BIG BIG TRAIN

I adore Big Big Train, but there are a few times that Alberto's voice just gets a little "shouty". Some may like it, but it makes several of the older songs trigger my misophonia, and I just have to request to the band that they leave them out of future setlists entirely. "The Connection Plan" and "A Boy in Darkness", to be specific.

That having been said, this is a great recording. The band is truly comfortable at Cadogan, and it shows. Fantastic sound mixing from Rob Aubrey, fantastic lighting by Yenz Nyholm, and the band is in fine form, with two guitarists, and the full brass section. (both of which the band seem no longer able to afford)

This is an absolutely amazing performance by the band at their maximum strength, with the classic line-up, and then some. (Robin from Cosmograf, for example.)

The version of A Mead Hall in Winter is my favorite, by far, from anything they have ever done. I like it even more than East Coast Racer, and that is saying a lot. Watch as David starts with the Loreley crowd not fully being part of the music to being completely and totally owned and board the train for the ride. https://vimeo.com/437413622/14c92004c2

The audio mix wasn't fully done by Rob Aubrey, since it was recorded at Night of the Prog, but it's been masterfully mixed after the fact. There were _a lot_ of different cameras at this show, and you will see the band from literally 10 different angles.

This blu-ray might be a little hard to get, but you won't be sorry. I promise.

I am rating myself at a level 1 entering this review. I have an indication that I have heard a few of the tracks. I have never heard it all straight through, however. And it's a big one, comprising Parts one and two of English Electric which had been released previously as 2 separate albums. Along with 4 additional tracks from an EP called "Make Some Noise". The tracks are mixed together, presumably to make sense within the concept of the album. This is possibly? even likely? the longest album on the list at 2 hrs. and 16 minutes worth of music over 19 tracks. According to Wikipedia the concept is as follows:

Each song on the album tells a different story, many of them centering around characters living and working in England, with reference to the country's industrial past and processes which have changed its landscape. Full lyrics as well as descriptions of the stories behind the songs are included in the 96-page booklet of EEFLP. Additionally, Greg Spawton and David Longdon discussed the meanings of the tracks on the two initially released "parts'' of English Electric in blogs leading up to the releases of those albums.

As far as Big Big Train goes, I don't think I have ever heard a song of theirs that I don't like, so it should be a good 2+ hours.

So let's take a deep, deep dive with Big Big Train.

Disc 1:

Track 1 - Make Some Noise

We begin with great a cappella harmonies, followed by a distorted guitar riff backed by the band. This song is very catchy! There is a Tull-style flute part played by the late-great David Longdon, who was also the lead singer and a multi-instrumentalist. (He tragically died in November of 2021 after a traumatic fall in his home the previous morning.) For a relatively short song there is a lot going on here! This is a great crowd participation song. Some parts remind me of the Beatles (Sgt. Pepper era) others are straight boogie-woogie. The vocal harmonies and playing are spectacular throughout. Outstanding track!

Track 2 - The First Rebreather

There is an ascending guitar pattern as this song begins which will be quickly joined by lead vocals. Longdon's voice reminds me of Peter Gabriel here. There are some odd meters happening in different parts of the verses. The riff is vaguely somewhere between Kashmir (Led Zep) and Rhiannon (Fleetwood Mac). Things get quiet just before the 3 minute mark. Everything this band does is high-quality. The production is impeccable. There is a nicely phrased guitar solo at around 5 minutes in played by Dave Gregory. At about 6:30 a synth part comes to the forefront (Credited to band founder Greg Spawnton, who is primarily the bassist, but this is a band full of multi- instrumentalists). Wonderful track, even if not as exciting as the opener.

Track 3 - Uncle Jack

We begin with banjo (Longdon) and the band comes in with a light-hearted rhythm behind it, before the vocals join in. The harmonies are impeccable as guitar and banjo lines weave their way through the song. Flute returns in the instrumental break. This is a very enjoyable track, although a bit on the short side.

Track 4 - Swan Hunter

This one begins as a piano ballad with Longdon singing, before being joined by the rest of the band. The harmonies in this one remind me of CS&N on Our House. There are occasional odd metered measures breaking up the overall 4-4 at a moderately slow tempo. There are some lovely brass arrangements in the instrumental section that are joined by more orchestration. The electric 12-string parts remind me of Genesis in The Cinema Show. Longdon hits some glorious falsetto high notes at around 4:10. This song is so well arranged, that open-minded fans of classical music would certainly appreciate, if not outright enjoy, this song. Absolutely BEAUTIFUL!

Track 5 - Seen Better Days

This one fades in very slowly with synth sounds, before the bass begins a rhythmic pattern. There is some fantastic piano playing. There is a great drum groove from the amazing Nick D'Virgilio developing underneath. Longdon's voice so often reminds me of Peter Gabriel, that I am surprised that Ray Wilson got the gig over him in the 90s (they were the 2 finalists in the auditions to replace Phil Collins on lead vocals in Genesis). The harmonies at 2:58 are spine-tingling! The underlying rhythm reminds me of Genesis' In the Cage. Things lay-back a little and various instruments take the lead. Fabulous mellotron takes over at the 6 minute mark. There are some nice synth lines following that as the song winds down. Piano takes over during the last few seconds as it leads us to?

Track 6 - Edgelands

A very short track at only 1:26, the piano leads the way. It is primarily a piano solo that brings us to?

Track 7 - Summoned by Bells

The piano continues and vocals and drums join in. A violin joins with a countermelody on the second verse. Once again, the quality of arrangement really stands out here. There are little instrumental and vocal parts that bring that extra dimension to the sound. Things pick up at 3:20 and briefly become more intense. There is a vocal feature at 4 minutes with various instruments backing. A sitar joins in the mix as we proceed. Things get even more intense starting around 6 minutes. There is a lot happening here, but every bit of it feels like it belongs. The rhythm changes at around 7 minutes. Mellow horns take turns playing lines against the backdrop of sound created by the band. There is a great guitar solo as the song fades out.

Track 8 - Upton Heath

Fingerstyle acoustic starts this off with a subtle drum beat not far behind. Longdon starts singing not long after. There are folky instruments filling in between the verses. Once again, the vocal harmonies are as smooth as butter. Longdon's high notes that conclude the phrase, "Up on Upton Heath," each time he sings it are just impeccable. The harmony vocals and flute as the song reaches the final verse are amazing. I am probably going to wear out the word beautiful in this review, but I can't think of a better one.

Track 9 - A Boy In Darkness

After a few brief chords, Longdon begins singing. This one could almost be from a Broadway musical. The band kicks in big at around 1:40. But things come back down to a polished, highly orchestrated, bluesy sound, before it happens again. Longdon's vocals are just amazing! Hammond organ takes over at 3:10, as a guitar builds behind and the band comes in with a bang for some glorious "progginess" (my spell checked doesn't like that word, but I do), with fiddle playing over the top. Fantastic guitar line at 3:40. At around 4 minutes we're really groovin'. This instrumental break is fantastic. At around 5:20 violin and vocals come in, gradually joined by the rest of the band. This is probably my favorite track so far, on an already strong album. The part that starts at 6:40 when the mellotron kicks in is nothing short of incredible. London's note at 7:12 gave me chills. The drumming is amazing and it literally ends with an explosion. I am running out of adjectives to describe the greatness of this track. It should stand as a classic of 21st century prog.

Track 10 - Hedgerow

We begin with electric 12-string playing a Beatlesque part in 6-4. The time changes at around 1 minute in and smooth harmonies take over. We have another cycle of the 2 sections. I am picking up some Spock's Beard similarities, but it may be due to D'Virgilio's drumming (having been the SB drummer, as well). There is an instrumental section in 6-8 that includes a violin solo. I like the harmonized guitar parts at around 6 minutes. The chord progression in the following section with some piccolo trumpet fanfares also give me Beatle vibes?Dear Prudence meets Penny Lane. There is the sound of a distant dog barking as the track, and the first disc comes to a close.

Disc 2:

Track 11 - Judas Unrepentant

I have heard the live version of this, and I know it is considered one of the favorite BBT songs among fans. The intro reminds me slightly of Madness' House of Fun, but more prog. Smoother parts connect the verses. The choruses are more expansive in scope. There is a bridge at 3:00 that changes things up. Following that is an instrumental break in 6-8 with a piano foundation and various instruments on top. There is a glorious crescendo at 5 minutes in with amazing harmonies. The ska-type beat returns briefly following that, before returning to the 6-8. There is more whimsical playing leading up to the big finish.

Track 12 - Worked Out

A light, airy guitar pattern starts this one out. This is a moderately-slow easy going song to begin with. Things start building as we approach 2 minutes, but it eases back off for the second verse. The chorus of "We're working men, we follow the sea," is quite catchy. The flute solo that follows is very good as well?more shades of Tull as the next part of the instrumental section develops. The chorus returns afterward. Next comes a guitar solo. There are some nice Wakeman-style synth flourishes starting at 6:30. Also, one Simon Godfrey is credited on backing vocals on this song!

Track 13 - Winchester From St. Giles' Hill

We begin with piano & flute, before drums, guitar & bass take over, followed by harmony vocals. We are at a slow peaceful tempo. Mellotron strings join in with choir-like backing vocals. There is a nice jazzy feel to this, very relaxed. There is Hammond organ in the mix as we proceed. We return to piano & flute as we reach the instrumental break. There is a lovely crescendo as we begin the guitar break at around 5:10. Longdon's vocals return afterward with minimal accompaniment that begins to build up with layers of sound being added one by one. Beautiful song.

Track 14 - The Lovers

Pastoral flute and clean electric guitar start us off here, joined by Longdon's vocals. Luscious harmonies join in. The beat becomes steady and the guitars heavier at around 1:45. This is another moderately slow song, so far. As soon as I typed that, the tempo increased as we begin a fusion-style instrumental break. The guitar solo sounds as though it was recorded in reverse. It alternates with electric piano solos that sound straight-up. Choir-level vocals join in at 4:20. There is another verse and a short quiet tag at the end. Great track.

Track 15 - Leopards

A whimsical 3-4 tempo on acoustic guitar brings us in with some strings backing the vocals. The compositional level of the music on this album is astounding. This is pure art. I like the panning of the backing vocals opposite of the lead vocals. This is a relatively short track but it's simply perfect.

Track 16 - Keeper of Abbeys

This one begins with a late 80's Steve Winwood vibe, but quickly transitions to a quicker tempo. This one is kind of breezy until around the 2 minute mark when things sound more serious. There is a guitar break starting around 3:10. A bit of keyboard and sitar follow that. Next we have violin. We go into cut time and the sitar is featured again. We then switch to a half time feel with choir vocals and lead guitar as the song ends.

Track 17 - The Permanent Way

We start with a slow tempo featuring piano, flute & strings. Vocals join around 1:25, then a subtle drum beat fades in, joined by bass. There is a spoken word part between verses. Glorious organ and harmony vocals join in. This album is so beautiful! The tempo increases just before the four minute mark, with an organ solo. There are lots of well-done dynamic changes. The arrangements are immaculate. Most of the instruments drop out except piano at around 5:15. The spoken word part returns, followed by a crescendo and guitar solo. Then things come back down, and create a dreamy atmosphere as the song reaches its conclusion.

Track 18 - East Coast Racer

This is the big epic of the album at nearly 16 minutes. It begins quietly at first, but things soon change. The guitar & rhythm section begins with a quick staccato pattern that sets up the first verse. The next part becomes quite legato by contrast. At around 2:40 there are some cool guitar lines with a steadier tempo underneath. The tempos and feels of the song change rapidly, but in a way that doesn't feel herky-jerky ? it works. Mellotron & piano take over around 5:40. Then the rhythm section creates a proggy groove for an electric piano solo. Longdon's voice emerges from the solo so smoothly, it sounds like an instrument at first. This band handles tempo and meter changes so smoothly, it's sometimes hard to tell that they've happened. The next instrumental break is beautifully orchestrated. An exhilarating crescendo happens at around the 11 minute mark. Then, however there is a decrescendo and things quiet back down peacefully. By 12:45 it's so quiet, it's almost inaudible. Then we begin another slow crescendo. Then all instruments fade out except some beautiful piano playing to conclude this amazing epic.

Track 19 - Curator of Butterflies

Piano starts this one off, joined by vocals. The bass & drums start providing subtle rhythms. Longdon proves once again that he was one of the greatest singers of the early 21st century. What a tragic loss. His vocals on this are simply magnificent. There is an interesting meter change at around 5 minutes. The way he sings and sustains the word free at 6:37 is simply masterful. There is a nice melodic guitar solo that follows, eventually joined by mellotron backing. Things quiet down at around 8:10 and solo piano closes out this amazing album.

OVERALL IMPRESSIONS:

What Spawnton, Longdon and company have achieved here is nothing short of a masterpiece. When I saw that this is 2 hours and 16 minutes of music I was a bit intimidated. But, not one second of that music is wasted.It took a few sessions due to my schedule to listen to it all, but if I had the time to listen uninterrupted, I would not be disappointed. I believe that people who consider themselves more of a classical music fan would even enjoy this. It transcends musical genres and is simply incredible music. These songs may have been initially on 3 separate releases, but they belong together in this format. If you are a prog fan but haven't checked out Big Big Train, you are really missing out. I can't give this anything but 5 out of 5 stars. It's amazing.

English Electric (Part Two) by Big Big Train continues the journey started by its predecessor, maintaining the motivation and subtlety that defined the first volume. Like English Electric (Part One), this album delivers rich, classic, and immersive melodies, with meticulous production and impeccable vocals by David Longdon. However, when comparing the two albums, one might notice that the synergy present in the first volume is slightly diminished in this second one. While this does not detract from the quality, it does slightly affect the overall cohesion of the compositions.

The album stands out for its richly detailed lyrical themes and compositions that vividly evoke stories and emotions. "East Coast Racer," for instance, is an epic track that discusses the remarkable feat of the Mallard train, capturing the grandeur and complexity of the story within its musical structure. "Swan Hunter" delves into the memories and stories of generations of shipyard workers, while "Worked Out" addresses the decline of the UK coal mining industry, a theme imbued with nostalgia and sadness. "Leopards" explores the complexity of love through the metaphor of a leopard's spots never changing, and "Keeper of Abbeys" offers a personal narrative inspired by Greg Spawton's experience during a visit to an abbey. "The Permanent Way" serves as a kind of farewell, uniting the various themes of the album into a beautiful and perfect musical creation. Finally, "Curator of Butterflies" closes the album in a delicate and poetic way, inspired by Blanca Huertas, curator of Lepidoptera.

In summary, English Electric (Part Two) is a beautiful listen, offering a musically and emotionally rewarding experience. Although the first volume boasts a more cohesive synergy, this second chapter is still worthy of praise, serving as a dignified and almost equally captivating continuation. Given the richness of the compositions and the depth of the lyrics, this album deserves 4 stars, just a step behind its predecessor's impact, but far from deserving less. It is undoubtedly a must-listen for any progressive rock lover.

I am a messenger: I speak with integrity, truth, love and light.

This somewhat surreptitiously pronounced sentence comes at the end of the energetic opener of this album, title track Folklore. This way, the sentence actually signifies the format of the work, an introduction and eight stories. The lyrics of the songs are truly beautiful. Each writing has a typically English touch. Call it melancholy, they are all warm words that create a brooding glow.

Musically everything is beautifully supported by brilliant arrangements. In addition to the band itself, you can hear superb brass band-like horns on instruments such as euphonium and French horn. There is also a string section, which means that no fewer than sixteen musicians are present to express the full splendor of "Folklore".

It's really incredible to see that, from the 90s on, Big Big Train has grown from a bunch of reasonable musicians to a top-notch band with a capital T. By recruiting David Longdon as singer in 2009 the band has done itself a huge service. His performance on "Folklore" belongs to the ultimate in prog, if you like singers as Peter Gabriel, Phil Collins and Marc Atkinson. He is always in control whereas expression is constantly present. In addition, he enriches the music with, among other things, some fine flute playing.

Drummer Nick D'Virgilio is yet another giant, this man knows how to mix flexibility, subtlety and accuracy into wonderful rhythms. Together with bassist Greg Spawton, he lays an excellent foundation on which the lush guitars of, among others, Dave Gregory and Rikard Sjöblom can go about their business as well as the ditto keyboards of, among others, Danny Manners and aforementioned Sjöblom. It is remarkable that the keyboards often produce organ sounds. To top it all off, Rachel Hall's graceful violin neatly carves out the folky side of this Genesis and Jethro Tull- esque music.

It's all done very tastefully. Therefore, the complexity in the music lies not so much within the technical skills department, despite the fact that these are undeniably present, but in creating the right mood. Big Big Train's band members know exactly which particular effect, chord or color the sound should have, how the rhythms should run, the harmonies, the expressions, the solos and much more. Just listen to it, in all its glory, on "Folklore".

The heartwarming opening track invites you from the bloodcurdlingly beautiful orchestral intro to attentively take in the album. A catchy drum rhythm with exuberant vocals by alternately Longdon and D'Virgillio, makes you feel good, the way this folk-infused song deserves, the same applies to the voluptuous guitar parts

Now we are ready. London Plane kicks off with acoustic guitars, combined with the heated vocals, this definitely has similarities with the 'old' Genesis. It eventually develops with the greatest of ease into a piece of dazzling prog in the vein of Yes. The following Along The Ridgeway is also a beauty that is perfectly in keeping with the rest of the album. It's remarkable that this song gets a jazzy twist. The song flows seamlessly into Salisbury Giant which is largely an instrumental song.

The album has been very good so far, but from The Transit Of Venus Across The Sun it gets truly brilliant. It starts with beautiful pastoral horns, after which the song continues tranquil. The band knows how to penetrate deeply into the soul of the listener. It becomes quite impressive when one adds a rhythmic piece and an inspired guitar solo. With Wassail and Winkie the band brings two steaming songs to the forefront. Wassail, previously released as a single, has a catchy vocal line that is framed by flashy organ sounds. Winkie tells the story of a pigeon that plays a heroic role during World War II. It's wrapped in a fiery Jethro Tull-tinged track. With more than twelve and a half minutes of Brooklands, Big Big Train climbs to its peak while swinging and counting bars. What a mighty fine song. The ballad Telling The Bees concludes the album. I'm all smiles.

I'm a lucky man.

Orginally posted on www.progenrock.com

The band's first studio album of new material since the tragic and untimely death of Dave Longdon.

1. "Light Left in the Day" (6:11) my first introduction to the singing voice and stylistic preferences of new lead vocalists Alberto Bravin puts him immediately in the category of Andreas Bocelli-like wannabe opera singers; he's definitely got a flare for dramatic, theatric, emotionally-packed performance. (No wonder he held a post in PFM for a spell in the 20teens.) The music that follows the first two minutes of vocal-led fare is full on bombastic stage-worthy prog--music that sounds like an impressive introductory piece (or "overture") to a West End/Broadway musical. It definitely still sounds like Big Big Train, pushing all of the requisite buttons of competency, proficiency, performative and compositional skill. Solid. Good. Nothing special or breakthrough/innovative. (8.875/10)

2. "Oblivion" (5:28) an interesting bombastic opening 45 seconds that harkens back not only to 1970s GENESIS as well as many 21st Century RPI bands turns into something that sounds more like a power song from a 1980s hair band with the one exception being the chunky bass guitar play. The shifting stylistic, sonic, and instrumental palettes throughout this song is definitely interesting. I'm especially enamored of the folk-like motif bridging the fourth and fifth minutes; not so much the 1980s hairband motif. (8.875/10)

3. "Beneath the Masts" (17:26) strings, real and synthetic, open this with a pretty, pastoral, and heart-tugging nostalgic motif that continues to morph and flow into more acoustic-based folk-tinged music--a piano and acoustic-guitar motif that Alberto begins to sing over around the 2:25 mark. After Alberto finishes his first verse, piano and strings enter into a gentle, loving conversation. Then, at 4:15, the guitar picking shifts into a different progression before being joined by the bass and drums--over which Alberto rejoins singing in a more forceful and sometimes emphatic voice (sometimes sounding like a cross between Tommy Shaw and Freddie Mercury). Stereotypic GENESIS-like NeoProg section in the seventh minute gives way to some horns in the eighth before reviving in another, still very GENESIS-like patch over which Alberto delivers a refreshingly-different vocal (one that is closer to STYX or AMBROSIA than Genesis). At 9:30 the band lights up with a requisite instrumental section. There are lots of keyboard, guitar, and even electric violin riffs and flourishes being thrown about in a very ANDY TILLISON-kind of bombastic way. At 11:48 they try a side road of more angular, off-time music, but then everybody comes together beneath the glow of the Mellotron's angel choir and Rutherfordian bass pedals. At 13:25 the instrumental palette returns to the song's opening palette of pastoral acoustic folk instruments. Alberto returns, singing once again in the more languishing storytelling approach that he used in the song's opening sections, until, that is, the crash of bombast strikes at 15:15, leading us to a predictably climactic finish. I love the richly-"orchestrated" bucolic parts as well as some of the bombast and vocal stylings. It's certainly hard to find any band in this day and age doing more competent and mature prog epics. (31.75/35)

4. "Skates On" (4:28) 12-string guitars picking GENESIS-like pre-empt the STYX/TOTO and especially QUEEN-like vocal motifs that follow. Would that I could "hear" lyrics (and, thereby, catch their meaning) this song might have more significance for me. Otherwise, it's a perfectly nice tune. (8.875/10)

5. "Miramare" (10:18) after the QUEEN-like choir vocal intro, this song sounds very much like a power ballad from a Disney musical animation film. After 90 seconds of this the full band kicks in. It's a fairly typical BBT palette making this motif: a fairly rich symphonic weave of full prog rock instrumental complement--including piano and violin and chunky bass. The vocals are good though the full choral complement and b vox sound almost AI/computer generated (or treated--or from a vocoder). Nice delicate, folk-like motif starts in the fifth minute, turning GENESIS bombastic in the sixth for an exciting almost-cinematic seventh. Too bad the keyboard sounds used in the lead sound like they come from a cheap 1990s MIDI keyboard. The next sparsely-populated (piano and violin) section feels so like something from a Disney musical or Andrew Lloyd WEBER stage musical. Then we pick back up into an instrumental break for some nice duel guitar shredding. In the end the vocalist just sounds too much like too many other British NeoProg lead singers. (17.6667/20)

6. "Love Is the Light" (6:11) another perfectly innocuous song that sounds and feels as if it comes from a group of mature song craftsmen: there is little fat, a lot of high quality grist and grit with some excellently creative seasonings delivering nourishment that will become tomorrow's feces and forgotten by the next day. (8.875/10)

7. "Bookmarks" (6:23) here, again, Alberto's gift as a stage musical leading man is on full display. He's definitely engaging, even riveting, in the spotlight. The choreography around him--both instrumentally/musically and choral performatively--are of the very highest quality: I'm certain that this is a musical that I would fully enjoy if seen in the theater. I just don't think I'd remember any of the music afterward--I'd just remember the performances and the overall emotional impression I received from the play. Still, I feel that there is some of the same quality of performer-listener conveyance achieved by the band from the English Electric albums. (9/10)

8. "Last Eleven" (7:55) great music over which Alberto delivers an awesome vocal that sounds so much like Michael Sadler's amazing vocal on SAGA's first big hit, "On the Loose." I love the musical arrangements throughout this--especially the vocal melodies and a choral arrangements--but I have to single out Greg Spawton's chunky electric bass as it has never sounded better or been more fitting that to the music and vocals of this song. This is by far my favorite song on the album. It just hits me to the core! I only wish that the final motif (beginning in the seventh minute) didn't almost lose me. (14/15)

Total Time 64:20

There is a lot to enjoy here, not much to criticise or turn one's nose up to. My musical likes--perhaps more accurately termed, my musical requirements or "needs"--just do not have much room for, or receive much nourishment from, this fare anymore.

B+/4.5 stars; a near-masterpiece of masterfully- and lovingly-performed, composed, and recorded music that may become remembered as one of the best albums the band ever did.

"English Electric (Part One)" by Big Big Train is an album that solidifies the band's progressive identity, following in the footsteps of its predecessor, "The Underfall Yard." This work is a remarkable example of how the group intertwines classic progressive rock elements with a more melodic and accessible approach, characteristic of crossover prog bands. This combination, however, often leads to unfair criticism, as some purists might underestimate the depth and value of the work due to its broader appeal. However, this perspective is narrow, as the true essence of progressive rock lies in the diversity of elements and the ability to surprise the listener?something Big Big Train masterfully achieves.

What makes "English Electric (Part One)" special is how the band maintains a high standard of musicianship from start to finish. Each track is meticulously crafted, full of details and nuances that reveal themselves with each new listen. The compositions are rich in instrumentation, with intricate arrangements balanced by accessible melodies and touching, poetic lyrics. This combination creates a listening experience that appeals to both prog music enthusiasts and a broader audience, without sacrificing complexity or artistic integrity.

Although the album doesn't quite reach masterpiece status, it is undoubtedly a must-have addition to any prog rock fan's collection. With tracks that easily deserve five stars, "English Electric (Part One)" is a brilliant example of how Big Big Train has finally shown the progressive rock world who they truly are: a band that masterfully blends tradition and innovation, resulting in a sound that is both technically and emotionally satisfying.

I hopped on the BIG BIG TRAIN with their 2007 release "The Difference Machine" and I really liked their sound. My appreciation grew with their next two releases "The Underfall Yard" and "English Electric(Part One)". That is my wheelhouse when it comes to this band. I'm not sure how I missed "English Electric(Part Two)" but the trio of albums that follows that is where they lost me. "The Second Brightest Star" is the final one of that trio and where I got off the BIG BIG TRAIN.

This trio of albums includes also "Folklore" and "Grimspound" and a stable 8 piece lineup. There has been so much talent pass through this band as either members or guests. It's really impressive when I look at the list of names. When Poole and Spawton formed this band in 1990 they couldn't have imagined having some of the "who's who" of the prog scene passing through their ranks. I was so drawn to "The Underfall Yard", such a warm release, and with this band I feel like I'm getting a history lesson at times of life in the UK when trains ruled the day. It's kind of crazy to me that this 8 piece lineup features Nick D'Virgilio(SPOCK'S BEARD) on drums, Rikard Sjoblom(BEARDFISH) on guitar as well as Dave Gregory(XTC) on guitars.

It's also crazy to me that this album "The Second Brightest Star" was released mere months after "Grimspound". It feels "mailed in" because half the album features tracks from the previous two records that have been expanded, then the new material is just so slow moving and mature. Lots of piano and vocals on this one. I'm not patient enough for this record. It's like having that muscle car without using the muscle. I'm really glad after the tragedy of Longdon's passing to see their latest record from 2024 getting some nice reviews. They are back!

1. Light Left in the Day rural intro with stringed instruments, solemn piano, Nick who performs better than Mike from Dream Theater; Clare's violin which does not only do the vocals, Rikard and Dave who also perform divinely, yes the start has no weak point and shows the dexterity of each on agreed but held prog metal 2. Oblivion in continuity with choruses forward; a time and Alberto, a worthy successor to the late David, sets the table, a soft and dynamic voice at the same time on a title with a varied tempo; already a quiet break then the final climb with Greg's bass in front, everything is there to cuddle the proguous fan in the direction of his last hair 3. Beneath the Masts for the play; intro to GENESIS for the Bankian piano, nursery rhyme about their era 76; to sit down and listen is enough; the reminiscences are numerous, but the BBT sound also becomes a reference, building over the course of its discography; ah this piece takes me back to the fabulous suite of Six Degrees by Dream Theater, yes the symphonic CD2 that's it; ah this station wagon which makes me think of the man who was worth 3 billion and his suite with brass instruments miming a frenzied race; the finale with the guitar arpeggio, Alberto whispering, the relative silence of this string before the last wave of sound, like a rogue wave which sweeps away everything in its path; yes we had to take time to domesticate this album, perfect for the moment

4. Skates On for the smallest piece with a Scottish atmosphere, violin near a fishing port; pre-crooner musical liquor for fans of the timeless melodies of GENESIS, yes I insist on the deep reminiscence 5. Miramare with the attack of the second side, yes I like to take a breather when the album is long; same construction, I'm starting to get used to the sound, finally I find some TOTO there, it makes me wonder; fruitier air with traditional instruments that sound like marshmallows, a little too conventional; bam the symphonic break that explodes in the ears, the rolling of drums, the frenzy of the trumpets, the air goes to the Balkans with this insatiable violin; today's prog is there with a final bold guitar solo bursting with emotion; the sound power is matched only by its musical aberrations and leaves you speechless 6. Love Is the Light for the intro arpeggio piano, guitar and violin, supported by trumpets, yes more trumpets; we are far from the prog metal of the beginning; the pleasant choirs drive home the syrupy ballad, made with the best fruits of the orchard; I can't help but name Neal MORSE for this angelic moment; the choirs until the end amplify the melodic marshmallow side 7. Bookmarks and another wise arpeggio intro; Alberto shows that the group has found a good singer in the lineage, which is no small wink; complacent Genesisian air from the time when there were only three of them and where melancholy oozed from some of their titles, the opportunity to see a group that makes melodic prog rock with a divine tendency? It's beautiful, but it's decreasing in intensity, it feels like we're on a TRANSATLANTIC now, well there's worse 8. Last Eleven yes I won't tell you the piece from GENESIS that I'm thinking of, but it's strong; a piece in drawer with a sung title and progressive incursions into the depths of our musical memory, the very present bass then the velvet keyboard which takes you very far; the choruses intensify the pompous side and bring back an impression of repetition however, yes too. The final acoustic arpeggio leaves the listener perplexed, very good yes, excellent no in fact.

One can only imagine what the band were going through when they came together to record this, as it would be the first album without David Longdon. When they were looking for a replacement Nick D'Virgilio and Greg Spawton remembered seeing Alberto Bravin perform with Premiata Forneria Marconi (PFM) and felt he would be a good fit as he had a quite different vocal approach, but no-one quite expected just how well it would work out as he transpired to be a wonderful songwriter (co-writing five of the eight songs) as well as working on the mix with Rob Aubrey. It was the first time the band had recorded together in the same room for some time as opposed to swapping sound files, and all these circumstances combined to create one of the most dynamic albums they have ever released. While I have known BBT for more than 30 years, I have known Dave Foster for nearly as long (reviewing the debut tape of Mr So & So all the way back in 1992), and there are times here when he has been allowed to crank it just that little bit more which gives them a strong rock edge which has been missing in some of their releases in the past.

With a few multi-instrumentalists in the line-up, as well as their brass section and multiple singers, BBT have allowed themselves to really stretch their wings and show why they are now regarded by many as one of our finest progressive bands. There are times when we get throwbacks to classic Genesis, then we get strong feelings of the Sixties, then the more pastoral and Seventies before moving into something far more bombastic. This is an incredibly broad and deep album, all the time allowing Bravin to really shine ? his wonderfully clear and melodic vocals are very different to Longdon, and he is majestic in his own right whether he is singing against the whole band, or just a violin, or leading the majestic harmonies.

As well as musically, the band have also made a change in the way they approach the subject matter. Barring a couple of exceptions, its songs are more personal in nature than previously, which often addressed folklore and tales of old Britain with a historical twist, or as Spawton puts it "third person storytelling songs". "This time," he qualifies, "we went largely for personal recollections." There is no doubt that the tragic death of Longdon is the reason for the more insular approach, as everyone reflected on their lives which allows the listener to find words which resonate with them. This is very much an album where it can be played and enjoyed the first time of hearing, but the more one pays close attention the more one realised the impact of the drum fill here, the brass section there, that violin just coming in and out, or the piano replacing the swathes of keyboards. It would have been easy for the band to play it safe with this release, yet somehow, they have pushed themselves to create something which is nothing short of a masterpiece.

The band have been through many different iterations through their career, not just in line-up but in musical approach, and here they are building on the shoulders of giants as they move boldly into the next stage.