For what it’s worth, I’ve been traveling since last Wednesday. I went from Michigan to Colorado, Colorado to Kansas, and now, I’m enroute back to Michigan. My soundtrack has been prog, prog, and then a bit more prog.
Version 1.0.0
A few days ago, the mighty Tad Wert and I reviewed Steven Wilson’s new album, The Overview. Though we questioned a few things about Wilson, we loved the album. During his review, however, Tad brought up the majesty of the universe as described in the Psalms.
Today, this was posted on Facebook: “An interesting review of Steven Wilson’s latest album, which I’ve added here as Andie/The Tangent get name-checked. Quite an enjoyable read, despite the reviewer’s annoying habit of adding somewhat superfluous (and potentially divisive) references to The Goat Herder’s Guide to the Galaxy.”
Being in the car for hours on end, I turned this comment over in my mind. Now, it’s worth noting, our website (the one you’re currently reading) is named after the Catholic patron saint of music, St. Cecilia. Of the five main editors of Spirit of Cecilia, three are practicing Catholics, one is a Methodist who leans toward Eastern Orthodoxy, and one is a skeptic. Frankly, I’m amazed at how restrained we are when it comes to the issue of religion.
Still, after reading the Facebook comment today, I had to ask: can a Progger be a Christian? For some, the immediate answer is to turn to Neal Morse or Glass Hammer. But, frankly, both artists are so open about their faith that each might appear to be the exception that proves the rule.
So, for the sake of a good argument, I offer all praise to Morse and to Glass Hammer, but I’m going to leave them out of the discussion.
Then, I gave it a bit more thought, and I realized that the Christian religion is deeply embedded in much (certainly not all) of the progressive rock tradition. So, I chose my songs from several different eras of prog.
Yes, Close to the Edge:
“My eyes convinced, eclipsed with the younger moon attained with love It changed as almost strained amidst clear manna from above I crucified my hate and held the word within my hand There’s you, the time, the logic, or the reasons we don’t understand”
Clearly referencing the Gospel of St. John.
Genesis, Supper’s Ready:
“There’s an angel standing in the sun And he’s crying with a loud voice “This is the supper of the mighty one” Lord of Lords, King of Kings Has returned to lead his children home To take them to the new Jerusalem”
Clearly referencing St. John’s Revelation.
Talk Talk, New Grass:
“Lifted up Reflective in returning love, you sing Errant days filled me Fed me illusion’s gate in temperate stream Welled up within me A hunger uncurbed by nature’s calling Seven sacraments to song Versеd in Christ, should strength desert me They’ll come, they come”
Again, a clear reference to the New Testament and, specifically, a liturgical understanding of Christianity.
Roine Stolt, Humanizzimo
“With the blood of Jesus on the nail We turn the balance on a scale In pain and fearless suffering Lies a message from the King of Kings”
Again, a clear reference to the passion of Christ.
“Lying ahull Ride out this storm Doused all the sails I let the boat drift
And so upon this tumbling sea Fathoms below Heavens above me
I’m setting sail for Les Marquises From cradle bound for Calvary”
I could be wrong, but this very much reminds me of Jesus calming the waters.
Every one of these songs requires some biblical literacy. Were Yes, Genesis, Talk Talk, Roine Stolt, Andy Tillison, and Big Big Train divisive? Without a doubt. Was Tad being divisive? I certainly doubt that was his intention.
So, back to the main question. Can a progger be a Christian? It seems so.
Greetings, music lovers and readers of Spirit of Cecilia! 2024 is fast coming to a close, and the SoC crew would like to share their favorite albums of the year. There was a lot of great new music, terrific deluxe reissues, and releases from old favorites. Hopefully, our lists will lead to some albums you will love as well.
Brad: Tad, thanks for starting us off and inviting everyone to participate. Always great to write with you! I’ll just start with an alphabetical listing of my favorite releases of 2024:
“Dogs” by Pink Floyd, as done by Tim Bowness and Giancarlo Erra
Airbag, The Century of the Self
BBT, Flare on the Lens
BBT, The Likes of Us
Bruce Soord, Caught in the Hum
David Gilmour, Luck and Strange
Frost*, Life in the Wires
IZZ, Collapse the Wave
Tears for Fears, Songs for a Nervous Planet
The Bardic Depths, What We Really Like in Stories
The Cure, Songs of a Lost World
The Pineapple Thief, It Leads to This
The Pineapple Thief, Last to Run EP
The Tangent, To Follow Polaris
Tim Bowness, Powder Dry
And, I’m not even including vital re-releases such as the deluxe edition of Synchronicity by the Police; Fear of a Blank Planet by Porcupine Tree; Spectrum ‘97 by Phish; Lament by Ultravox; Bursting Out by Jethro Tull; or This Strange Engine by Marillion.
If I go just by my playlist numbers, I’d have to list “Dogs”, Frost*, IZZ, and, especially, The Cure. In fact, since The Cure first arrived, I’ve listened to almost nothing else. But, I went through such phases with Frost* and IZZ, too. And, really, I can’t recommend the single of “Dogs” highly enough. Bowness and Erra give it just the right beauty and creepiness that a proper Pink Floyd remake so desperately needs.
I must admit, though, I’m totally against the lyrical content of “Dogs.” I can’t believe our entrepreneurs are so bloodthirsty as this. Like or despise Elon Musk, for example, as you will, but he’s not bloodthirsty. In fact, if anything, I think he’d hate to “be dragged down by the stone.” And, he would hate to drag anyone else down by the stone. He definitely wants to win, but he wants to win fairly, by the rules established by society (unless all of society is corrupt, but let’s hope that Pink Floyd isn’t so Marxian as this). Maybe I’m wrong, however. Perhaps, I’m deaf, dumb, and blind, and that I keep pretending. . . Is this how Roger Waters saw his friendship/adversarial relationship with David Gilmour? If so, so very sad. For my money, give me Phish’s “Bouncing Around the Room” as the touchstone song dealing with entrepreneurship.
To be certain, though, I’m also a bit biased on the whole The Bardic Depths release. Given that I wrote the lyrics for it, I’m quite taken with it. Dave Bandanna did an amazing job in composing the music. So brilliant, so beautiful, so mystical, so joyful. Dave brings every song to life, and I’m always stunned to hear my own words given form and made manifest.
And, then, what’s not to love about the new David Gilmour? In fact, when he sings with his daughter, Romany, I’m completely taken. So much better than Dogs, co-written with Roger Waters.. Especially if you listen to something as glorious as “Between Two Points.” I would give anything to have such a relationship with my daughter that I could write something so gorgeous with her. Romany over Roger any day.
And, seriously, this brings me to all the incredible re-releases of 2024. Oh, to be “Prince Caspian” and float upon the waves. Oh, to be Prince Caspian. Dang, Phish was simply brilliant when they were.
I also want to single out Airbag. I don’t know their politics, but it strikes me that with this release, especially, they’re trying to combat conformism and cancel culture. I could be wrong, but I’m willing to take a chance that this is a brilliant counter-cultural masterpiece. One that shakes the conformists of the world to their very foundations. And, who wouldn’t love that bass playing and interplay with the drums? Genius. Thank God for the non-conformists of the world. Airbag sounds like Pink Floyd, in terms of legacy, but they are completely their own band.
If Airbag sounds anti-political, Robert Smith on the new Cure album, sounds confessional. Bless me, Father, I, Robert Smith, have sinned, and something wicked this way comes. Truly, the latest The Cure album is a masterpiece, a true sequel to Pornography and Disintegration. My love and respect for Smith only grows with age.
If Airbag is countering the world and Smith is confessing for us all, then IZZ is proclaiming the inherent goodness of each one of us. I’m not sure what the lyrics are all about on Collapse the Wave, but I feel that John Galgano and Laura Meade are asking us to look at our best selves. Rather than be dour, they find wonder. As far as I can tell, IZZ has been reading a lot of T.S. Eliot and a lot of John Paul II.
Tad: What a great list, Brad! Yours and mine overlap quite a bit, since we are often of like mind when it comes to music. Here is mine, based on how often I listened to each album:
8. Kyros – Mannequin
7. IZZ – Collapse the Wave
6. Jeff Johnson/Phil Keaggy – Spinning On a Cosmic Dime
5. Tears For Fears – Songs For a Nervous Planet
4. Airbag – The Century of the Self
3. Bardic Depths – What We Really Like In Stories
2. The Cure – Songs of a Lost World
1. Frost* – Life In the Wires
I’ve been a fan of Kyros’ music for several years now. They wed 80s sensibilities to 2020s expertise. Mannequin is another great collection of pop/prog.
Like you, I admire IZZ enormously. As far as I can tell, the lyrics to the title track are about quantum physics and faith. Who else but the Galgano brothers could pull off such an ambitious song? They definitely succeed.
Jeff Johnson and Phil Keaggy have collaborated several times before, and Spinning On a Cosmic Dime is the most lighthearted and fun of their albums. Johnson is a master of all keyboards – acoustic and electronic, while Keaggy is one of the finest guitarists alive today. When they get together, magic happens.
The Tears For Fears is primarily a live album, but the five new studio tracks are some of the best songs they’ve ever recorded.
You’ve already said everything I could want to say about the Airbag album. They continue to impress me with their social commentary, and their instrumental chops are outstanding. Their previous album, A Day At the Beach, is still my favorite, but The Century of Self is really, really satisfying.
The Bardic Depths’ new one is also a great album. Listening to it is like having a beer with C.S. Lewis, Tolkien, and the other Inklings. To my ears, it’s the most musically ambitious set of songs from TBD, and I have thoroughly enjoyed listening to it throughout 2024.
The Cure’s album came out of nowhere as far as I was concerned, and I approached it with some trepidation – there’s nothing worse than an old favorite trying to recapture the spark and failing miserably. Robert Smith et al. came up with a fantastic album that easily holds its own with their previous best. Amazing!
Frost*’s Life In the Wires is far and away the most-played album of 2024 for me. I have yet to tire of it, and every time I listen to it I find some new and delightful detail. Jem Godfrey sings all of the vocals on this one, and he is terrific. The beautiful melodies pouring out of my speakers are such a bountiful feast for my ears. The story is fascinating as well – a young man rebels against a world run by AI when he hears a pirate radio broadcast. After tracking it down to its source, it turns out to be an automated program. But then things get weird – he seems to sacrifice himself to become the new source of the radio broadcasts and spark an awakening of humanity. At least that’s how I read it.
So that’s what I spent my time listening to this past year. I also loved the Ultravox Lament box set and the Talk box set by Yes. It’s nice to have this often overlooked album get the treatment it deserves.
Brad: Yes, Tad, thanks for the reminder about Yes’s 30th anniversary edition of Talk. The last of the Trevor Rabin-Yes era albums, it’s simply beautiful. Clearly, the band was going for a progressive AOR sound at the time, but the production is so very clean. I love the packaging as well for it. Not overblown, but a solid release in terms of presentation. Don’t get me wrong, I love big box sets like Lament by Ultravox, but sometimes the smaller packaging works just as well. For me, Marillion’s and Jethro Tull’s releases–in terms of packaging–hit the sweet spot. Basically small books that fit perfectly on a book shelf.
Thanks, too, for the story about the new Frost*. I’ve listened to it numerous times, but I’d not figured out the lyrics. What a great story! Now, I’ll listen to it with different ears.
I’m so glad we agree on The Cure, on Airbag, and on Frost*. Three essentials of the year.
As it turns out, The Cure also released their brand new album as a live release–Songs from a Live World–as well. Gorgeous. Seriously, what else can Robert Smith do? He simply captures the mood of every era in which he finds himself. And, I, for one, am so fortunate to be alive when Robert Smith is alive.
I would also note that 2024 is an important anniversary date. Kevin McCormick’s gorgeous Squall came out in 1999, a mere 25 years ago! Even the rather snobbish All-Music recognized the brilliance of Squall. As far as I understand it, McCormick is working on a follow-up CD.
It’s also the ten-year anniversary of the genius Scorch by the Tin Spirits. A favorite album. Also, ten years ago, appeared the brilliant Demon by Gazpacho and Anathema’s mediocre to good Distant Satellites.
But, Holy Moses, it’s not just about Tin Spirits. If we go back to the twentieth anniversary of releases, 2004, we get to The Pineapple Thief, Variations on a Dream; Glass Hammer’s Shadowlands; Proto-Kaw, Before Came After; The Tangent, The World We Drive Through; Ayreon, The Human Equation; and Marillion, Marbles. Sheesh, what else do you want?
Carl: Full and necessary confession: 2024 turned out to be year in which I listened to little new prog rock, or rock of any kind. Not for any lack of new and worthy rock music, but 2024 also turned out to be the year in which I fell quite a ways down The Vinyl Rabbit Hole. I’ll likely say more about that in a separate post on my favorite jazz of 2024, but suffice to say that I’ve been haunting various thrift and record stores.
My most listened album of the year was released 30 years ago: Seal’s second album (1994), titled, inconveniently enough, Seal—just like his 1991 debut. A deluxe edition was released, with a remastered version of the album (fantastic), as well as alternative versions of the songs (also wonderful). I listened to this album countless times when it first came out, and I have never tired of it (or of his first or third, titled Human Being). Why has it resonated so strongly with me? I’m not entirely sure, but for me it is a perfect pop/rock album, and it sits squarely in the middle of a trio of albums that I continue to think is one of the finest three-in-a-row rock/pop album families you’ll ever hear.
I enjoyed the new albums by Frost* and Pineapple Thief and if I listened more closely, I’m confident that I would really like them. Both bands have consistently produced accessible, intelligent prog rock of the highest order, so I plan to revisit them in the weeks to come.
Caligula’s Horse’s Charcoal Grace is mysteriously but aptly titled, as the music has a dusky, burnt quality that also shines with many moments of delicate beauty. This Aussie band has been a longtime favorite, and this album adds to a discography rich with ridiculous chops and vocals at the service of exquisitely crafted songs. A keeper.
Keep Me Fed by The Warning, the talented sister trio out of Mexico, is (as they say) a banger. Or a series of bangers, the sort of swaggering, catchy hard rock—with sublime harmonies—that has been sorely missed in recent years. For my money, I prefer their live versions a bit more; they are dynamic performers whose young ages (20 to 25) defy (even bely) the band’s evident maturity and exuberant zest.
Speaking of all female bands, a somewhat guilty pleasure this year has been watching videos of the mind-melting Japanese metal band Lovebites. They have been compared to Iron Maiden and similar metal bands, which makes it all the more strange as I have never cared that particular genre. All five of these ladies are virtuosos, and Miyako Watanabe, one of the two guitarists, was a classical pianist until her late teens, when she picked up electric guitar for the first time. The live album Memorial For The Warrior Souls (2024) and the studio album Judgment Day (2023) are unrelentingly fast, in-your-face, melodic, and—yes—tremendous fun. Check them out live on YouTube and prepare to be amazed.
Myles Kennedy might just be the hardest working and (by all accounts) nicest rocker out there today, and his third solo album The Art of Letting Go is classic Kennedy—powerful, assured, dynamic, moving—with some nice little twists. His is one of the finest rock voices of the past couple of decades, but his guitar playing and song writing are just as polished, varied, and inviting.
The Smile is like Radiohead if it didn’t have all of its members–and if it released albums more quickly. Which is what it is, with Thom Yorke (vocals, guitar, bass, keys) and Jonny Greenwood (guitar, bass, keys) joined by Tom Skinner (drums). Wall of Eyes (released in January) and Cutouts (same session, released in October) are quirky, dark, strangely fun, often weird, always melodic, and never, ever boring. Yorke’s voice is timeless and Greenwood’s playing, which is always so distinctive, is a revelation. And this album comes across to me as even more jazz influenced than their debut—but never in a direct, obvious way. Great stuff!
One of my favorite country artists, Dwight Yoakam, is back with his first new album in almost a decade. Brighter Days finds the Bakersfield legend firing on all cylinders, apparently reenergized by marriage and a young son. Dwight sounds half his age (68) and his band, no surprise, is tight and razor sharp. Every cut is worth the price, with the deceptively simple “I Spell Love” getting a nod from this fan.
Speaking of artists aging well, Van Morrison continues his remarkable output, with three albums: Beyond Words, New Arrangements and Duets, and Live at Orangefield. The first is all instrumental and is enjoyable, with some unexpected quirks. The second is a solid collection, featuring collaborations with Kurk Elling, Joss Stone, and Willie Nelson, all to good effect. But the live album, recorded a few years ago, is a revelation, captures a mid-70s Morrison at the top of his powers, featuring (as usual) a crack band and some other-worldly backing vocals. It rewards repeated listens and is a notable testament to Morrison’s brilliance as both a singer and songwriter.
Brad: Carl, excellent choices. I, too, like The Smile, and I, too, (thanks to you) listened to a lot of Seal II as well! I also bought Trevor Horn’s memoir, but I have yet to read it.
Well, folks, this pretty much wraps up 2024 for us. We have a lot to look forward to in 2025. It looks like The Cure will be releasing more music, there’s a new and final season of Stranger Things, and we’ll be celebrating the 50th anniversary of The Lamb Lies Down on Broadway by Genesis. Not only is there a 50th anniversary edition of The Lamb coming out, but the brilliant Dave Kerzner has re-recorded the entire album and is offering it as a 3-cd set plus hi-res download for only $49.99, plus shipping.
Big Big Train will be touring the U.S, and IZZ will be performing some stripped down shows–maybe even in Hillsdale!
I’m sure we’ll continue to give our hard-earned money to The Burning Shed and Rita Kay Drew’s The Band Wagon USA. I highly recommend supporting both of these truly excellent business enterprises. Amazingly enough, each is competitive with Amazon, even with overseas shipping costs.
Tad, Carl, Kevin, Erik, and I wish you all a Merry Christmas (remember, we’re only on day three of twelve), a Happy Hanukkah (remember, we’re also only on day three!), and Happy New Year, everyone!
There are a select few artists that Spirit of Cecilia will always love and greet with joy any new release. One of them is Big Big Train, who have just released a new album, The Likes Of Us. Big Big Fanboys Brad Birzer and Tad Wert discuss this latest chapter in their long and varied career, and what it means for BBT’s future.
Tad: Brad, my fellow Progling and good friend, it’s always big news when Big Big Train graces us with new music. I have you to thank for making me aware of this wonderful group of musicians. It was when The Underfall Yard had just been released, and we were connecting via social media. You insisted I check them out. I had never heard of BBT, and it was an ear-opening experience to explore all of their music. I fell in love with The Difference Machine along with The Underfall Yard, and the rest is history.
As I became familiar with their career, I soon learned that The Underfall Yard was the first album to feature vocalist David Longden. He, along with founding member Greg Spawton, went on to produce some of the finest albums of the 2010’s: English Electric, Folklore, Grimspound, Grand Tour, Common Ground. And then tragically, David Longden passed away. I was afraid this was the end for BBT as we knew them.
However, they found a new vocalist, Alberto Bravin, and have recorded a new album! Brad, I’m really interested in hearing your first impressions of this iteration of BBT. Is it a worthy successor to previous ones?
Brad: Dear Tad, thank you so much for this, and my apologies (as usual) for being late in replying. Things have been chaotic (good and bad chaos, it turns out–one so quickly and readily becomes the other) in the Birzer household. Let’s just say, I’m not unhappy to see February 2024 in the rear-view mirror, and that all ills (flu and otherwise) have found happy resolutions!
As I type this on my laptop, I sit beneath an original Jim Trainer painting from The Underfall Yard that proudly adorns my college office. Below it is an award I won over twenty years ago, and above it is an original photo of Geronimo. Next to it is a signed and framed autograph from Neil Peart.
I first encountered The Underfall Yard fifteen years ago. Our very own Carl Olson sent me a mix of his favorite tracks of 2009, and a song from the TUY album was included. To say I was floored would be the understatement of my adult life. I immediately ordered the full album, and I was completely blown away by its brilliance, its creativity, and its unique voice. As to the latter, there’s nothing quite like a classic BBT sound–a perfect mixture of exhilaration and melancholy. I also immediately emailed Greg Spawton, who kindly responded. For years, we had a fairly serious correspondence. We even sent each other books we each loved. I cherish those emails and that friendship.
From there, I closely followed the band, and, as I’ve noted elsewhere, we founded Progarchy originally as a BBT fansite. Years later, you and I collected our various essays on the band and e-published Dream of the West through Amazon. That little e-book did very well, I’m proud to say, and I’m deeply honored that our names will always be linked together, Tad. I also had the chance to praise them at National Review, at The Imaginative Conservative, and elsewhere.
This is all a very long way of stating that I’ve followed the band as closely as possible for a decade and a half. I’ve cheered with and for them, and, with the immense loss of David Longdon, I’ve mourned with and for them.
They’ve been a part of my life as much as anything else (except for family) over the past fifteen years.
This past weekend, BBT played its very first show in the United States. It was in Fort Wayne, Indiana–just a 1.5 hour drive for me–but I was, crazily, already committed to leading a seminar/conference in Philadelphia, a commitment I made.
Big Big Train | Trieste, May 2023 | ph Massimo Goina
Ok, Birzer, shut up and tell us about the new album!!!
To be sure, BBT has had a rough couple of years, and many folks have wondered if the band could recover after the tragic loss of vocalist David Longdon. Additionally, many of the essential bandmates–such as David Gregory–had left the band for a variety of reasons.
The Likes of Us proves that BBT is more than the sum of its parts, an idea and concept as much as a concrete band. Whereas the band was once incredibly and quirkily English, it is now quite cosmopolitan and, well, trans-Atlantic. I write this last bit with only the slightest bit of irony, as the new album has, in part, a Neal Morse/Spock’s Beard feel to it.
Tad: Brad, as always, I appreciate the context you provide for your love of BBT. I think you have hit the nail on the head with your preceding paragraph: Big Big Train is an idea and concept now, much like King Crimson and Yes are. The personnel may change, but there is definitely a constant thread through all of their albums that makes each one a uniquely “BBT” work.
As I write this, I am listening to “Beneath the Masts”, Greg Spawton’s ode to the radio masts that dominated the landscape of his childhood. As long as Greg is involved, BBT will always be BBT. He truly has been the anchor of the band, regardless of who sings or plays guitar.
I am intrigued with your reference to Neal Morse/Spock’s Beard. I love their music as well, but it has always been more, hmm… turbulent, than BBT’s in my opinion. BBT’s music has, until this album, always struck me as being pastoral. Kind of like Vaughan Williams’ music is in the classical realm. I could see BBT performing “The Lark Ascending”, but never Spock’s Beard, if that makes sense!
Okay, let’s talk about The Likes Of Us! I love the opening chords of the first song, “Light Left In The Day” – the acoustic guitars are reminiscent of Steve Hackett-era Genesis. It soon develops into quite a majestic production, and, now that you’ve mentioned it, I really hear that Morse influence in it. Another favorite moment is the seamless segue into “Oblivion”, which is a terrific rocker. According to my Spotify app, I’m not alone in really liking this track – it far and away has the most listens. I think it’s a great choice for the single, because the melody is so appealing. Bravin’s vocals are superb here, and despite my initial impulse to compare him unfavorably to Longdon, I think he does a fantastic job leading the band. He’s a wonderful choice to replace an irreplaceable artist, and I am excited for BBT’s future.
“Beneath the Masts” is the big epic, clocking in at 17:26. I have to admit that after several listens, this one hasn’t resonated as deeply with me as previous long-form BBT songs have. It’s very pretty, and there is nothing to not love, but for some reason it’s just not sticking in my memory. However, I do especially like the bit at around the 15:00 minute mark where, after a relatively quiet section, the whole band comes in again and Bravin lets loose with some very good vocals.
“Skates On” reminds me the most of “classic Big Big Train”. It’s just a delightful little tune with wonderful vocal harmonies. The lyrics celebrate going out and having some fun: “Enjoy the Ride/It’s time to get your skates on/We’re here then gone”. I think the more I listen to the album, the more I enjoy this track.
Alright, I’ve written enough – what are your thoughts on the new songs?
Brad: What a wonderful and thoughtful response, Tad. Thank you. Whenever I get a new album–especially if you and I decide to review it–I immerse myself into it fully, allowing it to wash over me multiple times before writing about it. For whatever reason, I had a really hard time getting into The Likes of Us the first few times I listened to it. I definitely heard a Spock’s Beard influence (the new singer sounds VERY much like Nick D’Virgilio), but my initial thoughts were that the band–now labeled as an “international progressive rock collective” had lost its distinctive English voice and that the band was producing someone one might call “generic prog.”
As I’ve continued to listen to the album, though, I think I was very wrong in my initial assessment. The band has definitely lost its distinctive English voice, but it has also adopted a new one and one that is truly international. And, frankly, it’s quite beautiful in its own, new way. The band really has become something more than it was.
And, you’re right, of course, Tad. The center of the band–from its beginning–has always been Greg Spawton. He’s the touchstone and fountainhead of all things BBT. With his bass, his songwriting, and his voice, he will always define BBT whatever other members are there. I’m so glad you reminded all of us of that.
This said, I’m now utterly taken with the first three tracks of The Likes of Us: “Light Left in the Day” (a pastoral gem for the first few minutes), “Oblivion” (a NVD rocker), and the magisterial “Beneath the Masts” (what BBT does best–long-form prog). Like you, Tad, I love the segue between tracks one and two, and I also agree that “Beneath the Masts,” while excellent, does not quite live up to “Broken English,” “The Wide Open Sea,” or “The Underfall Yard.” Still, it’s close, and, frankly, it’s a privilege to hear such prog beauty, especially when it comes from Spawton’s pen.
As you note, “Skates On” is simply a delight, something that might have appeared on Grimspound or The Second Brightest Star.
Tad: Brad, I’m glad you have had a slight reassessment of the album, and it looks like you and I are in agreement that the first “side” (if albums can have “sides” these days) is really nice. As far as the final four tracks go, “Miramare” is the standout song for me. The vocal harmonies are wonderful, and the guitar solo is very tasteful.
In the press release that came with the album, the band remarks that this is the first time in a long time that the members recorded the songs together in the same room: In May 2023, six members of Big Big Train left their homes in England (Spawton and Lindley), the United States (D’Virgilio), Sweden (Sjöblom) and Norway (Holldorff) to gather for a week in Bravin’s home town of Trieste in north eastern Italy, at Urban Recording, a studio recommended by Alberto, to lay down the basic tracks. Being face to face in a room, as opposed to emailing sound files, the intimacy of the process generated moments of inspiration that would otherwise have gone unheard.
The process would prove emotional. “There were some tears; I cried a few of my own,” recalls Nick D’Virgillio, the band’s drummer since 2009. “There are many reasons to explain why we hadn’t worked that way in quite a while, but the process brought out the best in everybody.”
I’m glad that they took the time and trouble to work in person – that bodes well for future music. I always think songs are improved when musicians can bounce ideas off each other in real time.
Well, I think that is a good place to wrap this one up, Brad. I’m going to say that The Likes of Us will probably be thought of as a transitional album when put in the context of their long career; they have successfully incorporated a new vocalist/songwriter into the fold, while maintaining ties to their past. It will be interesting to see what they produce in the years to come!
Now that summer break has arrived, I have so much more time to listen to great music.
I sit here (I have glorious reading chairs in Michigan as well as in South Dakota), and I read and read great books, and, thanks be to God, I listen and listen to great music.
Right now, I’m marveling at Big Big Train in 2017. What a year for the band and for fans. Not one but three releases that year: Grimspound; Second Brightest Star; and London Song.
Really, has any band so wonderfully treated its fan base before or since?
I would unhesitatingly recommend any of these three to anyone.
2022 was an excellent year for prog music fans, with several old favorites releasing surprisingly strong new albums. Here are my favorites, in alphabetical order:
The Bardic Depths: Promises of Hope
No sophomore slump for these guys! Promises of Hope is even better than their excellent debut. Dave Bandana’s composing and singing is terrific, and Brad Birzer’s lyrics plumb new depths. Let’s hope their partnership is a long and fruitful one.
Big Big Train: Welcome to the Planet
This release came quickly after Common Ground, and is the last to feature the late David Longden, but it is by no means an “Odds and Sods” collection. It is a heartwarming album with some of BBT’s best-ever songs – Proper Jack Foster is an instant classic.
The Dear Hunter: Antimai
Casey Crescenzo’s Dear Hunter has one of the most unique sounds in music today, combining alt-pop, hot jazz, and prog jams. And it’s all good! Antimai is a concept album about a society where different classes of people live in concentric rings of a city. The poorest live in the outermost, and the most powerful live in the inner tower. I have listened to Antimai many times this year, and I always hear new and entrancing details.
Evership: The Uncrowned King, Act 2
Evership’s Uncrowned King Act 2 concludes their musical interpretation of Harold Bell Wright’s allegory. If you are a fan of classic ’70s prog, then you will love this album.
Galahad: The Last Great Adventurer
These long-time prog vets released a very satisfying set of songs in 2022. Blood, Skin, and Bone is one of the best songs of the year – melodic, heavy, with an excellent message: how external factors influence how we react to each other. One of my most-listened-to albums of the past few months.
Glass Hammer: At The Gate
The concluding chapter in Glass Hammer’s Skallagrim saga is the best. You can read my review here. Glass Hammer is the finest American prog rock group, period. It is astounding how they have maintained such high quality over such a long career. As The Years Go By is another top song of 2022.
King’s X: Three Sides of One
Fourteen(!) years after their last studio album, this hard rock/prog trio surprised everyone with one of their best albums ever. From the blistering funk of Let It Rain to the beautiful ballad Nothing But The Truth, King’s X have never sounded better. What a joy to hear them play again!
Jonas Lindberg and The Other Side: Miles From Nowhere
If I had to pick the single best album of 2022, Jonas Lindberg and the Other Side’s Miles From Nowhere would be it. It was released early in 2022, and I still listen to it regularly. It is full of delightful pop/rock hooks performed with excellent musicianship. I have listened to this album dozens of times, and I’m still not tired of it.
David Longden: Door One
This posthumous release of David Longden’s solo album only emphasizes what a loss the world suffered with his passing. It is not an unfinished set of sketches, but a complete and masterfully produced album. Love Is Allis one of his finest songs, and a fitting conclusion to an amazing musical career.
The Porcupine Tree: Closure/Continuation
Another big surprise from a progrock veteran! I never thought Steven Wilson would work with Richard Barbieri and Gavin Harrison again, but here we are, and the music is pretty darn magnificent. Dignity is another PT classic, and here’s hoping there’s more music coming from them in the future.
Shearwater: The Great Awakening
This was a new discovery for me. I love late-era Talk Talk, and The Great Awakening sounds like something Mark Hollis would put together if he were still alive. No Reason is one of the most haunting songs I’ve ever heard.
Tears for Fears: The Tipping Point
Yet another surprise release from longtime musical veterans! Usually, when I hear a beloved artist from the ’80s is getting to put out new music, I get very apprehensive. Let’s face it, the ’80s were forty years ago, and the chances of rekindling the magic are very small. However, Tears for Fears’ The Tipping Point is one of the best albums of 2022, and one of the best of their career. Not a throwaway song in the bunch, and they sound as good as ever. Rivers of Mercy is my favorite, but every single song is a winner.
Devin Townsend: Lightwork
Devin Townsend is one of the most fascinating artists working today. You never know what style his latest album will be: brutally hard rock, country, ambient, pop? Lightwork is a relatively quiet entry in his vast catalog, but it rewards repeated listens. The crunchy guitars crunch, the soaring vocals soar, and the endlessly satisfying melodies pour out of the speakers (or earbuds). So far, I think Lightwork is in Townsend’s top five best.
And there you have it: a baker’s dozen of great albums from the year 2022. The most satisfying trend is the number of great albums produced by artists after a long absence: King’s X, Porcupine Tree, and Tears for Fear. I hope they don’t wait as long to release their next albums!
A special (MEGA!) progcast, featuring Tad Wert, Kevin McCormick, Dave Bandana, and Brad Birzer. Nearly 3 1/2 hours long, we play Tin Spirits, SAND, NAO, Oak, Nosound, No-man, Memories of Machines, Sanguine Hum, The Tangent, Big Big Train, The Flower Kings, and The Bardic Depths. All of the music was chosen to impress Kevin, and we find out his reactions to it all. Additional bonus feature: Dave talks a lot about the making of the most recent The Bardic Depths album, Promises of Hope.
This is the first of our Spirit of Cecilia Radio Progcasts, episode one–featuring music by Big Big Train, The Flower Kings, Galahad, IZZ, The Bardic Depths, Kevin McCormick, NAO, No-man, Wobbler, and The Tangent. All songs used by kind permission of the artists/labels.
And, with the fiery and enthusiastic commentary of Dave Bandana, Brad Birzer, and Tad Wert.
Among our topics: how much we miss David Longdon (RIP); if the Flower Kings are diverse in their musical offerings; if disco can be prog; just what the number 42 is about; if The Tangent simply rocks; what kinds of instruments Wobbler uses; how McCormick, NAO, and No-man owe something to Mark Hollis of Talk Talk; and just how much we love prog.
As much as I am happy to see 2021 fade away in my rear-view mirror, it was an exceptionally good year for music. Wait, let me qualify that – 2021 was an exceptionally good year for some genres of music. In broader cultural terms, music streaming services continued their ascendance as the preferred choice of consumers. Spotify, Apple, and Amazon are steadily erasing the idea of the “album” as a listening experience. People can now create their own playlists, mixing artists and genres to suit their personal preferences. In some ways, the compact disc was its own worst enemy. Instead of an album taking 35 to 45 minutes of a listener’s time, artists began adding more and more subpar songs to their releases so as to fill out the 75-minute capacity of the CD. While the extra available time is a perfect fit for progressive rock, classical music, and jazz, it definitely doesn’t work for pop music.
Speaking of which, pop music itself has degenerated into a homogeneous olio of auto-tuned, computer-composed dreck that is as lasting as cotton candy. There are no longer any artists that attract a broad audience that spans ages, cultures, and tastes. Taylor Swift might come close, but her sales (if that concept has any meaning these days) are a fraction of what a 1970s Fleetwood Mac or Elton John achieved. Radio is a spent force, and most teenaged music consumers get their tunes via TikTok and other social media. The days when one could turn on the radio and hear The Beatles, a Motown masterpiece, a Burt Bacharach ballad, some Lee Morgan hard bop, and The Who on the same station are long gone.
However, in 2021 progressive rock continued to champion the album as the preferred musical package. With that in mind, here are my favorite albums of last year. It was such a bountiful crop that I can’t limit myself to a Top Ten; it was hard for me to whittle the list down to fifteen!
15. Arc of Life
This is a side project of Yes-men Billy Sherwood, Jon Davison, and Jay Schellen, who are joined by prog-genius Dave Kerzner and Jimi Haun. While Yes’s album, The Quest, got all the attention, I found myself enjoying this one more. It’s poppier and tighter, with terrific production. Also, the optimistic and uplifting lyrics lightened the dreary early months of 2021.
14.Gary Numan – Intruder
From the light of Arc of Life to the darkness of Gary Numan. His previous two albums, Splinter and Savage were tremendous efforts, and Intruder continues in their synth-heavy style. There’s not a lot of hope in Gary’s outlook on life, but you can’t deny his compositional gifts. Every song satisfies on a gut level.
13. Kevin Keller – Shimmer
One of my favorite contemporary composers, Keller solicited suggestions from his fans and incorporated them into this collection of songs. At times minimalist, other times unabashedly romantic, Keller’s music in Shimmer is always a treat. This is one that will never grow stale.
12. Transatlantic – The Absolute Universe
An unprecedented release from this prog supergroup, and one of their best ever. It came in three versions: the single-CD Breath of Life, The two-CD Forevermore, and the Blu-Ray Ultimate Version. All three are different albums with unique character. If pressed, I prefer the Ultimate Version, but I have really enjoyed immersing myself in each one.
11. Ulrich Schnauss and Jonas Munk – Eight Fragments of an Illusion
I’m such a big fan of Schnauss (Tangerine Dream, Engineers) that I will buy anything he puts out. This is his third collaboration with guitarist Jonas Munk, and, and it is excellent instrumental electronica. Highly recommended for fans of Tangerine Dream, Brian Eno, and American Dollar.
10. Evership – The Uncrowned King
Nashville proggers Evership continue to impress with their third effort. This is a concept album based on an allegory by Harold Bell Wright. This is great prog in the style of classic Kansas or Queen.
9. Leprous – Aphelion
With a name like Leprous, you might think this is extremely dark, growly metal. However, vocalist Einar Solberg possesses some of the most impressive pipes in music. This is a set of songs that are uplifting and thrilling. Leprous is on the verge of breaking into a huge phenomenon.
8. Richard Barbieri – Under a Spell
Barbieri’s previous album, Planets + Persona, was my favorite album of 2017. Under a Spell continues his unique musical creations – part jazz, part samples, part rock, all great. Spooky and comforting at the same time, if that makes sense.
7. NMB – Innocence and Danger
The Neal Morse Band is now a full-fledged collaborative group, and this 2-CD set is their best yet. No concept, just terrific songs. The 31+ minutes long Beyond the Years is one of their greatest epics. The only fly in the ointment is Bill Hubauer’s annoying nasal vocals, but they aren’t distracting enough to ruin the listening experience.
6. Big Big Train – Common Ground
A wonderful collection of songs that cement BBT’s status as the most creative group making music today. The loss of David Longden was one of the most tragic events of 2021.
5. Glass Hammer – Into the Breach
Glass Hammer reinvent themselves once again, this time as ferocious prog rockers. New lead vocalist Hannah Pryor is the perfect person to carry these powerful songs. Messrs. Schendel and Babb never cease to amaze with their endless musical ingenuity.
4. Styx – Crash of the Crown
I never thought I would be raving about a new album from veteran rockers Styx, but this is the real deal. Tommy Shaw has never sounded better, and there isn’t a single piece of filler in this album. Fifteen songs clocking in at 43 minutes, this an impeccably crafted set that was the biggest surprise of 2021.
3. Downes Braide Association – Halcyon Hymns
The fourth album from DBA is their best yet. Chris Braide is a terrific singer, and this is a great set of melodic gems. Each song evokes a pastoral paradise, providing relief from an anxiety-laden 2021. For most of the year, when I couldn’t decide what to listen to, Halcyon Hymns was my go-to album that never failed to satisfy.
2. Lifesigns – Altitude
What a tremendous album, full of gorgeous twists and turns. The title track and Last One Home are two of the finest songs of the year. I listened to this one more than any other, excepting….
1. Frost* – Day and Age
The title track is my favorite song of the year, featuring a killer hook from Jem Godfrey and ferocious guitar and vocals by John Mitchell. A perfectly sequenced album, with musical themes resurfacing throughout, Day and Age is a towering achievement for Frost*. The production is unbelievably crisp and reveals new details with each listen. Hands down, the best album in a year of truly outstanding ones.
I hope my list piqued your interest in some artists you may not have heard before. Here is a Spotify playlist that samples some of the delights contained in these wonderful albums.
Big Big Train are extremely saddened to announce the death of David Longdon this afternoon in hospital in Nottingham, UK at the age of 56 following an accident in the early hours of Friday morning. He is survived by his two daughters Amelia and Eloise, his mother Vera and his partner Sarah Ewing.
Sarah Ewing comments: “David and I were best friends, partners and soul mates and I am utterly devastated by his loss. He was a beautiful person and I feel so lucky to have known and loved him.”
Greg Spawton comments: “We are absolutely stunned to lose David. It is unspeakably cruel that a quirk of fate in the early hours of yesterday morning has deprived him and his loved ones of a happy future together and all of the opportunities, both personal and musical, that awaited him next year and beyond.”
David joined Big Big Train in 2009, immediately making a significant impact with that year’s The Underfall Yard album. He proceeded to record a further eight studio albums with the band, including the forthcoming Welcome To The Planet, as well as fronting the band for a series of highly acclaimed concerts from 2015 onwards. In addition last year he released an album with the late Judy Dyble under the name Dyble Longdon. On the day before his accident he had been in the studio working on a new solo album.
“David made a huge impact on my life both musically and personally,” Spawton continues. “I loved him like a brother and already feel his loss very deeply. He was a true creative visionary with extraordinary depth of talent. But above all he was a first rate and very kind man. His family, friends, BBT bandmates and crew will miss him terribly.”
The band’s Welcome To The Planet album remains scheduled for release on 28th January 2022. A further statement regarding the band’s 2022 concerts and other activities will follow in due course.
The band and their management request privacy for David’s family and friends at this extremely difficult time.
Hot on the heels of BBT’s magnificent Common Ground album comes this announcement of another new album! In the case of Big Big Train, you really can’t have too much of a good thing, so this is welcome news:
Big Big Train – announce new album ‘Welcome to the Planet’
New single “Made From Sunshine” out now
Six months after the release of the critically acclaimed album ‘COMMON GROUND‘, Big Big Train are pleased to announce a new album ‘WELCOME TO THE PLANET’, due out on January 28th, 2022 on their own label, English Electric Recordings.
Big Big Train founder Gregory Spawton explains the short time between albums: “The experience of the pandemic has shown us that we need to make the best use of our time on Earth. With that in mind and with new band members on board giving us a fresh head of steam, we decided on a speedy return to the studio to write and record Welcome To The Planet.”
As with ‘COMMON GROUND’, ‘WELCOME TO THE PLANET’ sees Big Big Train retain their progressive roots but also take influence from all spheres of music. The album’s opener ‘Made From Sunshine’, co-written by guitarist Dave Foster and singer David Longdon, has guitar lines redolent of Johnny Marr and vocal harmonies reminiscent of the Finn Brothers/Crowded House, with violinist Clare Lindley sharing lead vocals with Longdon.
Elsewhere on the album, keyboard player Carly Bryant gets her first Big Big Train writing credit and lead vocal on the captivating title track. The two recent singles ‘The Connection Plan’ and ‘Lanterna’ are included along with a winter themed song ‘Proper Jack Froster’, a bittersweet tale of childhood. The album is completed by the delicate acoustic ‘Capitoline Venus’, the beautiful ‘Oak And Stone’ and a pair of dazzling instrumentals, ‘A Room With No Ceiling’ and ‘Bats In The Belfry’, written by guitarist/keyboardist Rikard Sjöblom and drummer Nick D’Virgilio respectively.
You can listen to “Made From Sunshine” here:
Here is the track listing:
BIG BIG TRAIN ‘WELCOME TO THE PLANET’
Part One Made From Sunshine The Connection Plan Lanterna Capitoline Venus A Room With No Ceiling
Part Two Proper Jack Froster Bats In The Belfry Oak And Stone Welcome To The Planet
For their March 2022 UK tour, which will be their most extensive to date and which will culminate with a show at the prestigious London Palladium, David Longdon (lead vocals, flute), Nick D’Virgilio (drums, vocals), Rikard Sjöblom (guitars, keyboards, vocals), Greg Spawton (bass), Carly Bryant (keyboards, guitars, vocals), Dave Foster (guitars) and Clare Lindley (violin, vocals) will be joined by a five piece brass ensemble. In addition to two further UK shows in September, the band expects to announce North American and continental European tour dates shortly.
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