The Connection Plan, The First Rebreather, The Florentine, Summoned By Bells, Mead Hall in Winter, Telling the Bees, East Coast Racer, A Boy in Darkness, Love is the Light, Apollo
Encore: Victorian Brickwork

I didn’t think I would ever see the day, but there I was Friday evening sitting sixth row center at Big Big Train’s first ever live show in America. It’s been a long time coming – 11 years for me. I discovered Big Big Train back in 2013 while in college in Hillsdale, MI, less than an hour and a half from Sweetwater in Fort Wayne, Indiana. But for this show I drove 5 hours from Bowling Green, Kentucky, where I just moved from Saint Louis, MO last Monday. A wild week, to be sure, but I wasn’t about to miss this show.

After a moderately expensive visit to Hyde Brothers books in Fort Wayne (a must visit for fans of used books), I made it to a local restaurant for a dinner meetup with folks from the Big Big Train Facebook group. Friend and fellow Progarchy editor Rick Krueger kindly invited me (as I’m not on bookface), and he even bought me dinner. Thanks Rick! After that, the group emigrated to the Sweetwater campus, a beautiful building with an intimate auditorium that seats around 260 people. At that size, there probably isn’t a bad seat in the place.

The show was general admission, but I found a fantastic seat about two seats left of center in the sixth row. My only complaint with my choice was Rikard ended up blocking my view of Greg most of the show, but Greg made his presence clearly known on the low end. Sonically speaking, it was a fantastic seat. Overall this may have been the best sounding rock concert I’ve attended. The volume was perfect, and distortion was minimal. At times some of the keyboards were a little low in the mix (not Oskar’s, but the keyboards Alberto periodically played). Other than that, it sounded great – a testament to Rob Aubrey’s important role in this band. I don’t remember the last show where I didn’t have to wear ear plugs.

The show got off to a rousing start with a more accessible number in “Folklore,” which was followed up by a more recent accessible track with “The Connection Plan” off 2022’s “Welcome to the Planet.” The prog came into the station with “The First Rebreather,” a welcome throwback to 2012’s “English Electric: Part One.” The energetic pieces were a great warmup to the slower, more contemplative classic. I think First Rebreather may have been the first BBT song I ever heard, making it extra special to hear it live.

New lead vocalist Alberto Bravin was a fiery storm of energy from the opening notes of the show, running onto the stage and firing up the crowd from the get-go on “Folklore.” He continued this energy throughout the night, with a particularly fun trip through the aisles of the venue with Nick D’Virgilio as they sang a vocal duet on “The Florentine.”

The setlist was replete with long tracks, including “A Mead Hall in Winter,” “East Coast Racer” and encore “Victorian Brickwork.” The instrumental passages highlighted the talent of this band, particularly the tightness of stalwarts Greg Spawton, Nick D’Virgilio, and Rikard Sjöblom. Nick didn’t miss a beat all night, with his intricate drumming a joy to witness on the audience’s right side of the stage. Greg’s Rickenbacker boomed, but his bass pedals shook the building. Rikard really shined for me in this show. His guitar solos were excellent, along with his work on the Hammond organ. He was clearly having a blast, as he always seems to be on the band’s live Blu-Rays. Considering he was playing parts for two guitarists, it was all the more impressive. Alberto picked up an electric (and acoustic) guitar at points, but Rikard took the lion’s share of the work, and he performed flawlessly.

Nick and Rikard had a touching tribute to David Longdon with their acoustic version of “Telling the Bees,” with Nick on lead vocals, demonstrating how versatile everyone in this band is. The duet gave the rest of the band a chance for a quick bathroom break before returning to steam their way through “East Coast Racer.” The highlight of the track had to be Alberto’s astonishing “She flies.” He carried the note far longer than I expected, and it was a very moving moment. Also moving was “A Boy in Darkness,” an unexpected choice from English Electric. Overall those albums were well represented at this show.

They only played one song from the new album – “Love is the Light” – but they really shined with it. It was great hearing Alberto sing at his most natural, and the song tastefully blends accessible lyrics with subtle complexity in the music. Alberto was truly in his element on this track, showing what a natural performer he is. Even if his interactions with the audience between songs were a little awkward (due to the slight language barrier, I think), once the music is playing, all of that falls away and he shines.

“Apollo” was a treat as an instrumental, and when Alberto wasn’t playing something, he was running around the auditorium with a tambourine (which I overheard someone in line say they saw him buy in the Sweetwater store earlier that day) stirring up the enraptured audience.

Instead of leaving the stage and coming back out for an encore, the band merely asked if we wanted a final song. They asked us what we thought they’d play, and people shouted out some requests. “The Underfall Yard” was heard clearly, and one enthusiastic fan wanted deep cut “The Wide Open Sea.” Neither request was granted, the band giving us “Victorian Brickwork” instead. I don’t think anyone complained about that choice. A fine way to end the show.

As the band’s first show of the tour, there were a couple expected hiccups. They weren’t playing at full strength, and thus everyone had to contribute in multiple ways. I only picked up on two noticeable mistakes, and I’m not even going to bother identifying them here because everyone was so professional and carried on so well that it isn’t worth pointing it out. For music this complicated, you’d be justified in expecting more mistakes, but instead they played incredibly well. I told Oskar when I met him after the show that he played really well, and he had big shoes to fill playing Danny Manners’ parts. He pointed out that he was essentially playing the parts of three people since the live band is normally much larger! So yeah, they played great.

As they’ve done at past shows, the band made themselves available to the fans out in the lobby after the show. After my long wait at the merch desk to pick up the new album on CD/BR as well as the reissue of David Longdon’s Wild River on CD, I was able to wait in shorter lines to meet and get photos with several of the band members. I was especially excited to meet Greg. His art and his support are a huge reason behind Progarchy’s existence, and his music and lyrics have been a major intellectual and artistic influence for me for over a decade now. It was an honor to meet him, as well as the other members of the band. It’s so cool that they are willing to meet people after the show. I’m sure it’s tedious for them, but it’s cool for us as fans. They were all so kind.

Me and Greg
Me and Alberto

I’d say Big Big Train’s first show in the US was a rousing success. Hopefully this short tour will be enough of a financial success for the band to warrant them coming back to America in the future – hopefully on a longer tour. I know I’d go see them again in a heartbeat.

Big Big Train – Summer Shall Not Fade

On By Bryan MoreyIn Big Big Train, progressive rock1 Comment

Big Big Train, Summer Shall Not Fade: Big Big Train Live At Loreley, 2022 (concert recorded July 13, 2018), Blu-Ray/2CD
Tracks: The First Rebreather, Folklore, A Mead Hall In Winter, Kingmaker, Summer’s Lease, Brave Captain, Prelude and Fugue, Judas Unrepentant, The Transit of Venus Across the Sun, The Permanent Way, East Coast Racer, Drums and Brass, Wassail

Big Big Train never cease to amaze me. While this release has been out for a couple weeks now, I’ve just gotten time to sit down and enjoy the band’s latest live recording, Summer Shall Not Fade. The live show marks the band’s first time playing in Europe, at the prestigious Night of the Prog festival in Loreley, Germany on July 13, 2018. It also marks a closing of the curtain for what I consider to be the band’s “classic” lineup. Sadly, David Longdon passed away just under a year ago, and Dave Gregory, Danny Manners, and Rachel Hall all left the band in 2020. With everyone present, this show really finds the band at their peak.

Musically, this show sounds good enough to be a studio recording. There may be a few hiccups, but they are indeed few and far between. Be it Nick D’Virgilio’s intricate and soulful drumming, Rikard Sjöblom’s rocking Hammond and guitar, Dave Gregory’s shredding… I could go on. They all sound great.

One of the things that really stands out to me in this performance is how David Longdon really came into his own as a frontman. Since the show was at an outdoor festival, the stage was pretty big, allowing this Big Big Band to spread out more than in their other live recordings. There is also a small runway, which allowed Longdon to get out closer to the audience. Rachel Hall even used it at one point during “A Mead Hall In Winter.”

An example of Longdon’s showmanship appears during the first track, “The First Rebreather,” when he breaks into maniacal laughter after the lyrics, “This man will walk into darkness / Without fear of what lurks in the shadows.” The editor of the Blu-Ray zooms the view in on David’s face, which is lit with red light. It also appears like his head gets bigger, exaggerating the impact of his disturbing laughter. It’s a small moment, but it brought a whole new element to the song, bringing the terror of the darkness to the forefront.

The performances themselves are stellar. D’Virgilio is ever the champ on the drum kit, as well as with his backing vocals. Danny Manners shined on the instrumental “Prelude & Fugue” leading up to “Judas Unrepentant.” It’s a nice way to remember his time in the band. Dave Gregory, who also left the band in 2020, shines throughout with his guitar-work. His work will certainly be missed moving forward, although I have full faith in Rikard Sjöblom and Dave Foster.

Speaking of Rikard, he was so much fun to watch. His Hammond solo in “A Mead Hall in Winter” demonstrates his importance in this band, and watching him headbang during “East Coast Racer” was total fun. Since Longdon’s tragic passing, I’ve come to see that the new core of the band moving forward is Greg Spawton, Nick D’Virgilio, and Rikard. Obviously the others will (and already have) contribute, but these will be the mainstays (I hope).

Rachel Hall also really came into her own as a performer in this show. She was connecting really well with the audience, and her vocals and violin added a lot to the overall sound.

The visuals on the recording are quite good. At the beginning of the show, the stage was poorly lit by the passing light of day (I know, I know, wrong band reference), causing the camera-work and editing to look somewhat amateurish. This went away a few minutes in after the sun fully set, allowing the stage lighting to bring a professional feel to the performance. The editor also made good use of cuts and split screens without making the show feel overworked. It all felt natural, especially with how they were able to include shots of the large screen of images behind the band.

The audio is stellar, especially for an outdoor venue. That’s either a credit to the mixing crew during the show or to Rob Aubrey in the mixing booth in preparation for this release – or both as I believe Aubrey handles mixing for their live shows as well. I haven’t heard the 5.1 mix since I sadly don’t have that setup, but the stereo mix sounds great. Both Gregory Spawton’s intricate deep end and the crystal-clear high end of the brass sound wonderful, and most importantly, they sound clear.

Summer Shall Not Fade is an excellent performance from the definitive and now lost lineup of one of the most important bands in the progressive music scene today. Any progressive rock fan should certainly give this a look, but fans of well-composed and expertly performed music should also take note. While it’s sad to say goodbye to Longdon, as well as the other members of the band who have left, I’m happy we get this live album to remember this chapter in the band’s memorable history.

https://www.bigbigtrain.com
Purchase (UK/Europe): https://burningshed.com/store/bigbigtrain/big-big-train_summer-shall-not-fade_2cd_blu-ray
Purchase (North America): https://thebandwagonusa.com/collections/big-big-train/products/big-big-train-summer-shall-not-fade-bluray-2cd-pre-order-only

Rick’s Best of the Decade

On By kruekuttIn electronic, jazz, progressive metal, progressive rock3 Comments

I’ve kept a spiral-bound notebook titled “Core Discs: The Honor Roll” since the mid-1990s, when I was deeply into a classical music binge at the height of that genre’s last recording boom. Over the years, as I migrated through jazz (courtesy of the Ken Burns documentary) and country/folk (blame Johnny Cash & Leonard Cohen) back into my earlier love of rock, I find it intriguing that my picks started shifting in tandem with the prog revival of the 21st century, long before I started writing for this site in 2017. But unlike Bryan’s methodology for finalizing his excellent list, when I sat down to pick my ten favorite albums of the last ten years, I looked at my top favorite for each year and said, “yeah, those are all still up there.” Which is why I also decided to just list them by the year of their release (not always the year I first heard them) instead of ranking them from 10 to 1. (Oh, and links to my original reviews are embedded in the artist/album listing from 2017 onward.)

It’s true that, in more recent years, my picks have been busting out of genre boundaries — but, if you’ve been generous enough to sample my wares before, you’ve probably figured that out. And hey, if such a tendency isn’t progressive, then what is? Whether the following list confirms or challenges your preconceptions of “what’s prog”, I fervently believe that every one of these albums is worth checking out — but be warned, your mileage may vary!

So, without further adieu:

2012 – Flying Colors: gotta agree with Time Lord here — this one’s a total winner from start to finish. Neal Morse and Mike Portnoy had captivated me long before this with the first three Transatlantic releases and Morse’s two Testimony albums, but Flying Colors showcased an even broader stylistic range, from the Beatlesque “Fool In My Heart” through the retro-80s prog-pop vibe of “Blue Ocean” and “Kayla” to the cutting-edge Museings of “Shoulda Coulda Woulda” and “All Fall Down”. The album also proved that Morse and Portnoy know how to pick collaborators! Guitarist Steve Morse applied his unique mix of Southern-fried chicken pickin’, fusion a la Mahavishnu John McLaughlin and Purpleish power riffs to winning effect (solidly supported by his longtime bassist Dave LaRue), and vocalist Casey McPherson proved he could run with the big boys, stirring fresh melodic and lyrical flavors into every track, including more familiar constructions like the inspirational “The Storm” and the epic finale “Infinite Fire”. This one also gets nostalgia points for being available at Best Buy stores back in the day (remember when you could get CDs there?).

2013 – Big Big Train, English Electric Full Power: OK, I actually didn’t discover this one until 2016, when the BBT bug finally bit me — more on this in a future post. And while I sort of wish I had done so earlier, maybe hearing EEFP on the British trip my wife and I took the year it was released would have been too much of a good thing! Steeped in a love of their native land and affectionate empathy for its people, Greg Spawton and David Longdon doubled down on the longform approach of 2009’s The Underfall Yard to probe forgotten milestones of British history (“The First Rebreather”, the heart-stopping “East Coast Racer”) and portray unforgettable characters (“Uncle Jack”, “Curator of Butterflies”) against a bucolic landscape (“Upton Heath”, “The Permanent Way”), along with the perennial challenges of the heart (“The Lovers”) and the soul (“A Boy in Darkness”, “Judas Unrepentant”). All in a style that recalled original prog touchstones (looking at you, Gabriel-era Genesis) but blended in the dizzying guitar of Dave Gregory and the wicked drum grooves of Nick D’Virgilio to awesome effect. The two separate volumes of English Electric and the Make Some Noise EP certainly have their charms, but in the scope and sequence of this complete package, Spawton, Longdon and company touched on perfection.

2014 – Dave Kerzner, New World: another late arrival in my collection, this is the album that convinced me a genuine prog-rock revival was afoot beyond the continuing efforts of Morse/Portnoy and Steven Wilson. Kerzner’s mastery of cinematic soundscapes was evident from the first Floydian flourish of “Stranded” to the closing upward spiral of “Redemption”; his ability to involve guest stars like Steve Hackett and Keith Emerson, as well as quality players like guitarist Fernando Perdomo and Nick D’Virgilio (him again!), bore impressive results; and his intuitive grasp of pop hooks proved a solid foundation for irresistible shorter songs like “The Lie” and “Nothing”. Stir in longer, brooding tracks “Into the Sun”, “Under Control” and “My Old Friend” (in memory of performer/producer/polymath Kevin Gilbert), and you had a consistently gripping effort. Whether in its single-disc or deluxe double-disc format, New World aimed high and hit every target that a latter-day concept album could — thoroughly immersive, richly compelling and a breakthrough kick-off for Kerzner’s ongoing solo career.

2015 – Steven Wilson, Hand. Cannot. Erase: speaking of latter-day concept albums . . . Seems like *everyone*, especially the ex-SW fans who think he lost the plot with To The Bone and The Future Bites now cite this as his best effort; me, I remember the online ruckus when “Perfect Life” became the pre-release single. (“IT’S! TOO! POP!” As I’ve said before, if only they had known . . .) But as Bryan mentions in his article, Wilson struck conceptual paydirt with the true story of Joyce Carol Vincent’s lonely death, unearthing both the bleakness and the beauty inherent in a life of urban isolation. His sharp, highly committed writing met its match in the blistering playing of his band: guitarist Guthrie Govan (“Regret #9), keyboardist Adam Holzman (“Home Invasion”) and singer Ninet Tayeb (“Routine”) all have some of their best recorded moments featured here. HCE’s enduring appeal does partially stem from its similarity to Porcupine Tree in their prime — but both Wilson’s musical growth in the intervening years and his return to a humane lyrical vision after the voyeurism of Insurgentes and Grace for Drowning were what made the difference then, and now. The melancholy inherent in the final track “Happy Returns” still feels like we’re mourning a life, lived and lost, for real.

2016 – Marillion, FEAR: that rare example of a band hitting a creative and commercial peak simultaneously. Marillion as a band got even more serious about musical substance here, with lush, detailed sonic backdrops adding depth and resonance to their smash-cut collages. All of which fused seamlessly with Steve Hogarth’s lyrical concerns — for example, the opener “El Dorado” built from self-satisfied, affluent peace to twitchy paranoia, as the lyrics and music stewed in the pressure cooker of an over-connected, unsettled world. The heartfelt road narrative of “The Leavers” made a consummate live epic that captured the special relationship between the band and its fans, while ominous closer “The New Kings” (capped by H’s heartbroken refrain, “Why is nothing ever true?”) still seems way too spooky — and way too relevant six years later. Since its release, FEAR’s success has enabled Marillion to go from strength to strength both live (as I witnessed in 2018) and with their equally powerful follow-up, this year’s superb An Hour Before It’s Dark. Which testifies to its ongoing impact, then and now.

Continue reading “Rick’s Best of the Decade” →

Big Big Train Update – A Note From Gregory Spawton

On By Bryan MoreyIn Big Big TrainLeave a comment

A Note From Gregory Spawton

Following the announcement last week about the HRH festival in Leeds being moved to Sheffield in April 2023 (when Big Big Train will not be appearing) and the necessity for us to re-schedule our German, Swiss and French shows until 2023, I would like to thank all listeners for their wonderful support. We entirely understand how disappointing and frustrating this news has been. I am pleased to say that I have some more positive news in this update.

Free Passengers Club Memberships/Extensions

If you hold tickets for any of the HRH, German, Swiss or French shows, please contact stationmaster@thepassengersclub.com with a photo of your ticket or the ticket attached to the email for a free three month trial of our digital fan club  – The Passengers Club.

If you are already a Passengers Club member with a one or two year subscription and holding tickets for one of these shows, please contact stationmaster@thepassengersclub.com with a photo of your ticket or the ticket attached to the email for three month extension.

Please be patient as it will take a while to add everyone who applies.

All existing BBT Passengers Club Patrons (whether HRH or German/Swiss/French ticket holders or not) will receive an exclusive download of a live song from the September 2022 tour. This will be a different song to the ones being made available to Tour Patrons.

2022 Tour Patron Packages

Given our touring plans for 2023 (about which more news below), 2022 tour patron packages have been converted to 2022/23 tour patron packages. You do not need to take any action in this regard.  T-shirts have been sent out, tour programmes and laminates can be collected from the September 2022 shows if you are attending; if you are not attending a show, programmes and laminates will be sent out after 7th September.

The September 2022 Tour

Over the last few months we have all spent many hours preparing individually before we convene for rehearsals next week for the shows in September. While we’re thrilled to be bringing Big Big Train back on stage after almost three years, of course we remain enormously saddened that David Longdon is no longer with us.

David’s explicit wish was that BBT should continue and we’re excited about moving forwards and what we can achieve with Alberto Bravin fronting the band. Our shows will celebrate the band’s past and look ahead to the future. Our live set will include one new song. More on this below.

While we’re obviously disappointed that the tour next month will only be brief, we are very much looking forward to these shows. A last few seats remain available for our “family and friends” warm up show near Southampton. Tickets are also available for our shows in Aylesbury and Zoetermeer. We will be filming the  Zoetermeer show with a view to releasing it in the future. Details of the September 2022 dates plus ticket links are here: www.bigbigtrain.com/live

From Wednesday 7th September we will be making September 2022 tour merchandise (tour programmes and T-shirts) available online via Burning Shedand The Bandwagon USA.

Big Big Train on tour in 2023

Prior to the news last week about HRH and the rescheduling of the German, Swiss and French shows, we had already been working on organising some shows for 2023.

2023 looks set to be BBT’s busiest year ever, both recording in the studio (including in Italy) and playing live shows. Currently we are expecting to play up to 20 shows across the UK and continental Europe in autumn 2023, including countries that were not on the original September 2022 tour schedule. We are delighted that this will include the band playing in Italy for the first time. We hope to be able to announce full details of the autumn 2023 tour later this year.

New Music

In parallel with preparing for next month’s shows, we have been working on a number of new songs since appointing Alberto as our lead vocalist. Today we are delighted to share with you the first of these songs. Written by me, Last Eleven features the BBT September 2022 live band – Alberto Bravin, Rikard Sjöblom, Nick D’Virgilio, Dave Foster, Clare Lindley, Oskar Holldorff and myself.

We’re really excited about this song – it’s very personal to me lyrically and the band have put in an amazing performance, including a beautiful vocal arrangement from Alberto and a stunning keyboard solo from Oskar.

The video was created by Steve Cadman.

Summer Shall Not Fade/Door One

In case you missed it, we have recently released a short trailer for the forthcoming Blu-ray/2CD Summer Shall Not Fade, which documents Big Big Train’s show in July 2018 at the Night Of The Prog festival in Loreley, Germany.

Here’s the trailer:

Both Summer Shall Not Fade and David Longdon’s solo album Door One will be released on 14th October. Full details of both releases and purchasing links can be found here: www.bigbigtrain.com 

NDV with Steve Hackett

Congratulations to NDV who will be drumming for nine shows on Steve Hackett’s North America tour in November and December this year, deputising for Craig Blundell.
Details here: www.hackettsongs.com/tour.html 

Gregory on Butterfly Mind by Tim Bowness


I appear on the new wonderful new Tim Bowness album Butterfly Mind on the track ‘After The Stranger’.
More info on the album here https://timbowness.komi.io/

We look forward to seeing listeners at our shows next month.

Best wishes

Gregory Spawton

Big Big Train

Album Review: Big Big Train’s “Welcome to the Planet”

On By Bryan MoreyIn Big Big Train, Prog, progressive rock, progressive rock music2 Comments

Big Big Train - Welcome to the PlanetBig Big Train – Welcome to the Planet, January 28, 2022
Tracks: Made From Sunshine (4:05), The Connection Plan (3:55), Lanterna (6:29), Capitoline Venus (2:27), A Room With No Ceiling (4:52), Proper Jack Froster (6:38), Bats in the Belfry (4:54), Oak and Stone (7:12), Welcome to the Planet (6:41)

Perhaps it’s a strange quirk of fate that the album Big Big Train releases after the tragic death of David Longdon is one of their most upbeat albums to date. It’s a very positive album, much like 2021’s Common Ground. Welcome to the Planet sounds even more hopeful, more full of life, and more accessible than ever. It’s a more than welcome antidote to the insanity of the world today – insanity amplified by David’s death.

“Made From Sunshine” is a beautiful opening to the album, giving us a jolt of energy to start us off. It isn’t a Big Big Train anthem like past album openers, but it has a similar upbeat feel. Come to think of it, none of the tracks on this album fall into the anthem category. “Made From Sunshine” is about the joy of parents as they look at their newborn child and enjoy that child’s early years. The name of the song and the accompanying lyric was inspired by guitarist Dave Foster. In a track-by-track overview of the album made in October, David Longdon commented that when he first met Foster in studio in November 2020, he commented to him that he was a ball of energy. Foster told him that his parents told him when he was a child that he was “made from sunshine.” The song features a vocal duet with Longdon and new member Carly Bryant, pointing to new developments in the band as they grow with new musicians in the fold.

Big Big Train – Made From Sunshine – YouTube

Fans of Nick D’Virgilio’s vocals will love “The Connection Plan,” which features him singing both backing vocals and lead on the bridge. I think I can hear Rikard singing on the bridge too, as well as what I assume is Rikard’s Hammond organ swirling around.

“Lanterna” sounds like it could have been on any of the band’s albums with Longdon, or at least any after The Underfall Yard. This song was originally supposed to be part of “Atlantic Cable” on Common Ground, but Greg Spawton decided to split it into a separate track. The song is about an historic lighthouse, with the lyrics about the idea of lighthouses shining light into the dark. It brings in the history element Big Big Train is known for, but it’s more subtle this time around. Rikard has some stellar guitar licks, which really pump the song up starting about two minutes in. Greg’s bass brings a booming deep end over Nick’s drums, with piano and violin periodically popping up. Carly’s piano matches the theme of the song really well.

By now you’ve probably heard “Proper Jack Froster,” which the band released several months ago in advance of Christmas. It has everything Big Big Train is known for. It’s pastoral and nostalgic with a warm feel throughout. Longdon’s vocals are emotional, with his delivery really stealing the spotlight. The vocal harmonies add to the overall mood, but David is the star here. We also get a solo vocal from new band member Carly Bryant, whose warm and bluesy voice fits the song rather well. The guitar work and of course Greg’s bass also get their opportunity to shine. While this might be considered a Christmas song, it isn’t overtly connected to the holiday, meaning it can be listened to all year.

Big Big Train – Proper Jack Froster – YouTube

Some might call this album pop, but calling something “pop” has the same problems with calling something “prog.” People never seem to define the word. For a progressive rock band or artist to “go pop,” they have to give up the soul of their sound. Becoming more accessible doesn’t necessarily mean a band is going pop. In that regard, I don’t think Welcome to the Planet is pop at all. It’s pure Big Big Train, with the only track that sounds drastically different being the title track.

By accessible, I mean the songs are all on the shorter side, and they take on a more traditional song format. For the most part, the lyrics depart from the band’s storytelling, but that isn’t new for the band. They’ve written these kinds of songs before, although they’ve never really made a whole album of them. The storytelling is still there, but as I mentioned about “Lanterna,” it is more subtle. I expect Welcome to the Planet will reach a wider audience because in many ways the record sounds more traditional. I don’t think that makes it pop, though.

Just listen to an instrumental like “Bats in the Belfry” and try to tell me that’s pop. D’Virgilio pulled out all the stops in writing this track. It may be short at under five minutes, but it has both slow and quick sections. Greg’s bass is front and center in the mix, as well it should be. Close listeners will pick up on elements that Nick used in his drum solo tracks in their last tour. The album actually features multiple instrumental tracks, so while there may not be any long epics, there’s still a healthy sprinkling of Big Big Train’s proggiest moments.

Big Big Train – Bats in the Belfry – YouTube

The album has its more sedate moments, such as “Capitoline Venus” and “A Room With No Ceiling.” The former is a love song Greg wrote for his wife. It originally appeared as a demo in the Passengers Club with Greg on vocals. I remember thinking when they first released it how good of a track it was, and I’m very happy to hear a completed version of it with David on vocals. It’s a smooth, touching track that David’s voice breathes brilliant light into. I actually rather like the raw honesty that Greg’s voice has in the demo, but David had the best voice in the business. Nothing can compare to that. The song features just David on vocals and Greg on acoustic guitar and synths. I can just imagine the rest of the band leaving the stage and the two of them playing this track front and center stage. It would have been beautiful.

“Oak and Stone” is another calmer track dripping with Big Big Train nostalgia. There’s a piano moment that takes me back to “East Coast Racer.” The opening bass to the instrumental “A Room With No Ceiling” is a great reminder that in addition to being the greatest lyricist in prog today, Greg Spawton is also one of the finest bassists out there.

The biggest deviation, or progression, in the Big Big Train sound comes from the title track, placed at the end of the album. “Welcome to the Planet” is Carly Bryant’s debut song for Big Big Train. She wrote both the music and the lyrics, and it’s unlike anything the band has ever made. It’s a great song, but if you’re a longtime fan of the band, it will stand out quite a bit. I don’t know if I would have liked an entire album from Big Big Train made in this style, but it’s a pleasant change that still features the BBT flair, including the brass band. David begins the vocals, but Carly quickly takes over and sings for the rest of the track. She even brings a bit of blues grit in at one point. The smooth section with vocal harmonies singing “welcome to the planet” is a beautiful moment on the album. I think the song would have been better served ending with a fadeout of this rather than the somewhat abrupt ending it has, especially since they chose it to close the album. It’s a bit of an odd ending, with the line “Aunty Carly’s singing lullabies to all the children that she never made,” and ending with Carly sighing. Clearly a personal note, and a bit sad all the same. The lyrics are somewhat dark, but they’re honest, something Big Big Train has always been. In hindsight, with David’s passing, this song might better be served elsewhere on the album, since David takes a back seat on this one. But aside from that, it’s a bold choice for the band to mix up their sound and to end the album with this song. Overall it does work, and I find it ends up being the most memorable song on the album.

The band released this live acoustic duet version with David and Carly yesterday, although the album track has a much fuller sound. If you’d rather go into the song hearing the original first, then watch this after you’ve had a chance to listen to the album.

Big Big Train – Welcome to the Planet (live acoustic version) – YouTube

While overall the album sounds more accessible than Big Big Train’s past records, I find when you break it down song-by-song the tracks could each fit on any of the band’s albums from the last decade, except perhaps the title track, which brings with it the influences and tastes of a new band member. Simply put, Welcome to the Planet is another excellent album by Big Big Train. It has a very different feel from Common Ground, which I think adds to my enjoyment of it. This isn’t just an album of b-sides that didn’t make it onto that record. I like every song on the album, and I know it will make my best-of list come the end of 2022. Whatever the future may hold for Big Big Train, they can be proud of this album.

RIP David.

https://www.bigbigtrain.com

Big Big Train Release New Track: “The Connection Plan”

On By Bryan MoreyIn Big Big Train, progressive rockLeave a comment

Hot off the release of their most recent album, Common Ground, Big Big Train released another new track today: “The Connection Plan.” Why? Greg Spawton comments,

”In the lead-up to our tours in 2022, we wanted to share a series of single  streaming releases. The ‘Stay Tuned’ streaming series will feature newly recorded compositions, we hope listeners will enjoy them”.

It sounds like this track, and presumably future ones, will only be available on streaming sites for now. I wouldn’t be surprised if they end up as either a special download for the Passengers Club or on a future record or EP.

Big Big Train – The Connection Plan – YouTube

Check out Progarchy’s interview with David Longdon about Common Ground: https://progarchy.com/2021/06/29/big-big-trains-david-longdon-the-progarchy-interview/

Check out my review of Common Ground: https://progarchy.com/2021/07/18/big-big-train-common-ground-2/

And see this page for more Progarchy reviews of Big Big Train’s music: https://progarchy.com/album-reviews/review-index/b/big-big-train/

Big Big Train’s “Common Ground” – Album of the Year?

On By Bryan MoreyIn Big Big Train, progressive rock8 Comments

big big train common groundBig Big Train, Common Ground, July 30, 2021
Tracks: The Strangest Times (5:08), All The Love We Can Give (8:06), Black With Ink (7:23), Dandelion Clock (4:14), Headwaters (2:27), Apollo (7:50), Common Ground (4:54), Atlantic Cable (15:06), Endnotes (6:59)

I love writing about Big Big Train. In fact, they’re one of the reasons I was drawn into reviewing progressive rock on a more regular basis. They are also one of the reasons this website was founded back in 2012. Our founders understood that Big Big Train wasn’t your ordinary rock band, and the band deserved a more intellectual approach to reviews. I don’t know if I’ve been able to live up to the standard Dr. Brad Birzer set for us, but I try my best. Big Big Train makes it easier by providing such solid material to write about. Common Ground is no different. In fact it may be the best album they have released since I began writing for Progarchy. It is certainly the best record released thus far in 2021.

Common Ground gets off to a rousing start in the best way possible. I’ve never enjoyed the opening of a Big Big Train album this much. While I don’t dislike Big Big Train’s more mainstream pop-like tracks (“Make Some Noise,” “Folklore,” “Wassail”), they aren’t my favorite in the band’s catalog. While “The Strangest Times” might fall into that aspect of the band’s repertoire, I absolutely love this. The piano at the beginning is so bright and upbeat, reminding me a bit of some of the more popular artists the band site as influences on this record. However I think it reminds me more of the band’s work back in the days of English Electric. The guitar work is phenomenal, proving right away that even though brilliant guitarist Dave Gregory may have left the group, the group haven’t abandoned the unique sound he brought to the table. I imagine lots of credit should go to Rikard Sjöblom for maintaining that tone. 

https://youtu.be/i35_HcKjR18

Nick D’Virgilio absolutely hits a home run with his lead vocal sections on “All the Love We Can Give.” I was hoping we would get to hear more of his vocals on this record, and we do. Of course there is also his brilliant drumming throughout the album, which we probably take for granted at this point. This song has some blistering instrumental passages with heavy guitars and some face melting Hammond keyboards. We also get to hear a different side to David Longdon’s glorious voice, featuring the lower end of his register. The vocal harmonies at points in the song remind me of Gentle Giant and the Neal Morse Band, although this is nothing new for Big Big Train. They seem to have utilized it a bit more though throughout Common Ground than they have in the past.

As a matter of fact, the next track, “Black With Ink,” allows that to shine. We get a lead vocal from Rikard, Nick, and Carly Bryant, who joined the band for live shows, providing backing (and apparently lead) vocals, keyboards, and guitars. It’s a nice touch that the band included her on the recording, as well as Dave Foster (guitars on two tracks) and Aidan O’Rourke on violin throughout the record. 

Lyrically “Black With Ink” is somewhat close to my heart, since Greg Spawton was influenced by a trip to a museum (I work in the collections department of a history museum). After a BBT show in Birmingham, England, in 2019, Greg visited the local art museum and saw a label about the history of the collection, which suffered from a bombing raid during World War II. Spawton talks more about that song at the official Big Big Train blog for the album, but in summary it grew out of a frustration with the destruction of knowledge (book burning, destroying art, etc.). The song specifically looks at the destruction (many centuries and millennia ago) of texts at libraries in Alexandria and Baghdad. 

On the other side of the lyrical spectrum, Longdon keeps the band grounded in the present. “The Strangest Times” and “Common Ground” are influenced by the insanity the world has been going through over the last year and a half. In a recent interview, Longdon admitted to Progarchy’s Rick Krueger recently that he cannot wait for these lyrics to no longer be relevant, since we are all sick of quarantines, lockdowns, and other assorted nonsense. 

“Apollo” is an almost eight-minute-long instrumental track, and it is glorious. The song was contributed by Nick, and it grew out of material he had created at his day job at Sweetwater, a music gear retailer and production studio in Fort Wayne, Indiana. He describes this track as Big Big Train’s “Los Endos,” which I believe they achieved. It’s a beautiful song, and I can see them either closing a first set or closing a live show with it before an encore. The inclusion of Longdon’s flute was a really nice touch, which will most definitely be a hit live. It’s pure BBT, brass band and all. 

https://youtu.be/88HHhbD1vFE

“Atlantic Cable” has all the grandiosity of “East Coast Racer.” I don’t think I have enjoyed a Big Big Train song this much since ECR. Spawton’s booming bass is at Squire-esque levels of brilliance. The interplay of the guitars, violin when it is used, the myriad voices, the long instrumental passages – this is Big Big Train’s “sound” at its absolute finest. I hope when they play it live, they extend that guitar solo as it peaks toward the end.

Lyrically the track tells the story of laying the first telegraph cable across the Atlantic, formally linking the old world with the new. This song is much grander than that story, though. The story serves as a metaphor representing the commonality we all share, which supports the overall theme of the album. The track has calmer passages, but it still has the hard rocking sections that feature on the rest of the record and also hearken back to The Underfall Yard and English Electric. 

A song about laying a steel cable across the ocean floor was never going to be a pastoral piece of music. It needed some stormy moments, some grandeur. And it needed to be long enough to tell an epic tale. 
– Greg Spawton

The video the band shared for this song in the blog for the album is hilarious. It’s a video of Nick trying to figure out how to play the complicated time signatures. It was only a matter of time before the expletives were directed at Greg (all in good humor, of course), but it’s quite entertaining. It also goes to show how technically complicated this music is and how good these musicians are that they can (eventually) play it.

The Dave Desmond brass band shines bright as ever on “Endnotes,” the final track. The hint of violin reminds us of where the band has been, but in a more subdued light.

The pastoral elements and folk elements in the band’s arsenal are pulled back throughout Common Ground in favor of a heavier rock sound, but it’s undeniably Big Big Train. It’s exactly what I wanted from the band moving forward. I never complained about the pastoral direction the band moved into because I enjoyed it, but I’ll admit that I was beginning to miss certain elements that were more prevalent on The Underfall Yard and English Electric. I don’t think any of us wanted them to start copying themselves, though. Instead they have progressed into slightly different waters, pulling together all of those elements into a truly astounding whole. The hard rock, the atmosphere added by the violin and Longdon’s flute, and those stunning vocal harmonies create a pure sound. 

Existing fans will almost assuredly love Common Ground. If you are new to Big Big Train, then this is as good a place to start as any. The album displays everything the band does so well.

Thanks Big Big Train. You’ve made a crappy year a little brighter. 

https://www.bigbigtrain.com
https://www.bigbigtrain.com/common-ground/
Album out July 30, 2021.

https://youtu.be/wIQnhCcI4gA

 

Some Thoughts on Recent Big Big Train News

On By Bryan MoreyIn progressive rock1 Comment

From the very beginning, Progarchy has been a huge supporter of Big Big Train, and we’ll continue to support them come what may. I think the band is making by far the most interesting music in the music industry. You’d be hard-pressed to find another band or artist making such high quality music with such profound lyrics. You’d be hard-pressed to find a better vocalist than David Longdon. 

At the beginning of the year the band released The Passengers Club, a subscribers-only site that gives hardcore fans an inside look at the past, present, and future of the band. Content seems to be provided primarily by Greg Spawton and David Longdon, as well as the band’s manager, Nick Shelton. We get demo track downloads, exclusive video content (including live footage from the earliest days of the band), blog articles, and photo albums. As a fan I’ve absolutely loved The Passengers Club. It’s been worth every penny, and it has brought some much-needed joy to an absolutely awful year.

Big Big Train – Empire Film Trailer

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Big Big Train’s True Founder: Tom Bombadil

On By bradbirzerIn progressive rockLeave a comment

Since his first appearance in English literature, in 1954, J.R.R. Tolkien’s Tom Bombadil has intrigued readers to no end.  Could he be an angelic vala gone native, an Adam without sin, or merely an enigma?

With the Bodleian’s new exhibit on J.R.R. Tolkien, some vital and compelling evidence has surfaced.  Vala gone native, Adam without sin, and enigma, Bombadil is also the founder of the greatest British progressive rock band of all time, Big Big Train.

Look closely at the Hildebrant Brothers’ depiction of Tom.  You, too, will be amazed.

39077920_1815178288518354_1047249031199195136_o
Photoshop by Brad Birzer (but, really, by Martin Teraud).

The evidence, of course, had always been there, but most refused to see it.  Here’s the most telling passage from The Fellowship of the Ring.

He then told them many remarkable stories, sometimes half as if speaking to himself, sometimes looking at them suddenly with a bright blue eye under his deep brows. Often his voice would turn to song, and he would get out of his chair and dance about. He told them tales of bees and flowers, the ways of trees, and the strange creatures of the Forest, about the evil things and good things, things friendly and things unfriendly, cruel things and kind things, and secrets hidden under brambles.

If this isn’t proof, nothing is.

How Do You Solve a Problem Like Spawton?

On By bradbirzerIn progressive rock7 Comments

How do you solve a problem like Spawton?

Yes, that Spawton.

Gregory Marcus Aurelius Spawton.

The guy just doesn’t give an inch.  He doesn’t compromise.  He doesn’t meet anyone half way.  He wants nothing but excellence in a world defined by shoddiness.  So, again, how do you solve a problem like Spawton?

What would Harrison Bergeron do?

Big Big Train live by Simon Hogg
Photo by Simon Hogg.

Continue reading “How Do You Solve a Problem Like Spawton?” →