The Underfall Yard, Big Big Train’s latest, is a complete and utter triumph.  With the core duo of Andy Poole (bass, keyboards and production) and Greg Spawton (guitars, keys and bass), they are augmented by Nick D’Virgilio from Spock’s Beard on drums, Dave Gregory from XTC on guitar and sitar, David Congdon on Vocals and flute and other instruments, and a small ensemble playing trombone, cornet, cello, French horn and tuba.  This is an album of huge themes, diverse music, and intense emotion that absorbs the listener from the opening notes and stays with you throughout.  Greg Spawton, the sole composer here, has fashioned what I believe is their finest work to date.  The themes are of coasts and mines and ships and the people that have to go into dark places, below the surface of land or sea, to find work and to find their way in life.  And there is lamenting about past times that are now gone or in their final stages.  David Congdon, who at times sounds like Peter Gabriel or early Phil Collins, has a passion and mournfulness in his voice that holds your attention like few vocalists have done for me in recent years.  The music itself harkens back indeed to the days of Genesis’ Selling England by the Pound, but with modern sound and fabulous orchestration added.  Nick D’Virgilio’s drumming is outstanding as usual, and though he was a guest on their last album (see below), he is THE drummer on this recording. It makes me think that his work on the recent reimagining of The Lamb Lies Down on Broadway also had some influence on this work.  I also want to make special note of the fabulous guitar playing of Dave Gregory – great counterpoint to Greg Spawton’s own.  This album is a must listen for anyone who pines for progressive rock that is filled with a combination of richness and technical skill.  The Underfall Yard gets my personal vote for best album of 2009. 

And now a brief look back:

Big Big Train has been making quality music since recording their first album way back in 1991.  They were a different sounding band back then, penning hook-laden rock songs with a penchant for time changes and clever arrangements to keep things interesting. You might compare them to It Bites and the poppy side of Yes – great playing but not straying too far from listenable, enjoyable tunes.  From the River to the Sea (1992) and The Infant Hercules (1992), their first two recordings, are fun albums and only occasionally really express the true progressive rock that would come later.  Both albums were recorded independently.  In 1993 they signed to IQ’s label, GEP, and recorded their first “progressive” album, Goodbye to the Age of Steam.  This was quite a leap forward in all areas: compositions were lengthier with elements of rock and jazz, fuller vocals, and more assured playing throughout.  They worked for two years on their next recording, 1997’s English Boy Wonders, an even stronger album, with more complex arrangements.  In 2008 they remixed, remastered and re-recorded portions to make it sound even better today – a superb album for sure and one of the best (re) releases of that year.

Still basically unknown, they spent another two years working on their next album, 2001’s Bard.  They released it without a lot of hope that it would be successful (they never really attracted a crowd with their previous releases) and decided they would call it a day.  Well, Bard became an underground hit, making top ten on many progressive rock lists.  So with their fan base on the rise they decided to reform and carry on. Bard is a must-have for any progressive rock fan – intense emotional music with superb musicianship, great storytelling and an immaculate recording – a treat for your ears and your mind.  At this point, BBT began to change as well, going back to more traditional progressive roots, borrowing from early Genesis and British folk.  In 2004 BBT released Gathering Speed, a concept album about a pilot and the 1940 Battle of Britain.  Another incredible album of storytelling and powerful playing, it carries on from Bard, filling your senses with great music and great arrangements, letting you get lost in longer pieces with many changes along the way.  As you might observe by now, history is a recurring theme in much of BBT’s music.  2007 brought The Difference Machine, another huge work, with a more orchestral feel.  Instrumentals dot the landscape this time, and guests Nick D’Virgilio (drums – Spock’s Beard), Dave Meros (bass – Spock’s Beard) and Pete Trewavas (bass – Marillion) add another dimension to the proceedings.  Another critical success, it found the band exploring greater diversity still; music akin at times to the melodic side of The Flower Kings.  This was the stepping-stone for The Underfall Yard, and also a must listen for fans of the progressive genre.

Big Big Train’s website offers great deals on their CDs, individually and in value packs, and it is a great way to support the band directly as well as saving serious money – their prices include shipping to anywhere in the world.  I can highly recommend BBT and hope that you will give their website samples a serious listen – I don’t think you will be disappointed.