FOLKLORE

While carrying forward some of the bombast of the previous four releases, I find my self greatly appreciative of the more laid back songs on this album. Dave Longdon's vocal approach to the delivery of these lyrics is also, in my opinion, an improvement over some of the previous releases. There is no disputing that he has a wonderful, powerful, and exciting voice but, as I've said in the past, I find quite a disconnect in the way he chooses to sing/deliver the lyrical content with the meaning/message of the lyrics: Exactly how or why does one choose to get so emotional--and loud--when singing about these characters and scenes from English history? I love the presence of violin on almost every song (kudos, Andy, Greg and RACHEL HALL!), as well as that of strings and horns on many of the songs. Really nice fit with your music. Maestro Nick D'Virgilio is flawless as always and Dave Gregory lays down several of my favorite tracks I've ever heard from him. And of course, a big shout out to founders Andy Poole and Greg Spawton: your perseverance and passion has truly paid off! BBT is a force!

1. "Folklore" (7:30) the sounds of folk instruments gives the album's opening some promise but then the orotund vocal and anthemic background chorale I don't know why these songs and lyrics always have to sound so overpowering--as if they're trying to create rock anthems. (8/10)

2. "London Plane" (10:10) What?! After what I just wrote here they go and turn in a 180 degree turnaround. Tender, delicate, gentle slow pacing, tasteful (as opposed to pretentious) solos make this song a very welcome experience. Do I detect a Richie HAVENS quality to Dave's voice? Awesome! The revved up middle section for instrumental show is okay--unnecessary but notably restrained. Then the finale is sheer prog heaven--with one of my all-time favorite Dave LONGDON vocal sections in the ninth and tenth minutes. (9/10)

3. "Along the Ridgeway" (6:06) opens quite beautifully, piano and horns interplaying over bass and drums. Dave's vocal starts out a little less bombastic than usual, almost delicately--as do the conjoining background vocals. The second section with its staccato beat is just as engaging, though brief, giving way to a new layer of a weave of strings and picked electric guitar over which Dave and background vocals continue their singing. This is a great song--far more understated and less showy than their other stuff. At the 3:00 mark a nice instrumental section with GENESIS-like time signature ensues in which a Roger McGUINN (THE BYRDS)-like electric 12-string guitar solo, electric violin, and organ take turns soloing. At 3:48 the full soundscape continues in support of Dave's vocal return. Then at 4:15 things quite down in the background into a kind of jazzy soundscape before the full strings and horn sections join in briefly. My favorite song on the album. I could see this one being doubled in length. (9/10)

4. "Salisbury Giant" (3:36) is an odd little duck in that it opens with a feeling as if it is meant to be an instrumental interlude as full band with organ, slide guitar, and strings plod their way through an interesting GENESIS/BEATLES conglomeration. The song kind of twists and turns, never truly establish its identity, until Dave Longdon's vocals enter for the final 90 seconds. (8/10)

5. "The Transit of Venus Across the Sun" (7:18) opens with Christmas in the park sounding horn ensemble (which is then joined by violin and more horns) in a Pachelbel-Yule-ish weave. Then, at the 1:35, cymbol crescendo closes the door on the classical instruments and introduces 12-string guitars, piano, bass and drums in order to support Dave Longdon while he sings us along a RICHIE HAVENS-like celestial journey. The third section of the song that begins at the 4:11 mark notes the introduction of a chorus of what sounds like Latin chanting. This shifts into English at 4:45 as the accompanying instrumental support builds. Then, just as quickly, everything fades at 5:20 to leave us with finger-picked 12-string guitar and tuned percussion before everyone rejoins for Dave's final vocal and an symphony-supported electric guitar solo from Dave Gregory. Nice song. A top three for me. (9/10)

6. "Wassail" (6:47) takes a kind of bombastic approach to medieval troubadour song. THE STRAWBS were able to do this in the 70s. For my ears and mind this one is just a little too over the top--especially the chorus and the lead vocal overall. The instrumental foundation is awesome, it just gets too powerful in the chorus sections. (8/10)

7. "Winkie" (8:26) I think this one is intended to tell a war hero story in a kind of KATE BUSH-JETHRO TULL way. This one takes me back to 2004's World War II-oriented Gathering Speed. Good song with nice bass play throughout. (8/10)

8. "Brooklands" (12:38) opens in what feels and sounds like a very typical (formulaic) BBT way. Nice pace with batterie master Nick D'Virgilo's typically syncopated drumming, Dave Longdon's typcially impassioned vocals, and Dave Gregory's distinctive guitar sound. Again, not being a lyrically-oriented music listener, I wonder how much of the music is lost on me because I take no joy or meaning from the words; vocals are merely another instrumental melody line added into the music. There are some nice sections to this song--like the "lucky man" section of the sixth minute and the ensuing GENESIS-like instrumental section (which is pretty amazing--especially Nick's work). But overall, once again, full engagement and full impact are lost on me. (8/10)

9. "Telling the Bees" (6:03) offers a nice shift in sound for first 40 seconds--a kind of early ERIC CLAPTON or STEVE WINWOOD sound and style. Plus, it's a love song. And a good one at that! Great pedal steel guitar solo! My final top three song from the album. (9/10)

Not a masterpiece but a solid four star album: Excellent addition to any prog rock music collection.