BIG BIG TRAIN

Perhaps it's unfair to start this review with an immediate comparison with another and better known band, but as an observer of Prog music through the far too many years of my life, it's apparent that Genesis is almost a holy icon. I haven't myself enjoyed any of their albums since "Duke" which was recorded years before my adult son was born, and I think that qualifies as a lifetime. There has been much great Prog since those days, yet judging the mood on forums such was the wonder of the early Genesis that all subsequent crimes over 30 years can be forgiven in the instant of a reunion announcement.

So if this album, "The Underfall Yard" with its glorious whimsical, watery sleeve bore the word "Genesis" instead of what it does bear, namely "Big Big Train", there would be people making sacrificial offerings of thanksgiving on the the tops of hills all over Albion. Parties would be thrown, tears of joy would flow, there would be massive open air concerts all over the world, the sun would shine and the front cover of the CD would become a t-shirt worn by millions of happy parents from all corners of the globe.

In answer to the question "what's in a name?" then, I can only respond "pretty much everything". If BBT were to play a gig this year, I can imagine that it would be in a small village hall somewhere in Gloucestershire in England, there would be the usual smattering of 300 or so believers there to take it in (as well as 9 other bands on the same bill). They wouldn't even come as far as Scotland.

BBT are not the first band to invite comparisons with Genesis. Marillion's career depended on it at the outset, and despite the twists and turns since, is still founded on it. The Italian band "The Watch" are so like Genesis that they specialize in making albums that could be albums that were lost at the time of he 1970-73 heyday. When the Watch play live they play Genesis songs, because they know more people will turn up if the do. There are many more. On this album, BBT have used a sleeve that would have worked perfectly well for the Wuthering/Trick/Three/Duke era Genesis, added a well known drummer who is himself so influenced by Collins and co that he recorded an entire cover version of "The Lamb", and added a singer who sounds like a cross between H from Marillion and that same Phil Collins. In short, the comparisons are inevitable, unavoidable, probably totally deliberate and equally unfortunate.

There is a magnificent album in this dust jacket. It's beautifully recorded, the arrangements are sublime, the sounds inspiring and nostalgically warming. It's lush and has the same maroon feel to the music as is used on the cover, like the walls of a lovely warm Scottish public house with a lit crackling fire on a cold night. The songs are story led, historically interesting, well told, well played and like the best landscape pictures have paths in them that make your eye follow them and wonder where they go. The album grows with repeated listening and the destinations of those paths becomes proportionally easier to imagine. I love it. I love to close my eyes and just drift away into the music and BBT are exceedingly good at encouraging me to do this. But I just have to get past the constantly re-occurring image that always springs to mind, and that's always masses of Varilites, Jumbo Jet landers, smoke machines, 6 enormous mirrors and a bearded guy in a rugby shirt throwing a tambourine up and down.

I know BBT are capable of making music that stands on its own and find it slightly sad that in order to release such an excellent series of songs as can be found on this album they feel they have to graft the spirit of 76-79 Genesis onto it. (It's that specific!). In the end, I do not blame THEM, but I blame US. Such is our inability to gain closure for the loss of Genesis as we knew them, our grief continues unabated, and bands such as BBT will continue to try and get into our heads by adding the audible icons of that band to the mix. This is a beautiful album that needs no such icons. It would have stood alone, but would any of us have listened to it?.

With a lot of us heading towards our 60s now, I have to ask, are we ever going to accept that Genesis as we knew them are gone, and get on and enjoy the new people? When we were young, weren't we all a bit fed up of everyone trying to sound like Elvis or other 50s Rock and Roll Stars, in that Rubettes/Mud/Showaddywaddy era? ( I reviewed those for a well known paper back then!)

This review is a nit-picking exercise. "The Underfall Yard" is a superb album, one of the best from 2009, one to treasure for many years to come. It is made and delivered with love. It exudes quality. The people who made it should be knighted and given the keys to a couple of English towns. They should be awarded honorary degrees by ancient seats of learning and then go away and make an album that doesn't have to pander to our macabre inability to let go of a band who let so many of us down for so long. Genesis are DEAD!! Long live Big Big Train, Phideaux, the Tangent, Unitopia et al.

I was turned on to this album from all the great reviews here on ProgArchives and I have to say it's one of the best English prog albums I have heard in years. Nick's guest turn on drums adds to the already solid rhythm section of the band (Can drums be melodic? I say they can!)

I agree with a previous poster that the last track really brings it home and wraps up all the ideas, emotions and melodies.

It's an excellent add to Prog Archives and a top album of 2009, deserving all of the ratings given. Igf you like Heavy/Crossover Prog, this is a great one to scoop up. It won't disappoint.

This is quintissential modern prog at its best (..and very English). It's got a bit of most of the sub-genres, symphonic, neo-prog and even some guitar solos that would keep a prog metal fan happy.

The key here is melody, perfect performances and interesting songs. It's this accessibility that puts it into Crossover Prog territory. Much of it is quiet and contemplative, you kinda fell like your in the English countryside at times.

The title track is an epic masterpiece that never loses your attention for the whole 23 minutes. The developing melodies throughout the album, interspersed with interesting musical breaks, great guitar solos and the obligatory range of instruments contributing to the whole.

Definitiely worth 5 stars for it's perfect representation of the genre.

When I bought this album and listened to it a couple of times I was slightly disappointed with the result. After all this was a highly acclaimed effort according to many and then you expect a lot. I could hardly believe it and decided to give it more spins before doing the review. And I'm glad I did because after more than 10 times my opinion has changed quite a lot.

And the reason is the fact this album is a real grower. The more you listen to it the more the songs get into your system and that's important with an album like this. First two listening experiences I was slightly disappointed with the small number of instrumental passages I detected. Some reviews I had read promised me that especially the long epic at the end had to be something special with tremendous music but I only heard a few minutes of that and felt a bit let down in that department. But after the more and more spins I learned the class of this album isn't just some great instrumental passages but there was also the coherence between the songs and the re-occurring themes there are to be experienced throughout the album. And that 's what I mean when I say this album has to grow on you before you can truly appreciate it.

In the end the final epic is indeed a wonderful conclusion of a great album, a sort of long recapitulation of everything that has happened in the previous tracks. The compositions are marvelous, the vocals are good, the instrumental handling is excellent (with stand out flute) and the coherence is even the strongest aspect of all. So after all a great release by Big Big Train and probably the magnum opus of their career. Indeed worthy of the 4,4 stars they have received by now. Just missing out on the masterpiece status in my opinion because it all isn't really mindblowing for my personal taste. But excellent for any prog rock collection for sure. Highly recommended.

One of the most recent Big Big Train albums, The Difference Machine, is also one of the best neo-prog albums out there. VERY GOOD USE OF INSTRUMENTS SUCH AS SAX, FLUTE AND VIOLIN. These guys are genuinely creative with their arrangements. I make this point because in the world of Modern Prog, it is 'good enough' to get you into the 'club' to make music that basically pays homage to Genesis and the like, without doing anything really original. There's a whole raft of adored neo-prog and other bands that just get hi-fives out of the general prog-fan public by making reference in their music to the classic era of Prog, namely the early Genesis and Yes albums. They can coast along with gleaming and positive 5-star reviews for their creativity for 're-creating' the creative sound of those earlier bands; Hackett's guitar tone, Gabriel's voice, long Yes-like instrumental passages etc. However, their music is more or less a humble compliment to an earlier, greater entity, much less original than derivative.

While the album 'The Difference Machine' by 'Big Big Train' is certainly in that vein, it also cuts out it's own piece in progressive rock history, very rare for these days, as far as neo- prog is concerned. Of-course, these guys are more or less fitting in with the 'overall' feeling of prog, but some of their approach is quite original. The opening cut, is indeed, very good, a three minute ambient opener with various instruments blending together nicely. This creates a pleasant but somewhat eerie effect. The second song, a 14 minute epic called 'Perfect Cosmic Storm' is the most rocking track on the album. It's a very good epic and features a lot of twists and turns, a lot of reference to earlier masters, but some of it is original. The song has some funky guitar and some gently rising 'sax' and good vocal harmonies. This is followed by a brief 'Breathing Space' with songs like Crickets and other night insects, and a bit of mellotron/synths, before another epic track, pick up if you're there, begins. At 13 mintues, this is another ambitious prog-epic, but doesn't really do what the earlier epic didn't, but still is good music, with plenty of interesting sax, mellotron and twisting, turning musical sections.Also the vocals are good, easy to understand. There's plenty of accessible rock music passages on this album, with some catchy bits here and there. Also lots of nice, colourful organ.

The fifth track is another 'bridge' track, if you like, that links into another epic 'Saltwater falling on uneven ground' which is similar to the other two epic tracks. It's got plenty of funky guitar, some accessible rock music passages, some aura-creating organs and mellotrons, good singing and more twisting and turning music sections. But alas, this song also provides some brilliant flute and violin and some crescendo moments that are pretty good. Still, I can't see much difference between the three 'epic' tracks, and they make up the bulk of this album.

I like the album closer, 'Summer's Lease' which is really unique and beautiful. It utilises the use of saxaphone and other instruments very nicely. It's also somewhat catchy.

On the downsides to this album, the fact they feel the need to stretch everything out to epic proportions, that there is a lot of meandering and derivative passages to flesh the thing out, though the longer songs are actually very good, just feels like a bit forced. Also, the music really lacks any emotional output, overall it seems rather un-emotional. I would liked to have seen more of the mellotron and wind instruments used, as they did on the first and last tracks of the CD. This gives more uniqueness to their sound. That said this is still a really good album.

After listening to this, I realise that Big Big train are one of the better progressive bands out there today, and that I should check out more of their albums.

The instrumental opening number (except some short vocalizing) from this album is quite remarkable. It is full of optimism, delight, freshness and wonderful keyboards and fluting. A real great start to tell the truth where the influence of the mighty "Yes" is obvious and the whole sounds pretty much as the "Gates Of Delirium" / "Awaken" period to my ears.

What comes afterwards is still very skilled but so much cliché again. "Victorian Brickwork" is a good song but so much borrowed to "Yes" and "Genesis" that it falls a bit flat. The closing section, with sweet sax and an orgy of symphonic keys is truly poignant and beautiful though.

The whole album provides splendid mellotron passages, superb melodies, sweet keyboards, nice fluting here and there ("Winchester Driver") and a very warm feeling. This is the type of music that should please any symphonic prog fan, provided that you accept the pastiche side of the work?Some Gabriel feel as well during this fine song.

The same characteristics are available during "The Underfall Yard" (the title track) which is a kaleidoscope of the band's ability in playing enjoyable music. Fully neo-prog oriented, but with talent during this epic song (almost twenty-three minutes).

All in all, this is a very good moment of music. My rating is four stars; but be aware if you can't stand regressive music.

This fifth BBT album is probably their best so far. Up to now, the band sounded quite simple neo-prog outfit to my ears, but what's available in this "Difference Machine" is much more structured.

This aspect can be easily felt while listening to the long songs available on this album. The first one of these "Perfect Cosmic Storm" is a truly good epic that mixes some symphonic prog as well as jazz attributes. At times noisy (heading KC), at times beautiful and emotional (thanks to some fine mellotron parts). The whole is very well put together and very pleasant.

The same sort of concept can be noticed during "Pick Up If You're There" which is the second epic here. More on the melodic side, but still complex enough to raise the interest. Again, some fine mellotron lines add a superb value to the whole. A special mention as well for the wonderful melody of the short "From The Wide Open Sea".

"Saltwater Falling On Uneven Ground" is the last epic of the whole. And even if this song is more straight-forward than "Perfect Cosmic Storm", it is very pleasant to listen to. Vocals in particular are very harmonious and sweet. Very much in the style of "Genesis" while they were four.

The closing number "Summer's Lease" starts in the same vein but the final instrumental part is very moving (the combination of violin, piano and sax is really a jewel).

All in all this is a good album. Seven out of ten. Three stars.

The news that a new vocalist had joined the ranks of Big Big Train really stirred my interest. The weakness in the vocal department had made The Difference Machine hard to enjoy for me and I hoped BBT would fulfil their true potential this time.

And indeed, the vocals are much better. Or should I say more professional? Longdon's vocals aren't very different from the previous singer Filkins and share a similar Phil Collins timbre, but Longdon is more steady and dynamic. However, he still fails to inject BBT's music with the soul that was lacking from the previous album. The result is a pleasant but ultimately unexciting prog album that follows all rules of prog songwriting but forgot to add the excitement of rock 'n' roll. Really, where's the drive and emotion in this music? It's so clean and sterile. Maybe I'm biased from listening to too much RPI lately, but the emotive power I discovered in that scene really puts a perspective on an album like The Underfall Yard. The form is ok, but the substance is lacking.

It doesn't make this a bad album though. The two opening songs for example are very good. But the quality is uneven and much of the album goes to the motions without moving me for more then a few scattered sections. The drums and bass are great and the guitars add some edge to the music, but the songs disappoint for not offering the inspired drive that marked The Difference Machine, an album I prefer to this one. The 1975 Genesis vibe is simply too big for me here. Generally, as soon as the vocals start, I have to get out of the room to get me a coffee or some other distraction.

The Underfall Yard is a professional album that takes a strong start but that ultimately disappointed me. I simply don't have any nostalgia for mellowed out post-'74 sympho, but if you love A Trick of the Tail you shouldn't hesitate. So I arrive at 4 stars for the music, 2 for the vocals, 1 for passion. 2.5, rounded up for now.

Fans shouldn't worry though. This criticism will sure spur another onslaught of 5 star reviews.

Boring, boring and boring....

I purchased the The Underfall Yard sometime ago based on the reviews and recommendations from this site. After a concerted effort I basically gave up on this album.

There is nothing particularly wrong with it and yet at the same time there is everything wrong with it.

The disease that inflicts this album is one of sameness and monotony. This affliction ranges all the way from the way it was recorded to the compositions and voices.The music lacks tension setting and release mechanisms. Vocals arrangements are uninteresting and frankly boring. David Longdon's voice is colourless and his range is limited. He tries to imitate Phil Collins a little too hard and after a while his efforts starts to irritate.

The compositions are ornamented with orchestrations which in itself is good idea but the orchestral arrangements are so simplistic that they could have been written by a grade 10 student aspiring to be a classical composer.

On the other hand when they stop singing and focus on the music they achieve passable results. Maybe their next effort will be an instrumental CD and I will try to like them again.

My copy of Underfall Yard is going on fire sale and by the looks of it i should not have any trouble finding buyers

A journey of wonder. This album strikes the chords of fulfillment for my progressive heart and mind from the first to the last moment. The music, the lyrics, the atmosphere, the arc of energy: This is definitive progressive music. I am not familiar with other albums of Big Big Train (I intend to remedy that), but this one appears to be a leap into a new dimension. Reviews and ads attracted my attention. Now I'm completely taken. I can strongly recommend the extensive podcast that can be downloaded at the band's website. Great information is provided about this exceptional band and particularly about this exceptional album.

The lyrics on "The Underfall Yard" are beautiful, dramas and images of British cultural lore, from Victorian bricks via vanishing rail lines to the murky depths below Winchester Cathedral. Every song unfolds a rich metaphorical force, fantastic paintings of humans and their interaction with both nature and industry in British landscapes.

David Longdon's vocals are simply breathtaking. I love the fact that his voice is strongly reminiscent of Phil Collins (when he was at his best), but the vocal expression breaks free of all mimicry. Genesis is to the music of "The Underfall Yard" as a muse is to a poet. "Twelve Stones from the water."

With Nick D'Virgilio (Spock's Beard, Genesis Rewired, ... ) on drums, numerous visits by Dave Gregory (XTC !) on guitar, a kicking guitar solo by Francis Dunnery (It Bites) on the title track and horns that blow like sun-warmed air, the music simply thrives and generates enjoyment.

I could go on, but I'd rather go listen to the album again.