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Review:
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Big Big Train went from a little tram that could to
a huge locomotive that would , the progressive sequence
engendered by the naïve yet wonderful "Gathering Speed"
, an album I enjoyed so profoundly I sent Greg Spawton a
letter (to which I got a heartfelt answer!) and furthered
by their last release "The Difference Machine" where they
chose to really chug hard down the astral tracks and positively
stunning a few PA colleagues along the way! This time around,
the choo-choo train has pulled into Prog Central Station
with a mystifying production, flush with a variety of subtle
personnel changes. Gone are excellent singer Sean Filkins
and drummer Steve Hughes, replaced by the unknown vocalist
David Longdon and the genial Nick D'Virgilio of Spock's
Beard fame behind the kit. Both must be nevertheless considered
upgrades, as they both sparkle in the rain, Longdon coming
across like vintage Phil Collins but in a proggier landscape
(er? like Fish????) .
Nick is well documented as a superstar stickman. Add
into the passenger list some members from groups like It
Bites, Frost and even XTC and you got on hell of an "equipage".
The shrill whistle blows, the kling marries the klang and
a sudden jolt shoves this forward. The engine has obviously
stoked Spawton's creative juices as he dares to stretch
the outer envelope right from the get-go, promoting guest
soloist for the most part , proposing vocalizations that
usher in the expansive "Evening Star", Andy Poole's bass
holding down the macabre atmosphere within walls of mellotron
and somber waves of trembling flute and tons of brass (cornet,
tuba, trombone, French horn), all played by members of military
units. A fascinating instrumental opener. "Master James
of St George" is the first evidence that the microphone
is in good hands as Longdon shows considerable skill , a
huskier version of Uncle Phil , ever bit as passionate (like
it or not, I do!) and adventurous. A dab of acoustic guitar
rubs a rustic historical veneer on this rather simple piece,
waiting for the electricity to kick in, and when it does,
Dave Gregory of XTC froths with wanton feel. A Bryan Ferry-like
whistle escorts this one away.
The epic "Victorian Brickwork" is a classic example
of how to juxtapose various tried and true styles as Spawton
proudly shows off his Steve Howe lessons, then humbly leaving
the solo to Gregory again and blending it all deep within
a Genesisian ocean, bass blooming, drums thudding and the
theme gently lilting. A delicious orchestral mid section
featuring the cornet once again, the trusty mellotrons blazing
with devilish fire, slow, grand and majestic . I am huffing
and puffing already! Good thing I don't need my passport
once in Europe! "Last Train" humorously reminds one of Wind
& Wuthering era Genesis with another extended Dave Gregory
solo (he played with Peter Gabriel too once) that is inspiring
and mournful at the same time. Longdon really cloning Phil
makes me smile every time, chuckling at the thought of what
others may think when they hear this. "Winchester Diver"
is closer to classic Neo-prog , yet John Foyle's electric
cello conducts the cabin , permitting a sweet flute manned
by Longdon and a wisp of windswept mellotron to plunge us
into the lower depths, a bronze-headed silence within the
solitude of blue life, minimalist as can be so that the
lyrics really rip scathingly. Absolutely brilliant composition.
Marillion and IQ fans, its time to jump aboard, here
and now before we get to the sprawling caboose, the nearly
23 minute title track finale which will only cement the
deal. Undoubtedly BBT's apotheosis , a colossal epic slice
of symphonic prog of the loftiest caliber , Frost's Jem
Godfrey shoveling coal into his sizzling Moogs (what a solo,
ouf!) while Gregory and Francis Dunnery do the Wishbone
Ash marshalling guitar thing to great effect, drums slamming
suggestively. By know you may have digested the fact that
David's singing is primo stuff and that we are in the presence
of a major prog force, three enjoyable albums in a row!!!!
Not an easy tour de force, especially after the stellar
previous album's impact. As for the Jim Trainer artwork,
I see why our Czech colleague Marty McFly sees it as communist
real socialism; it's the fuming polluted factories, spewing
in the background. Other wise the inspiration seems closer
to the French impressionists mixed in with some Breughel.
Great track though that begs for attention, ( let me catch
my locomotive breath) and should be received by fans grandly.
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