My initial thoughts are that they are stretching out a bit without losing their core style and sound. I like the use of different vocalists on a few tracks and assume that Rikard is singing track 2 (All The Love We Can Give). It does sound like his lovely baritone judging by the Gungfly albums I own. There is also an excellent instrumental track Apollo (written by Nick) and another brilliant epic to add to their cannon Atlantic Cable (written by Greg).

Hopefully it will drag in a few new fans while retaining their hard earned gains. 

nb I've booked a ticket for Bath Forum next year 19 March. Going on my own so if anyone is going that wants to meet up for a drink let me know by pm.

Tracks 1-3 took most time to click for me. A few have not liked the topical lockdown lyrics, but For me they provide a nice, almost innocent sense of time and place. Track 2 has David singing in a lower register and Nick contributes the higher register vocals more. Many like the freshness of this approach, although I miss David’s usual vocal style here. Credit for him wanting to stretch his range more, though. However, the key is treating the song on its merits alone and not necessarily a typical BBT song. It is growing on me. Track 3 has multi-vocals, but for many it is the hint of Kim Wilde’s Kids In America that is distracting. However, the more-instrumental second half more than banishes those minor concerns and is very progressive. Track 4 is more typical BBT loveliness and Rikard’s keyboard interlude in Track 5 works very well before the power and majesty of the instrumental Track 6 - which should be a real live proggy highlight. It works well within the album setting, as does the title track on Track 7 - once again typical BBT in structure. Track 8 is the highlight for me - a true BBT epic that is getting some rave postings. The Final track, Track 9, is proving equally popular with most, with real emotion and beautiful brass work as it concludes. 

With the many personnel changes, I think Greg, Nick, Rikard and David have found a balance between keeping things recognisably BBT, but also pushing the envelope more - and whilst the earlier tracks require more plays to get used to those differences, it is worthwhile. Track 4 onwards hits more immediately. Nick seems to be getting more freedom in driving the content on this one, along with the others. I feel the drums, and Greg’s bass, are higher in the mix too.

The general response is very favourable, with many claiming it’s their best one ever, whilst a few others feel it is a step away from Grand Tour, but still very good. A few say that they are needing more repeat plays to fully soak it up, especially the earlier trio of tracks, but I’m not picking up anyone who doesn’t like it, full stop (in the way SW’s The Future Bites divided that fan base). 

Those familiar with, and liking, the traditional BBT sound will lap it up, but those who maybe were less won over by it from previous albums, might find the sound has progressed as well and could find much to enjoy.

And the epic is perfect. Just wow.

in twenty years they will reform as BBT2 and do a follow up album 'Return To Common Ground' ....well probably not

I maintain COVID is going to bring out a lot of creativity in the bands we love, many of whom are bringing out new albums this year. See how it transpires by the end of the year.

BBT is one of those bands I have simply never, ever understood the hype for. Maybe their music is too major-key for my taste, or maybe it's just too pillowy. Either way, this just feels like another unimaginative slog to me, and I struggled to make my way through it. It's not bad. It's just dull, and it failed to grab my attention.

Then again, I acknowledge I'm well in the minority on this topic.

Heard the singles, not impressed, and the album was not on my to-hear list anyway, so I guess for now I will skip this one.

I get a feeling BBT are also beginning to repeat themselves a little, but to the point where it becomes uninteresting; their works around the beginning of the 2010s are really good, though!

I kind of agree, their last few albums have not really grabbed me like some of the earlier ones did. 

Hi,

I've been trying to find a location where I might be able to listen to the whole thing, but so far, hearing a couple of songs on the tube, in general, I'm not impressed, and I'm already starting to feel like this is just another over blown band, that is very nice ... but it's ability and creativity is now ... forced ... in my estimation. The three pieces I have heard did not raise any attention or interest in the rest of the album at all, and I have given up looking.

Honestly, while not great, it is a nice listen, but not enough to excite the inner muscles that have been hearing progressive and experimental music for almost 55 years. It's just sad to think that the only thing they can do is "songs" that might have a meaning or two ... like you and I don't have an opinion that we think makes great song copy? 

I want something new ... something to shake my britches from here to heck and back ... and something "conventional" is not the way I do not think!

You can hear the entire album on Bandcamp.

http://bigbigtrain.bandcamp.com/album/common-ground" rel="nofollow - http://bigbigtrain.bandcamp.com/album/common-ground

It's easy listening and very well made music, just not that interesting.

I totally thought that back in 2012 when I first heard English Electric part one and stated it more or less in my review.

http://www.progarchives.com/Review.asp?id=888016" rel="nofollow - BIG BIG TRAIN English Electric (Part One) music review by richardh (progarchives.com)

All I can say is that since then I've purchased nearly all their albums and will be seeing them play live for the third time next year. I suppose one reason is that they write a lot of lyrics about English industrial history and that plays into my natural patriotic spirit. I also like trains! 

Your review is a great example of why people should never be allowed to post a review within the first 6 months or 20 listens of an album 

Hi,

It would likely result in a worse review, when you are bored senseless and immaculate by the 19th listen and nervous breakdown! 

Again, 50 years ago, you KNEW from the first listen if it mattered or not. But today there is so much bleach and fake color on so much music that no one knows the difference and they need 20 listens to find out what ELP, KC, PF, YES, JT, AD2, TD, KS ... and so many others were trying to do. 

If it took 20 listens, half of us would not bother with a review, to bore you and the fans with! 

Get on with the program! It's either progressive or not. And if it took 20 listens, it's just another top ten hit, not progressive or important and valuable to the annals of my crap! 

That's how it's always been with all types of music.

Apart from Bohemian Rhapsody.  Everyone loves that pile of prog!

Yes "The Strangest Times" is cheesy--and the next two songs weak, but after that there are some of the best BBT songs I've heard in a long time--since English Electric, Part 1. "Apollo" is definitely one of the best prog epics I've heard from 2021 and "Endnotes" reminds me of their most emotional, most powerful beauties--like "Winchester from St. Giles Hill", and "Dandelion" is beautifully simple pastoral prog folk at its finest.  

For those of you who've never managed to connect very well to the BBT of the last 12 years, I recommend giving a 2007's The Difference Machine a try. It remains, to this day, my very favorite BBT album.

All in all, I like Common Ground.