FEATURED CD - Big Big Train : English Electric (Parts 1 And 2)

[Fracktured]

Never heard of this ever heard of this

[Plasmatopia]

Those two posts were sort of...fractured...or is that Fracktured?

[mozo-pg]

I own the Underfill and EE 1, besides II, what are essential?

[Plasmatopia]

I really like The Difference Machine, but it's quite different than the ones you own already. I think it's a different singer -- it seems some haven't cared much for his voice.

[dpt3]

I own the Underfill and EE 1, besides II, what are essential?

Far Skies Deep Time comes between Underfall Yard and EE, Pt 1.

I'm not sure I would classify anything before UY as "essential" (they massively stepped up their game when they added Longdon as a singer), but most of what I've heard is pretty good.

[Father Tiresias]

Masterpieces - both Parts. I haven't been this excited about a band since being introduced to Marillion 10 years ago when I first heard Marbles. The melodies, arrangements and execution are exquisite. BBT are the real deal.

[the illusionist]

Masterpieces - both Parts. I haven't been this excited about a band since being introduced to Marillion 10 years ago when I first heard Marbles. The melodies, arrangements and execution are exquisite. BBT are the real deal.

Gush when the gushing is justified... I agree Father 100%

[Firth]

Far Skies Deep Time comes between Underfall Yard and EE, Pt 1.

I'm not sure I would classify anything before UY as "essential" (they massively stepped up their game when they added Longdon as a singer), but most of what I've heard is pretty good.

Thank you, I have another CD to purchase. Here is review from Amazon:


In 2010, Big Big Train released an EP entitled Far Skies Deep Time. The line-up for the album was/is Greg Spawton (6 & 12 string acoustic & electric guitars, bass, keyboards), Andy Poole (bass, bass pedals, keyboards), Dave Gregory (6 & 12 string electric guitars, E-bow), Nick D'Virgilio (drums, percussion) and David Longdon (lead vocals, flute, accordion, mandolin, banjo, vibraphone, keyboards, glockenspiel, percussion, Theremin). Special guests include Jonathon Barry (guitar solo on "Fat Billy Shout Mine"), Danny Manners (double bass on "British Racing Green"), Tony Muller (piano on "British Racing Green") and Martin Orford (keyboard solo on "Fat Billy Shout Mine").
Opening up this album or EP is a cover of "Master Of Time" (7:44) which was originally done by Anthony Phillips. Anthony Phillips only had it in demo form from 1973 and never finished it. According to the band, this is the first time they ever recorded cover tune. Upon listening to the demo of this song, I feel this is a very faithful to the original but done in a Big Big Train style.

"Fat Billy Shout Mine" (6:33) was originally intended to be on The Underfall Yard. This song also features the last recorded performances by Martin Orford who did the keyboard solos on this song. You can read about the subject matter on the BBT website. This is definitely should be spoken about among the classic BBT songs.

"British Racing Green" (3:58) is a mellower song with a soft jazz vibe to it. Aside from the subject matter, this is one of the most beautiful songs the band has ever recorded. This has a wintry atmosphere to it.

"Brambling" (4:59) this has similar subject matter in it as the previous song did. I'll let you, the listener, research it at the band's website. It is a perfect Autumn sounding song. This is one of my favorites of the album as well as the entire BBT catalog.

"The Wide Open Sea" (17:43) is an amazing classic sounding epic song which is a unique ghost story from the seas with a twist. There's some details on the BBT website. (I don't want to give away all the band's secrets.) It's a somewhat somber tune that reminds me of something that Genesis did on their Wind & Wuthering album. This is the perfect way to end off this EP.

Big Big Train has grown beyond being called a Neo prog band, in my opinion, ever since The Difference Machine and should be considered classic sounding progressive rock. This is the best album Genesis never made and is one of the best releases of 2010. I think this is just a glimpse of what's to come the band. With great pride, I will say that this is a highly recommended album!

Reviewed By Ron Fuchs on December 19th, 2010

[dpt3]

There's actually two versions of FSDT. The alternate version replaces the Ant Phillips cover with a re-recording of an older BBT song called "Kingmaker".

[Firth]

Thanks for the info.

[Rick]

I only have the EE releases. I purchased the Make Some Noise ep and created a playlist that matches Full Power. absolutely sublime. just great stuff.

Was not even aware of Far Skies. What should be next? Underfall or Far Skies?

[Firth]

There's actually two versions of FSDT. The alternate version replaces the Ant Phillips cover with a re-recording of an older BBT song called "Kingmaker".

From the BBT website:
*) The original version of the EP features Master of Time. The import and download version features Kingmaker as an alternative track to Master of Time. Kingmaker was also available on "Prognosis 18", the covermount CD of "Classic Rock Presents Prog" magazine issue 18.

[NorthNY Mark]

It might be worth noting that I'm not the greatest Genesis fan, but file this band under "don't get the hype" for me. The music is pleasant enough and I'll give anything a listen people praise highly, but I'm always left rather ambivalent.

Except for the fact that I am a pretty big Genesis fan, I am pretty much on the same page regarding what I've heard from BBT (which is The Underfall Yard and English Electric Part 1). Both albums are pleasant listens, with some occasional high points (more so in Underfall Yard), but leave me with a feeling that everything is just a bit too slickly homogenized--and I can't quite put my finger on what aspect of the production leaves me feeling that way, but I have a similar response to most albums by IQ. The brass arrangements are probably their most original element. Overall, I like them, but am surprised at some of the more rapturous responses they seem to provoke.

[bill g]

The rapturous responses are because the music is very emotional, with tons of mood, that one either catches or they don't. For me, I like them very much, some songs more than others. 'Winchester From St. Giles Hill' I think is absolutely sublime. 'East Coast Racer' is also quite good. 'Judas Unrepentant' on the other hand doesn't do as much for me. The musicianship is impeccable without trying to sound flashy. Everything is there to add to the mood of the track rather than to play fast simply for the sake of playing fast, and I respect this as well. Very strong songwriting, and strong moods make BBT one of my favorite bands right now. Although I would like to see them throw in some instrumentals. The instrumental on 'Gathering Speed' is brilliant.

[bill g]

Oh no. Gushing time.

This band threw me a curve. I'm a guy who needs a dash of dissonance, unconventional harmonic twists and a certain kind of rhythmic tinkering before music scratches my itch. English Electric was lacking in the qualities that I thought I needed on a calling card before I'd consider new music.

However, the first time I got through English Electric Full Power, I couldn't deny that it was something special. I later concluded that this band simply has a sense of genuine songcraft and sincere musical expression that's just not to be found these days. Every song is thoroughly developed and substantial. Great hooks, substantial instrumental statements, heartfelt sentiments expressed with a warm melodic sense. There's emotional power to spare and it doesn't surprise me a bit to be moved to weeping two or three times over the course of a routine listen through EEFP.

The arrangements may be the best ever in a progrock album. It uses the kitchen sink approach of Alan Parsons or Jeff Wayne, with deft application of strings, winds and brass, and David Longdon's lovely flute playing intertwined throughout. Somebody mentioned banjo and accordion. Kaleidoscopic. But these chamber music enhancements are done with taste and perfect judgement, never clumsily. The way David Gregory's guitar navigates and enhances these textures is miraculous.

Okay, vocals. First of all, I know of no other recorded effort in which background vocal arrangements are so beautifully arranged and produced. The constant conversation, commentary and dovetailing between background and solo vocals is imaginative and very emotional. Second, Longdon's lead singing is astonishing. Every word is heartfelt, and in climactic moments, the power he can deliver on top of a roaring musical passage is hair-raising.

This is not fairy prog, but a deeply considered evocation of a world that once was, perhaps through glasses a little too rosy, but nonetheless... It can be sentimental almost (but not quite) to a fault. To be sure, Genesis is the easiest frame of reference and a clear influence, but BBT have brought their own personality and approach to the table, in my opinion taking things as far from Genesis as the Beatles did from Chuck Berry in their early days. The only other album I can think of that goes to this length to incorporate backing vox is A Night at the Opera. But what were gimmicks there are important elements in the drama here.

Audiophiles, this is as good as progrock gets. Dynamic, impeccably balanced, deep, rich mix. Acoustic instruments very natural and clear. Heck, I've even convinced myself they used a real piano, almost unheard of these days.

The Full Power package is an impressive thing to hold and reasonably priced. A big booklet has all the lyrics, evocative graphics, commentary on every song and bios on every performer. Altogether, on vinyl it would be about a 3 1/2-record concept album.

I think this is music that could have universal appeal outside progrock circles. It's unfortunate there's no clear pathway to make that happen. I hope they can continue to build upon what they have. The prospect of attending a fully realized live performance of this material with complete arrangements is one of my fondest pipedreams.

Very nicely said. More and more I'm thinking we are kindred spirits.

[ChrisXymphonia]

The way I read it, Rikard is there as a second electric guitarist/second keyboard player. Here's hoping I read that right.

This is exactly the situation. Rob Aubrey has been posting photos from Real World on his Facebook page and here is a nice fish eye lens view:

https://www.facebook.com/RealWorldSt...type=1&theater

From left to right:
- brass section
- Danny Manners (keyboards, vocals, double bass)
- Rachel Hall (violin, vocals?)
- Andy Poole (keyboards, vocals, acoustic guitar)
- David Longdon (vocals, banjo, mandolin, flute)
- Rikard Sjoblom (guitars, keyboards)
- Dave Gregory (guitars, keyboards)
- Nick D'Virgillio (drums, vocals)
- Gregory Spawton (bass, basspedals, vocals)

[snowsnow]

I only have the EE releases. I purchased the Make Some Noise ep and created a playlist that matches Full Power. absolutely sublime. just great stuff.

Was not even aware of Far Skies. What should be next? Underfall or Far Skies?

Underfall is arguably their best record. But Skies is excellent too - might as well save time and order them both together!!

[selmer]

Except for the fact that I am a pretty big Genesis fan, I am pretty much on the same page regarding what I've heard from BBT (which is The Underfall Yard and English Electric Part 1). Both albums are pleasant listens, with some occasional high points (more so in Underfall Yard), but leave me with a feeling that everything is just a bit too slickly homogenized--and I can't quite put my finger on what aspect of the production leaves me feeling that way, but I have a similar response to most albums by IQ. The brass arrangements are probably their most original element. Overall, I like them, but am surprised at some of the more rapturous responses they seem to provoke.

I agree about IQ, but in their case it's the music itself that I'm not overly fond of. The interesting thing is that other prog artists have spoken highly of them so I guess there is something that they see in their music and that is attractive.

[Firth]

I agree about IQ, but in their case it's the music itself that I'm not overly fond of. The interesting thing is that other prog artists have spoken highly of them so I guess there is something that they see in their music and that is attractive.

Everybody is entitled to their opinion, however in the spirit of communication, an example of what one considers good, would go along ways towards helping us understand why one doesn't like something. Just being repulsed by the positive seems to be a common ailment on the internet.

[Oreb]

'East Coast Racer' is also quite good.

'Quite good'!!?? It's bloody wonderful! (and includes gorgeous work from Nick on drums, IMO - far more 'musical' than I've ever heard him before).

[Sunlight Caller]

I guess I can see why this doesn't translate for all nations, as there is an innate Englishness to proceedings, and this appeals to me in a similar way to the whimsical story-telling nature of Genesis, up to and including Wind And Wuthering. That's not to say they are musically identical at all, just that the lyrical themes demand attention and reward exploration.

I love the Full Power release, it is a sublime package and sitting quietly and devouring the words when the house is deserted and the music is resonating, is an engaging experience.

I can't believe some of you have never heard of them, you have an exciting train journey ahead of you... all aboard!

[Toothyspook]

I have all BBT CD's and find them quite enjoyable but am afraid I sit on the 'nice and ok' side of the fence

They do hark back to a past. The number of posts that contain the word 'Genesis' confirm I am not alone in hearing this.

Good band but they dont excite me in the way other more recent bands tend to who have tried to bring something new to the table.

[Poisoned Youth]

Everybody is entitled to their opinion, however in the spirit of communication, an example of what one considers good, would go along ways towards helping us understand why one doesn't like something. Just being repulsed by the positive seems to be a common ailment on the internet.

Another is exaggeration. "Repulsed by the positive" is hardly the tone of anyone in this thread that isn't a huge fan. As I've said in the past on music forums, praise usually requires no explanation, criticism does.


Anyway, I have read this thread with interest and appreciate some of the insight into why the music stands out for them. I agree with those that The Underfall Yard works for me more than EE personally.

[Plasmatopia]

I don't think the Genesis comparison is deniable...but I don't think it would be fair to paint BBT as any sort of Genesis clone. That doesn't make sense to me. I like BBT train much better than Genesis. A lot of Genesis I've been listening to lately doesn't seem nearly as seamlessly put together -- it feels a bit less organic and more patchwork in comparison. EE has much more of a nice flow than anything I've heard from Genesis. Not that one approach is better than the other, just my personal preference in the case of these two bands.

[DTA]

The vocals in this band are SO good! It's refreshing to hear such catchy, poppy vocal melodies in a prog band as the vocals are usually make-or-break for me. I think the fact that Longdon's vocal melodies are so interesting and catchy, combined with the dense, rural English nature of the music, make this band really special and unique within the prog community.