GALAHAD – THE LONG GOODBYE – AVALON RECORDS

With a relationship stretching back more than 30 years, my prog writing journey will always be inextricably linked to Galahad as theirs was the first album I bought from the underground scene, while they in turn put me in touch with another band and it all went downhill from then. I have written words for a few of their booklets, and while I have not seen them play since moving to New Zealand I am still often in contact with singer Stu Nicholson. I know this closeness means I am never nearly as objective as others when it comes to reviewing Galahad, but when a band keeps putting out wonderful albums then I feel justified in continually singing their praises. This is their twelfth studio album, and features the same line-up as with the last release, ‘The Last Great Adventurer’, namely Stu Nicholson (vocals), Dean Baker (keyboards), Spencer Luckman (drums), Lee Abraham (guitars) and Mark Spencer (bass guitar). Recorded in multiple places it was then edited, mixed and mastered by engineer/producer Karl Groom (Threshold/Dragonforce/Pendragon/Arena/Yes etc.) who has now been working with them for some time.

This is possibly the most polished release to date from the Dorset boys, with a somewhat heavier emphasis on Stu’s vocals as the band continue to evolve. When I first knew them they were solid 90’s neo prog, then moved into prog metal with the change in approach heralded by the arrival of Dean Baker and now happily straddle multiple sub-genres so while they are firmly “prog” it would be wrong to try and shoehorn them into any particular bucket. I have known Karl nearly as long as Stu, and while I always think of him first and foremost as a guitarist, he has built a richly deserved reputation on the other side of the desk, and has done wonders in bringing Spencer’s playing to the fore. When I listen back to early recordings one cannot hear all the work being put behind the kit, but when those tracks have been remastered by Karl it has been like hearing a new band, and here Spencer can be heard driving the band ever onwards. Mark is a multi-instrumentalist (and a fine singer in his own right), so his approach to the bass is quite different in that he is looking to see what he can add to the melody as well as underpinning the arrangement, while Lee is another renowned performer and his second stint in the band (he was originally bassist) as guitarist has allowed him to spread his musical wings. All this adds to the way the band keeps shifting and melding, while Dean is a musical magpie who didn’t even know what prog was until he joined the band a quarter of a century ago, and his relationship with Stu has meant they keep shifting and changing.

I mean, listen to “The Righteous and the Damned”, which commences with some acapella vocals overlaid on background noise of people walking around, but what some may not realise is that Stu is singing the words from the title cut of 2007’s ‘Empires Never Last’ before somehow the music segues into something Eastern European and folky. One of the joys of Galahad is they no longer feel shackled by any expectations so instead do whatever they want, and when this song turns into a System of a Down-style belter I was not too surprised, but was very pleased. The title cut of this album is about dealing with dementia and is very personal indeed. Stu has always had a way with words and here he paints a picture while Dean is there by his side on piano as we build into the piece. The layers gradually build as we are taken into the world of someone who is “filling up this thing which makes the water go hot, to make some drinks for people in another room whose names escape me”. Those two lines are incredibly powerful, and the arrangements allow for us to understand the emotions being displayed and the sense of loss and helplessness. As the song ends Stu takes two lines from Gabriel’s “I Don’t Remember”, which itself was about being trapped in a situation it is impossible to get out of, and delivers them in an incredibly poignant manner.

Musically this album is all over the place, from Eighties-style electronic dance through to prog metal and everything in between, yet the vocals and arrangements bring the album together so one looks forward to the next unexpected fork in the road and the detour where we move back on ourselves or in a totally different direction. Galahad consistently refuse to rest on their laurels and show no sign at all of losing inspiration or slowing down, and long may that continue. 10/10 Kev Rowland

BIG BIG TRAIN UPDATE 22nd JANUARY 2024

Big Big Train live in 2024

Since last month’s update we have announced five shows in the USA to take place before our appearance on Cruise To The Edge. Additionally we will be performing at the final ever Night Of The Prog festival in Germany in July and at the legendary Cropredy festival in the UK in August. 

We’re looking forward to all these shows enormously. The band’s first visit to the USA has been long awaited. We hope to return to North America (including Canada!) before too long. However whether we are able to do so depends entirely on how well attended or not the five March shows are. If in doubt, please come out! 

The full list of shows announced for 2024 so far is:

1 March 2024 Sweetwater Performance Theater, Fort Wayne, Indiana, USA 

2 March 2024 Rivoli Theater, Rutherford, New Jersey, USA*

3 March 2024 Rivoli Theater, Rutherford, New Jersey, USA*

5 March 2024 Regent Theatre, Arlington (Boston), Massachusetts, USA

6 March 2024 Electric City, Buffalo, New York, USA (new show added)**
Tickets on sale 23rd January 2024

8 –13 March 2024 Cruise To The Edge 

July 2024 Night Of The Prog, Loreley, Germany

9 August 2024 Cropredy Festival, Oxfordshire, UK

*The two New Jersey shows will feature significantly different set lists.

** The Buffalo show is the only mainland USA show currently scheduled to feature the BBT four piece brass section.

2024 Tour Patron Package

Following the very positive feedback from fans about the 2022/23 Tour Patron package, we will be launching a 2024 Tour Patron package tomorrow.

The Likes Of Us

Last Wednesday our label InsideOut released Miramare, a second single from our forthcoming new studio album The Likes Of Us. Here’s the video:

Thank you to everyone who helped Oblivion, the first single from The Likes Of Us, reach well over 140,000 views so far. You can watch Gregory Spawton in conversation with Andy Stuart about Oblivion here: www.youtube.com/watch?v=GyUS2vjYie4&t=2s

Nick D’Virgilio talks about and plays through the song here: https://youtu.be/B7wpJ1fKSS8?si=7pbkS8B-Zd7VekeT
 
A further Andy Stuart interview with Gregory discussing the background to the album is here:
https://youtu.be/4KBoHS4PeuE

You can pre-order The Likes Of Us in multiple different formats (limited edition Mediabook with Dolby Atmos, 5.1 Surround Sound & 24-bit high-resolution stereo; Gatefold 180g 2LP available in black, sky blue, olive green and orange; Standard CD Jewelcase) here: 

www.burningshed.com/store/english-electric-recordings (UK, Europe, Rest of the World)

www.thebandwagonusa.com/en-gb/collections/big-big-train (North America)

A link to all digital services is here: https://bigbigtrain.lnk.to/TheLikesOfUs

Best wishes,

Big Big Train

Rick Wakeman’s “The Prog Years: Redux” 32-Disc Box Set Available February 23, 2024! 

Here is some exciting news for those who pre-ordered Rick Wakeman’s “The Prog Years 1973-1977” CD+DVD box set: the expansive collection will now include 17 discs’ worth of never-before-released concert material totaling 300-plus minutes – or a whopping five hours – of live recordings all previously unreleased.

Now known as “The Prog Years: Redux,” the 32-disc box set is back in production, with a brand-new list of content and a new release date of 23rd February 2024. Explaining the decision to overhaul the collection at the 11th hour, compiler Rob Ayling says that he had a duty to do it for the fans:

“Totally out of the blue came a wave of previously unreleased concert recordings. I couldn’t believe it when I discovered them. I generally know what was recorded and what wasn’t – and then to find entire gigs from the 70s that had never before been released… I simply couldn’t ignore them! Especially if they got released later, the fans would rightly ask the question, why weren’t these recordings in the ‘Prog Years’ ?

“It was a really tough decision to make, to stop a box set in full production. But it was also a no-brainer to remove releases which have already been available in different formats over the years  and replace them with a trove of music no one will own.

“My feeling is that the true fans will already have most if not all of the previously planned ‘Prog Years’ content, like the Winterland Ballroom and Hammersmith Odeon shows. They have been officially available for years. Yet how many fans have Rick Wakeman’s full 1975 concert from Boston Music Hall, or the opening night of that year’s Japanese tour, with the orchestra, or the Montreux concert from 1979? 

“The newly discovered material will replace these recordings in what we’re calling ‘The Prog Years: Redux,’ which now boasts over five hours of previously unreleased music! That, to me, is a game-changer. I know it means fans will have to wait a little longer to receive the box but given that it will contain these newly unearthed gems, I hope everyone will understand why I had to make this decision. I am convinced that everyone will enjoy the gigs as much as I do.

“I also want to thank everyone who has pre-ordered the release for their patience, and promise that it will be worth the wait when ‘The Prog Years: Redux’ lands on your doorstep!”

The previously unreleased discs are:

1). The Six Wives… alternative versions
2). The Three Wives: Radio session, 27 February 1973
3). Boston Music Hall, Massachusetts, 10 October 1975, Part 1
4). Boston Music Hall, Massachusetts, 10 October 1975, Part 2
5). Missing Pieces and interviews
6). Apollo Theatre, Glasgow, Scotland, 7 May 1976
7). Koseinenkin Hall, Osaka, Japan, 21 January 1975, Part 1
8). Koseinenkin Hall, Osaka, Japan, 21 January 1975, Part 2
9). Nakano Sunplaza, Tokyo, Japan, 16 January 1975, Part 1
10). Nakano Sunplaza, Tokyo, Japan, 16 January 1975, Part 2
11). Live in Anaheim, 11 November 1975, Part 1
12). Live in Anaheim, 11 November 1975, Part 2
13). Reflections Of Winter (White Rock sessions), Part 1
14). Reflections Of Winter (White Rock sessions), Part 2
15). White Rock Original soundtrack music and FX soundtrack
16). Live From London 1979
17). Live at Montreux 1979

Previously released:

18). Live in Melbourne, 4th February 1975, Part 1*
19). Live in Melbourne, 4th February 1975, Part 2*
* this concert was previously released but in an edited form to fit on one CD. We are releasing the full concert, now fully remastered.

To purchase: https://www.musicglue.com/rick-wakeman-the-prog-years/

US Purchase link: https://www.popmarket.com/the-prog-years-redux-1973-1977-27cd-5dvd-box-set/5056083212941

CLIVE MITTEN – TALES FROM A MISSPENT YOUTH, VOLUME II – INDEPENDENT

Here we yet again have Clive taking a look at music which inspired him and performing it in a classical instrumental manner. Again he has taken the music and adapted it in a manner which is both true to the original and sympathetic to it but lifts the songs into new directions. It would be difficult to fault the choice of bands, with Genesis, Jethro Tull, King Crimson, ELP, VDGG, Led Zeppelin, Rush and Yes all here, but true progheads will be pleased to also note the inclusion not only of Marillion but also IQ and his version of “Widow’s Peak” is simply wonderful. I have always said the progressive bands who have been producing albums since the heyday of the genre should be recognised in the same breath as the classics, and here Clive ends the release by having Marillion close (with “Garden Party” segueing nicely into “Grendel”). 

It is difficult to pick a favourite, but a special mention must be made of “Thick As A Brick”. We may not get the full length, but there is more than 20 minutes here to enjoy as he adapts his way through the classic. I am not overly fond of “Stairway to Heaven”, but I am sure that is because we have now been spoiled by the Heart version which will always be regarded as the gold standard. “Fanfare For The Common Man” is one of the most successful from a classical adaptation viewpoint, with glorious woodwind opening, and violins behind the piano for the main theme. Yes, this is all being played on synths, but Clive has done a wonderful job in using the best sounds for each “voice”. All it needs now is for a live performance with the LSO (or similar) showing just what Clive has managed to achieve with these great arrangements.

In recent years Clive has been producing some wonderful releases, and this is yet another that all progheads will surely enjoy, I know I did. 9/10 Kev Rowland

THE BOND – WON BY ONE (DEFINITIVE EDITION) – INDEPENDENT

After Geoff Mann left Twelfth Night he continued his musical adventures, releasing three solo albums. After the recording had been completed for the last of these, ‘Psalm Enchanted Evening’, and a release date planned for February 1986 he decided to form a band, which would later be known as The Bond. Geoff kept with him guitarist Dave Mortimer who had played on the solo albums, Steve Ridley (who had been involved with the play ‘The Dawn’ where Geoff had the lead role) provided keyboards and occasional woodwind, while Andy Mason (who had played on ‘I May Sing Grace’) was the drummer. By the time of the recording of this album in 1987 Mason had departed, with Geoff now providing not only vocals and wobbly/non-wobbly guitar but also programmed and real-time drum machines.

Twelfth Night have now released this album as a definitive edition, both digitally and as a limited-edition CD which contains all the lyrics plus photos, and they have more than doubled the length by including the single versions of two songs, a demo of each song from the original, plus live cuts. All the tracks have been carefully re-mastered by the original recording engineer (and co-producer) Clive Davenport from previously unheard and higher quality master tracks. This means it is absolutely essential for fans of Geoff, and ties in nicely with the excellent new biography, but what about those who have yet to come across his music? How does this album stand up more than 35 years after its release?

This is almost impossible for me to review objectively as I know the original songs very well indeed, while it is no lie to say the death of Geoff back in 1993 (when he was just 36) impacted me greatly, even though we never actually met. Both these factors mean objectivity has gone flying out the window, as the original album is one I know and love, and listening to the songs again in this definitive edition is wonderful. Lyrically it is highly Christian in nature, while the lack of bass and real drums are not noticed at all. Geoff’s music had a very picked nature, with an underlying theme providing the backing and a more aggressive chord structure over the top with keyboards switching between being almost unnoticeable to becoming the major aspect. Then of course there are Geoff’s emotional vocals, instantly recognisable and like no-one else. This album is in many ways a logical continuation of his solo albums, and does not seem out of place at all, but now there are a group of people working together to perform the songs live. Less off the wall and experimental than albums like ‘Second Chants’, this is a great introduction to those who wondered what Geoff did musically after leaving Twelfth Night.     8/10 Kev Rowland