tag:blogger.com,1999:blog-31919189663350888872024-03-05T13:10:46.423-08:00David LongdonSinger and Songwriter with award-winning British progressive rock group BIG BIG TRAIN SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-3191918966335088887.post-23927500996331320022016-05-20T03:07:00.003-07:002016-07-23T10:39:22.468-07:00Telling the Bees<span style="font-family: "trebuchet ms" , sans-serif;">Words and music by <b>David Longdon</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><b><i>Telling The Bees</i></b> is the 8th track from the album</span> <i><b>'Folklore'</b></i> <span style="font-size: x-small;">by</span> <b>Big Big Train</b></span><br />
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<b style="font-family: "trebuchet ms", sans-serif; text-align: justify;">Telling the Bees</b><span style="font-family: "trebuchet ms", sans-serif; text-align: justify;"> is the closing track on the album and is therefore the final episode in our series of blogs.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">I wrote the music first which was inspired by the title. I find having a title helps to set the mood and instrumentation of the piece within my imagination. It's like having a final destination in mind. <a href="https://en.wikipedia.org/wiki/Telling_the_bees">Telling the bees</a> is a traditional bit of folklore surrounding bee keeping. There is also a notable poem with the same title written by <b><a href="http://www.poetryfoundation.org/poems-and-poets/poems/detail/45491">John Greenleaf Whittier</a></b>. My version is inspired by the folkloric tradition rather than Whittier's poem. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">I wrote <b>Telling the Bees</b> on a 12 string acoustic guitar, tuned to DADGAD with a capo on the 6th fret - which makes the tuning G#D#G#C#D#G#. The reason I used the capo was to make sure that my voice had a yearning quality to it. (Budding songwriters please take note - always make sure that the key of the song you're writing, shows off the singers voice to <u>their</u> best advantage!) Although be warned that guitarists may curse your name forever for doing so! I had also updated my <a href="https://en.wikipedia.org/wiki/Digital_audio_workstation">DAW</a> during the summer of 2014 and this was the first piece of music that I'd written with it.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">I had the melody, the chords and the arrangement down quickly. The chorus words are simply the title of the song repeated over and over. I then lived with it for a few weeks and let the story of the song settle in my mind. Songs have a habit of being ready when they're ready to reveal themselves. Some songs happen quickly while others take their time to fully emerge. You can rush these things but in my experience, if you can, let them unfold as they will. It's good to have the external stimuli of a production deadline but make sure that you give yourself the time to think about the words thoroughly, or you may regret it later. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">When I began to write the lyrics for this song, I imagined the first verse being set towards the end of the First World War. Many events happened in the UK to commemorate WWI during 2014. We are all creatures of our time and so these life events either consciously or subconsciously impact upon the subject matter of the songs that Greg and I would write to make up <b>Folklore</b>. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In the song narrative, a grieving war widow tells her son that he now must 'tell the bees' of his fathers death and also that he must pick up the mantle and become the next beekeeper. I like the idea that these traditions would keep on being passed down the generations. This of course is a very strong theme of the <b>Folklore</b> album and it also links back to themes of the <b>English Electric</b> recordings.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">This song has a sense of the passing of time and of course, significant life events come and go throughout the years. Now the father is gone, the boy has had to become the man who carries it on. Years later he meets a girl, they marry, they have a son and so once the child has grown up - he too may choose to carry it on. It is a simple lyric about the human cycle of life, death and rebirth.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The "1,2,3,4..." count in is my voice being picked up by my 12 string guitar mic. We liked it and so it stayed in the final mix. Oddly enough this count in would have been the very first part that I recorded at the demo stage of the recording process. The initial moment captured and preserved.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">When Greg and I were going through what we had and what we needed in terms of songs for </span><b style="font-family: 'trebuchet ms', sans-serif;">Folklore</b><span style="font-family: "trebuchet ms" , sans-serif;">, I played him my demo of </span><b style="font-family: 'trebuchet ms', sans-serif;">Telling the Bees</b><span style="font-family: "trebuchet ms" , sans-serif;">. He liked it and he instantly said that his initial thought was that it would make a strong final track for the album. As the music is written and recorded the final pieces start to be drawn together as a cohesive body of work, jostling for their final positions in the album running order. <b>Telling the Bees</b> has remained the final track.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Danny Manners</b> brought the Prog to this song with his gorgeous Mellotron choir part at the end which makes the track lift as though being somehow exalted at the final chorus. He also slips in a cheeky little piece of <b><a href="https://www.youtube.com/watch?v=vtAu7xkwNjQ">Rimsky Korsakov's Flight of the Bubble Bee</a></b> in the organ embellishments just before the end of the piece. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Nick D'Virgilio</b> plays the most audacious drum fill in the history of of audacious drum fills shortly before we enter into the middle section where </span><b style="font-family: 'trebuchet ms', sans-serif;">Dave Gregory</b><span style="font-family: "trebuchet ms" , sans-serif;"> brings the beautiful slide guitar solo into soaring technicolour.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">To conclude my post, I have included an old clipping [below] from a local paper which perhaps may go towards showing that there is more truth in the folklore of Telling the Bees than at first meets the eye.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">We (Greg and I) hope that our 'Folklore' blogs have been a useful source of information in the build up to the release of <b>Folklore</b>. As always, there are more stories to tell and sure enough, we are currently working on a follow e.p which will be called <b>Skylon</b>, which is due for release in April 2017.</span><br />
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<span style="text-align: justify;"><span style="font-family: "trebuchet ms" , sans-serif;">Thank you for the support that you have given us on our latest endeavour. It is greatly appreciated. Until next time... </span></span><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;">David Longdon</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif; font-size: xx-small;">Nottinghamshire May 2016</span></b><br />
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SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.com4tag:blogger.com,1999:blog-3191918966335088887.post-14209896440499469932016-05-06T02:11:00.000-07:002016-08-10T09:36:03.408-07:00Winkie<span style="font-family: "trebuchet ms" , sans-serif;">Words and music by <b>David Longdon</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><b>Winkie</b> is track 7 from the album</span> <i><b>'Folklore'</b></i> <span style="font-size: x-small;">by</span> <b>Big Big Train</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><a href="https://en.wikipedia.org/wiki/Winkie_(pigeon)">Winkie</a></b> is the true story of a war hero.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">To me </span><b style="font-family: 'trebuchet ms', sans-serif;">Winkie</b><span style="font-family: "trebuchet ms" , sans-serif;"> most certainly has a</span><i style="font-family: 'trebuchet ms', sans-serif;"> 'from the makers of <b>Judas Unrepentant</b>'</i><span style="font-family: "trebuchet ms" , sans-serif;"> vibe about it. I think it takes some of the ideas present in Judas and extends them. Just as Judas tells the story of infamous art forger </span><b style="font-family: 'trebuchet ms', sans-serif;">Tom Keating, </b><b style="font-family: 'trebuchet ms', sans-serif;">Winkie</b><span style="font-family: "trebuchet ms" , sans-serif;"> tells the story of how a blue chequered hen saved the lives of her aircrew and would become the inaugural recipient of a <b>PDSA</b> </span><b style="font-family: 'trebuchet ms', sans-serif;">Dickin Medal</b><span style="font-family: "trebuchet ms" , sans-serif;"> (the animal equivalent of the </span><b style="font-family: 'trebuchet ms', sans-serif;">Victoria Cross.</b><span style="font-family: "trebuchet ms" , sans-serif;">) It is a fantastic story that I wanted to set to music and when Greg and I were discussing ideas for the album, </span><b style="font-family: 'trebuchet ms', sans-serif;">Winkie</b><span style="font-family: "trebuchet ms" , sans-serif;"> was a no brainer. It had </span><b style="font-family: 'trebuchet ms', sans-serif;">BBT</b><span style="font-family: "trebuchet ms" , sans-serif;"> written all over it and we had to do it.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">When researching the background to the story, I have read and seen various accounts of what happened and there are some significant variations in the finer details. For instance, I saw Winkie's number being listed as NEU40 NSL but I have also recently seen it listed as NEUH40 NSL and there are other variations too. I went with the former. Another example is when an exhausted Winkie made it back home to her loft in Broughty Ferry. Although it says that she was discovered by her owner </span><b style="font-family: 'trebuchet ms', sans-serif;">George Ross</b><span style="font-family: "trebuchet ms" , sans-serif;">, I went with her being discovered by </span><b style="font-family: 'trebuchet ms', sans-serif;">Sgt Davidson</b><span style="font-family: "trebuchet ms" , sans-serif;"> (the loft manager) because I liked the storytelling of it. The source of this information was a highly informative documentary called </span><b style="font-family: 'trebuchet ms', sans-serif;"><a href="https://www.youtube.com/watch?v=sZfjbfe5SXM">War of The Birds</a></b><span style="font-family: "trebuchet ms" , sans-serif;">. I felt that this way was the right way to gave the lyric a solid, personal and realistic element. Although it states that </span><b style="font-family: 'trebuchet ms', sans-serif;">George Ross</b><span style="font-family: "trebuchet ms" , sans-serif;"> was Winkie's owner, there are conflicting reports of who discovered her and who made the life saving call.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">I have placed a link to the excellent documentary called "War of the Birds" in the last paragraph but here it is again, if you missed it. <b><a href="https://www.youtube.com/watch?v=sZfjbfe5SXM">WAR OF THE BIRDS</a></b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">There is also no mention of the magnificent team of people (or the brilliant individual) who pieced together the information gained from Winkie's epic flight home in order to work out an approximate location of the doomed aircrew. This information rein-formed air sea rescue to go out again and look for the crew once more (having abandoned hope of finding them on an earlier search over an impossibly wide target area.) So I went with what scanned lyrically. If I am factually wrong then I sincerely apologise. I worked with the information that was available to me at the time. I went with what I had and what felt right. (Mea culpa - Poetic licence)</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">As expected, with the advent of easily accessible social media, Winkie's tale has inevitably entered into the realm of folklore. Albeit with specific details being slightly altered and retold and reinterpreted as her story is recounted (and I am no exception.) It is what we humans do when we pass our stories on and hand them down. Yes, I have taken poetic licence to make it work as a piece of music (as I usually do.) but I went with what I felt would make an interesting story become an engaging piece of music.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">When writing and arranging Winkie, I wanted the size and scale of the music to be in proportion to the heroism of Winkie's act and in complete contrast to her physical size. I also wanted it to sound like the soundtrack to an adventure movie. The music follows and responds to what is happening in the story line. At times it is bombastic and at then at other moments it is fragile.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In comparison to beady eyed <b>Grimspound</b> (the crow) who fixes us all with his piercing gaze from the cover of <b>Folklore</b>, <b>Winkie</b> is a pigeon who is in no way any less determined. The gargantuan effort of her flying free from the wreckage of the downed aircraft and flying 120 miles back to her loft, heavy with salt water, covered in fuel and oil. Flying in awful weather conditions she arrived back at her loft in a bedraggled and exhausted state.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oSTsNOxOF6VNKvFsyN7NbWGwOTpBu3mz_hHKBrPGzI8PQ3HJhytSFamcMc4IAhRKejrn7zwZ5SVjVkDoFCVlK-ymvc7cXqOucT7zLFkKZFXP-A8tRLvQNJoUYRkjcOPbNVvdoN0l569v/s1600/Picture+by+Angus+McBride.png" imageanchor="1" style="clear: left; font-family: Times; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oSTsNOxOF6VNKvFsyN7NbWGwOTpBu3mz_hHKBrPGzI8PQ3HJhytSFamcMc4IAhRKejrn7zwZ5SVjVkDoFCVlK-ymvc7cXqOucT7zLFkKZFXP-A8tRLvQNJoUYRkjcOPbNVvdoN0l569v/s320/Picture+by+Angus+McBride.png" width="320" /></a></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i style="font-size: small; text-align: start;">Picture b</i><span style="font-size: x-small; text-align: start;">y </span><b style="font-size: small; text-align: start;"><i>Angus McBride</i></b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Flying at night in harsh conditions. She was the only hope of survival for the four airmen. Their lives rested solely on her making it home.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtsmq0FYrgXmDbJGQ1GpsHErXpW8LrD4Xs4GDnKyGmYC0zaGIyFVgAMKZBTXD4iSFt_jnkX_TI7yw3rNjZkpYwadlcaQ3QAS2IqR-exXtZjMeUtmcT-5b309emBt2rwbHEQ3dTCF2XFNcg/s1600/Winkie+and+her+grateful+crew.png" imageanchor="1" style="clear: left; font-family: Times; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtsmq0FYrgXmDbJGQ1GpsHErXpW8LrD4Xs4GDnKyGmYC0zaGIyFVgAMKZBTXD4iSFt_jnkX_TI7yw3rNjZkpYwadlcaQ3QAS2IqR-exXtZjMeUtmcT-5b309emBt2rwbHEQ3dTCF2XFNcg/s320/Winkie+and+her+grateful+crew.png" width="320" /></a></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i style="font-size: small; text-align: start;">A photograph of <b>Winkie</b> with her grateful crew.</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Major W.H. Osman</b> campaigned for the continued funding of the <b><a href="https://en.wikipedia.org/wiki/National_Pigeon_Service">National Pigeon Service</a></b> which had served the war effort well in WWI. Once the war was over, the funding was cut because the War Office believed that newly introduced radio communication technology was the way forward and pigeons were old hat. Major Osman was not convinced and he fought hard to keep the National Pigeon Service funded and active incase of breakdowns in radio communication. Major Osman also insisted that two pigeons would accompany each bomber crew incase radio communications broke down whilst on mission.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">All very fine in theory but the <b>NPS</b> (National Pigeon Service) cost money to the War Office and the one thing that they needed to justify their expenditure was exactly the thing that the NPS was trying to avoid happening.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In order for the NPS to get funding, conclusive proof was needed. On February 23rd 1942, thanks to Winkie, the NPS would earn their justification and that is what this song is about.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Safely back at RAF Leuchars the grateful aircrew held a dinner in honour of Winkie in their mess. She was in her cage at the head of the table. In 1943 Winkie was the first to be awarded a <b>PDSA</b> <b><a href="https://en.wikipedia.org/wiki/Dickin_Medal">Dickin Medal</a></b> for saving the lives of her crew.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QxMlvFoEDH_XqCd5YEZ9yJT1pBk8N-Vvd6kvnSu2okGHzD2IFznfvaEXAa_TvOU7MwVhs5lHfg3GSX0dktjIKxSbv64t_Uln8OlIKi6PbxOE0tNBJK9-05AOzpI-uvFE77bgJHh0gOO2/s1600/Winkie+being+awarded+her+Dickin+medal.png" imageanchor="1" style="clear: left; font-family: Times; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QxMlvFoEDH_XqCd5YEZ9yJT1pBk8N-Vvd6kvnSu2okGHzD2IFznfvaEXAa_TvOU7MwVhs5lHfg3GSX0dktjIKxSbv64t_Uln8OlIKi6PbxOE0tNBJK9-05AOzpI-uvFE77bgJHh0gOO2/s320/Winkie+being+awarded+her+Dickin+medal.png" width="320" /></a></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small; text-align: start;">The veterinary Charity Founder <b>Marie Dickin</b> awarding <b>Winkie</b> [the inaugural recipient] her <b>PDSA</b> <b>Dickin Medal</b></span><span style="font-family: "times"; font-size: x-small; text-align: start;"><span style="font-family: "trebuchet ms" , sans-serif;">. Winkie is being held by </span><b style="font-family: 'Trebuchet MS', sans-serif;">Wing Commander Lea Rayner</b><span style="font-family: "trebuchet ms" , sans-serif;">:- 1943</span></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">By writing a piece of music about Winkie, she becomes a folk heroine and she is a very deserving one at that. I liked this subject matter because I thought that it was an extraordinary story and it cried out to have a song written about it. </span><span style="font-family: "trebuchet ms" , sans-serif; text-align: start;">Winkie is without doubt a true heroine. And it only goes to show that heroes can be any size.</span><span style="text-align: start;"> </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: start;"><b><i>David Longdon</i></b></span></div>
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SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.com2tag:blogger.com,1999:blog-3191918966335088887.post-41087703653241103392016-04-29T02:38:00.003-07:002016-04-29T02:38:53.172-07:00Wassail<span style="font-family: "trebuchet ms" , sans-serif;">Words and music by <b>David Longdon</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: xx-small;"><span style="font-size: x-small;"><i>Wassail</i></span><b style="font-size: x-small;"> </b><span style="font-size: x-small;">is</span><b style="font-size: x-small;"> </b><span style="font-size: x-small;">Track 6 from the album</span></span> <i><b>'Folklore'</b></i> <span style="font-size: x-small;">by</span> <b>Big Big Train</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><br /></b></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>"Apple tree, old apple tree</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>Bountiful we raise a glass to thee"</i></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPo4EgRt9mnfnuolyHjBpw3XSGBIaAfp2bLi3xHNW2zFgvFaw7ovYeSFvxHqy1ZN_vChYdVw3wPfOutd8bndyumvW1DYoK_6kJInDLyppct75FTiks_rv8vUpbRf_tv3stT543TULhZevX/s1600/Screen+Shot+2016-04-27+at+17.51.30.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPo4EgRt9mnfnuolyHjBpw3XSGBIaAfp2bLi3xHNW2zFgvFaw7ovYeSFvxHqy1ZN_vChYdVw3wPfOutd8bndyumvW1DYoK_6kJInDLyppct75FTiks_rv8vUpbRf_tv3stT543TULhZevX/s320/Screen+Shot+2016-04-27+at+17.51.30.png" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">This track was first heard last summer as the title track of BBT's </span><i style="font-family: 'trebuchet ms', sans-serif; text-align: justify;"><b>Wassail e.p</b></i><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">, which was released to herald the return of </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Big Big Train</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> to the live stage. The e.p featured a beautiful cover (<span style="font-size: x-small;"><i>above</i></span>) painted by <b>Folklore</b> artist <b><a href="http://sarahlouiseewing.com/home.html">Sarah Louise Ewing</a></b>. "It looks like a Christmas card!" remarked <b>Team Rock Radio's</b> cheeky </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Phil Wilding</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> when he interviewed </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Greg</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> and </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Danny</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> live on his radio show during the height of summer! He did have a point. Ideally it would have made a good Yuletide release but because it had been a while since the <b>English Electric</b> albums, we thought that the fans would enjoy having some new music from the band to whet their appetites in advance of our live shows.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"><br /></span><span style="text-align: justify;"><span style="font-family: "trebuchet ms" , sans-serif;">An explanation of what </span><b style="font-family: 'trebuchet ms', sans-serif;"><a href="https://en.wikipedia.org/wiki/Wassail">Wassail</a></b><span style="font-family: "trebuchet ms" , sans-serif;"> means was given in the sleeve notes of the e.p and it has been mentioned in various interviews that Greg and I have done over the last year. If by chance you have not seen or heard them, I've included a couple of links within this paragraph - <b>Wassail</b> is an English <a href="http://www.theguardian.com/lifeandstyle/wordofmouth/2010/jan/21/wassailing-cider-apple-orchard">pagan ritual that was performed in apple orchards in England</a> in order to ward off evil spirits and bless the trees so that they would yield a bountiful crop. I understand that it is making a bit of a come back.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_4NbhrODZwcFZQoZImazXVITmTgAYI4ehvMGRPIKVQcUiG-pZy6crHGEHUPk7R5CT3qh3kVv3y8pwWVH3BBqTWyoy3SwezioY_GZW_PAEcQl7FTACGIUROtdbDr9_q5rymoKmYvFrLcnT/s1600/Screen+Shot+2016-04-27+at+17.46.15.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_4NbhrODZwcFZQoZImazXVITmTgAYI4ehvMGRPIKVQcUiG-pZy6crHGEHUPk7R5CT3qh3kVv3y8pwWVH3BBqTWyoy3SwezioY_GZW_PAEcQl7FTACGIUROtdbDr9_q5rymoKmYvFrLcnT/s320/Screen+Shot+2016-04-27+at+17.46.15.png" width="320" /></a></div>
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The drum tracks for </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Wassail</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> were recorded at the end of our </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Stone and Steel</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> sessions at </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Real World</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> during the summer of 2014. We had booked a day to record drums for material that would become </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Folklore</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">. Months earlier during one of our epic phone calls Greg and I discussed song ideas that we had and I mentioned </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Wassail</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">. We thought it was good subject matter and I set about writing and arranging the piece. When I programmed the VST drums, I got so carried away playing it that I broke several keys on my MIDI controller keyboard. (Rock 'n Roll! Whoooo!)</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">I wanted to musically pay homage to some of the great music that has come out of <b>Real World</b>, especially the <b>Peter Gabriel</b> tracks '<b>Sledgehammer</b>' and '<b>Steam</b>.' I wanted <b>Wassail</b> to have the huge and present drum sounds that those tracks possess and recording our drums in those studios would give us access to the same acoustic environments. <b>Stone and Steel</b> features the <i><b>'Wassail Drum Session'</b></i> as an extra on the Blu-Ray and it shows <b>Nick</b> performing, <b>Rob</b> and <b>Ollie</b> engineering and me producing the session.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIIMadHHb5IWnUyWnzSuPloLf2wDTSLYkkvv9IC3bD9Pa3WM4H86xSnbna7bzU9XE1VI9C5jT0OoTHs3bPcSr2PwCt6mu32_h1buUhzeh_3mZR6ibDKxSE0Stqyt8GQOskWF3qGw32OiA/s1600/Screen+Shot+2016-04-27+at+17.51.54.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIIMadHHb5IWnUyWnzSuPloLf2wDTSLYkkvv9IC3bD9Pa3WM4H86xSnbna7bzU9XE1VI9C5jT0OoTHs3bPcSr2PwCt6mu32_h1buUhzeh_3mZR6ibDKxSE0Stqyt8GQOskWF3qGw32OiA/s320/Screen+Shot+2016-04-27+at+17.51.54.png" width="320" /></a></div>
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<b style="font-family: 'trebuchet ms', sans-serif;">Wassail</b><span style="font-family: "trebuchet ms" , sans-serif;"> was written with the idea of it being a 'single.' It is a pagan chant that grooves along and its subject matter is powerful. We loved the image of the green man that </span><b style="font-family: 'trebuchet ms', sans-serif;">Sarah</b><span style="font-family: "trebuchet ms" , sans-serif;"> had painted at the top of the frame for the e.p cover, so we asked her to paint another picture, solely of the green man because we thought it would make a strong image for BBT marketing.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">During yet another epic phone call with Greg, we spoke about visuals for the forthcoming live shows. We had chosen <b>Wassail</b> as one of the pieces in the set and we spoke about having a mask made, based on Sarah's picture. A week later I was having a conversation with <b>Simon Withers</b> and I mentioned the idea of the mask. Simon has been involved with the Nottingham art scene for years and he instantly recommended <b><a href="https://stephenjonmask.com/">Stephen Jon</a></b> - mask maker extraordinaire. The following Thursday I was at Stephen's house having a plaster cast made of my face.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_WMbzCYJRA5NBH3MX1yUrZhK1RgSJ9GVss79vFRohMJ7O5UL8N0cG3E-pKyZWU0KalulVJ-2xrnXlKxCuMLOgbiNxUndBtuhmyN3Etwt6Ovp__BWjfM22Q9NhQISfuu8Ubv4pMk0aPoV/s1600/Screen+Shot+2016-04-27+at+18.51.25.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_WMbzCYJRA5NBH3MX1yUrZhK1RgSJ9GVss79vFRohMJ7O5UL8N0cG3E-pKyZWU0KalulVJ-2xrnXlKxCuMLOgbiNxUndBtuhmyN3Etwt6Ovp__BWjfM22Q9NhQISfuu8Ubv4pMk0aPoV/s320/Screen+Shot+2016-04-27+at+18.51.25.png" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Once the plaster 'negative' is made, Stephen makes a 'positive' from it (sorry - no glasses)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCosTZNMYfZdLd83u_pgLLb_QmNI43z23icsrAG4Ts-AGRKU070uxrnqku7jiHii3QjDnpc8K3S1On8UGVo0u5UZyTfAhiG62AQb2NvOqbvtQrd-_5rmZOpYfgE9TcEP6bTco_SYwOzzD2/s1600/Screen+Shot+2016-04-27+at+18.23.03.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCosTZNMYfZdLd83u_pgLLb_QmNI43z23icsrAG4Ts-AGRKU070uxrnqku7jiHii3QjDnpc8K3S1On8UGVo0u5UZyTfAhiG62AQb2NvOqbvtQrd-_5rmZOpYfgE9TcEP6bTco_SYwOzzD2/s320/Screen+Shot+2016-04-27+at+18.23.03.png" width="240" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Working in clay, Stephen is then able to build up the features of the mask.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXrMSXnc0H_7SdeiNuF1I3AFzaWQNu_yHVgle7LczftmfC35bogXDIKbG00kM0AuYx7sV9rcplwryWS1n-7WTI-q0fqki2sJYLdteAc5kqpgdxS34HHMb7L-82QgJdFxj9YtZ7Ud76GFR/s1600/Screen+Shot+2016-04-27+at+18.26.34.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXrMSXnc0H_7SdeiNuF1I3AFzaWQNu_yHVgle7LczftmfC35bogXDIKbG00kM0AuYx7sV9rcplwryWS1n-7WTI-q0fqki2sJYLdteAc5kqpgdxS34HHMb7L-82QgJdFxj9YtZ7Ud76GFR/s320/Screen+Shot+2016-04-27+at+18.26.34.png" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Hours of skillful</span><span style="font-family: "trebuchet ms" , sans-serif;"> sculpting, with intricate detailed items placed over paper mache and then painted. A few weeks later I return to meet 'Greenie' for the first time.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eX0GtU0EADqVSKDxrIS4ywJAZhEkVvodgrtYo6sw1SNp2DoSJPmv6nVcI95dDFKVnSzzOaOTXXrEgwh3Heb0fqCeqJrmMN5Un2wnDTwgk-MwWdnl01HdGEmMzapP1PRR2bNmYuE6Z8_F/s1600/Screen+Shot+2016-04-27+at+18.41.49.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eX0GtU0EADqVSKDxrIS4ywJAZhEkVvodgrtYo6sw1SNp2DoSJPmv6nVcI95dDFKVnSzzOaOTXXrEgwh3Heb0fqCeqJrmMN5Un2wnDTwgk-MwWdnl01HdGEmMzapP1PRR2bNmYuE6Z8_F/s320/Screen+Shot+2016-04-27+at+18.41.49.png" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The first fitting is to make sure that I can wear the mask comfortably and also play the flute while wearing it too.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjID236XkYLX4dfdJkceV90fXCPzTT6_K3Uoa8nobJko9DrlUSErvWNlVWYnw-eQv7T1lEoPIvhy7ljhp4JGZkI7nqT1oaQu0cxF5ueq2pkDK4EEgYY8a3CXS4vuhLlDxn2kdnICgAYKvU/s1600/Screen+Shot+2016-04-27+at+18.20.52.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjID236XkYLX4dfdJkceV90fXCPzTT6_K3Uoa8nobJko9DrlUSErvWNlVWYnw-eQv7T1lEoPIvhy7ljhp4JGZkI7nqT1oaQu0cxF5ueq2pkDK4EEgYY8a3CXS4vuhLlDxn2kdnICgAYKvU/s320/Screen+Shot+2016-04-27+at+18.20.52.png" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Stephen's masks are featured and worn not only by Stephen and myself but also by some of the passengers who attended the 'Folklore' music video shoot on St. Catherine's Hill near Winchester a few weeks ago. The whole of BBT wore Stephen's masks for a <b>Prog Magazine</b> photo shoot and as soon as the masks were on, the capering begins. </span><span style="font-family: "trebuchet ms" , sans-serif;">Masks are very interesting things when introduced into an environment.</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">When <b>Wassail</b> was performed live during our <b>Kings Place</b> shows, it came of age. It was written to be performed as a piece of live entertainment. </span><span style="font-family: "trebuchet ms" , sans-serif;">When I wear the mask live, I become the character - he makes his entrance midway through the song and he takes his bows before leaving the stage. (<i>See <b>Stone and Steel</b></i>) </span><span style="font-family: "trebuchet ms" , sans-serif;">I am very interested in the folklore element of masks. They tap right into the spirit of our ancestors wearing them to become something other than they were. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Wassail was nominated in the </span><b style="font-family: 'trebuchet ms', sans-serif;">Progressive Rock Awards</b><span style="font-family: "trebuchet ms" , sans-serif;"> 'Anthem" category and also in the Classic Rock Society's 'Song of the Year' category. It has been played several times on </span><b style="font-family: 'trebuchet ms', sans-serif;">BBC Radio 2</b><span style="font-family: "trebuchet ms" , sans-serif;"> by legendary broadcaster </span><b style="font-family: 'trebuchet ms', sans-serif;">Bob Harris</b><span style="font-family: "trebuchet ms" , sans-serif;"> who is a supporter of </span><b style="font-family: 'trebuchet ms', sans-serif;">Big Big Train</b><span style="font-family: "trebuchet ms" , sans-serif;"> music. Hearing Bob's iconic voice reading out the opening lyrics to </span><b style="font-family: 'trebuchet ms', sans-serif;">Wassail</b><span style="font-family: "trebuchet ms" , sans-serif;"> will remain with me until the end of time.</span></div>
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SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.com4tag:blogger.com,1999:blog-3191918966335088887.post-20048641346406228882016-04-01T00:45:00.002-07:002016-04-07T03:06:12.244-07:00Folklore<span style="font-family: "trebuchet ms" , sans-serif;">Words and music by <b>David Longdon</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: xx-small;"><b>Folklore </b><span style="font-size: x-small;">is</span><b> </b><span style="font-size: x-small;">Track 1 from the album</span></span> <i><b>'Folklore'</b></i> <span style="font-size: x-small;">by</span> <b>Big Big Train</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>"Let us begin where it all began..."</i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">This is the first of eight blogs that will give background information about the songs on our new album. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Folkore</b> [the album and the track] starts off where most of our ancestral stories most likely began. Around the cracking flames of the campfire. Stories told after sunset, with no daylight reassurances or distractions. The cold dark night forcing us to huddle closer together, among the security of the 'pack', beside the warm glow of the flames. The night focusses us in. O</span><span style="font-family: "trebuchet ms" , sans-serif;">ur minds become much more open to suggestion. Our imaginations are susceptible, impressionable and pliant. It is at these very moments, when the unbelievable can all too easily be believed.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The moment is right and the stage is set. Firelight makes the shadows dance. Flickering light contorts the animated features of the storyteller - transforming them into something other than they are.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Women and men, young and old - rapt listeners all. Although the older listeners have heard these stories many times before and they know what is to unfold. They too delight in the engrossed faces of the youngsters. Open mouthed and spellbound as they listen to wondrous tales. Or recoiling in fright to the comforting arms of their mothers. Caught up in the drama of the moment. Hanging on each word and every plot twist.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">These tales Ignite and fan the flames of our fertile imaginations. </span><span style="font-family: "trebuchet ms" , sans-serif;">These are our stories of love, words of wisdom, cautionary tales. Heroic adventurers featuring fantastical creatures and conniving villains. Supernatural tales, stories involving the incredible luck of particular individuals. Stories that reveal the fate of their many characters and the consequences of their actions. It is an integral part of who we are and who we think we are. Forming the bedrock of our cultures. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Passed down by word of mouth from generation to generation - the fine details and factual information sometimes abandoned and exaggerated in favour of the drama within the story as these tales are reinterpreted from storyteller to storyteller. Country to country, each adding something of themselves to embellish the tale. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>"The pen is mightier than the sword, the music of the word is scored"</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">Each development further enhancing the power of the word. The emergence of the written word, the development of the ink press, the incredible technological advancements of the 21st century - all fuel to our fire and grist to the mill. </span><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">We are still making out own cultural folklore to this day - the addition of the press and social media allows our stories to be told at a terrific rate.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"><b>Folklore</b> is a deliberate companion/bookend piece to </span><b style="font-family: 'trebuchet ms', sans-serif; text-align: justify;">Wassail</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">. It shares the same chord sequence and it uses the same mandolin/violin/flute riff. The instrumental play out at the end of the piece features members of the band taking a short solo section then passing it on to the next player and so on until the piece concludes.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">In addition to <b>Folklore</b> being the first track on the album and the title track of the album, it will also be the first 'single' taken from the album. A short film (music video ) has been shot to accompany it, featuring a cast of extras drawn from our fantastic <i>'passengers'</i> on the BBT Facebook forum.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">My friend and fellow band mate <b>Greg Spawton</b> will post a blog next week in which he writes about the next track on <b>Folklore</b>.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>David</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">All Fools' Day 2016</span></div>
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"><br /></span>SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.com6tag:blogger.com,1999:blog-3191918966335088887.post-59564924206078943622016-02-06T12:09:00.000-08:002016-02-06T12:09:33.287-08:00The Return of the BlogsDear all,<br />
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This is just a quick post to say that with the arrival of our new studio album <b>FOLKLORE</b>, Greg and I will be posting a series of blogs in which we write about the stories behind each of the songs on the album. The first blog will be posted at the beginning of April 2016.<br />
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We did this with our <b>English Electric</b> releases and many of you commented that you enjoyed reading them, so we are doing it again!<br />
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As you may know, we are in the final stages of completing not only <b>FOLKLORE</b> but also our Blu-Ray release of <b>Stone & Steel</b> which I must say is both looking and sounding amazing.<br />
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Exciting times ahead aboard the <b>Big Big Train</b>.<br />
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Love<br />
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<b>David</b><br />
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<br />SoundEmporiumhttp://www.blogger.com/profile/17475704763018150264noreply@blogger.com7tag:blogger.com,1999:blog-3191918966335088887.post-46220991291500573562014-01-04T00:18:00.000-08:002014-01-04T00:18:41.007-08:00Thank you<div style="text-align: justify;">
This post is just to say a big big thank you to all those who voted for me in the male progressive rock vocalist category in <b>PROG magazine</b>. I am very honoured and deeply flattered to have been voted number one.<br />
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I would like to thank <b>Greg</b> and <b>Andy</b> for giving me the opportunity to contribute to the music of <b>Big Big Train </b>back in 2009. I also doff my cap to my talented band mates aboard the <b>Big Big Train</b> for their musicality and arrangement skills. <b>Big Big Train</b> is a fantastic canvas to work with because it affords us the flexibility to bring the storytelling within the material to life.<br />
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Congratulations also to <b>Nick D'Virgilio</b> for being voted in sixth place in the drummers category, <b>BBT</b> for being voted second best band and <b>Full Power</b> being voted fifth place in album of the year.</div>
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<b><i>The Underfall Yard</i></b>, <b><i>Far Skies Deep Time</i></b> & <b><i>English Electri</i>c</b> - what a fantastic ride it has been! Here's to what comes next.</div>
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It looks like 2014 has already got off to a great start. Thank you very much.</div>
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Peace</div>
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<b>David</b></div>
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Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-3191918966335088887.post-39421063734183489912013-12-27T12:43:00.000-08:002013-12-27T12:43:30.914-08:002013 - An Autopsy<div style="text-align: justify;">
Here we are at the end of another year and what a fantastic year it has been, not only for <b>Big Big Train</b> but also for Progressive Rock Music in general. There have been some tremendous releases in our genre this year.<br />
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This post is intended to be a brief overview of our year, from my 'behind the mic' viewpoint.</div>
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On the 2nd of January 2 2013, we found ourselves on location at the <b><a href="http://en.wikipedia.org/wiki/Eastleigh_Works">Eastleigh Railway Works</a></b> in Southampton. As you would expect, it was cold despite the addition of an industrial heater. The works were in use by the railway carriage engineers and we were in awe of the sheer scale of the work that these men carry out, as if it was nothing. It felt most strange performing along to our track in the midst of all this dramatic industrial scenery. Eventually though, after a few runs through, we began to get used to the absurdity of it and we adjusted to the weirdness of it. The video was made to give those who are interested in us, a glimpse of what it might be like, when we perform live. The video was directed by <b>Peter Callow</b> and upon it's release in September this year, it has helped to opened up new possibilities for us.<br />
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January 2013 also found me working on material for <b>Andy Tillison</b>. I'd been invited to contribute vocals and had received audio stems. I started working on vocal arrangements for what would become <b>Le Sacre Du Travail</b> the seventh studio album by <a href="http://www.thetangent.org/">The Tangent</a>. Andy is 'the voice' of <b>The Tangent</b> and it is his idiosyncratic narrative that is identifiable as the vocal sound of the band. So I concentrated on building my vocals around his top lines. I enjoy The Tangent and working on the material was thrilling. </div>
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<b>Chris Topham</b> of <b><a href="http://www.planegroovy.com/">Plane Groovy</a></b> approached <b>BBT</b> in 2012 with the proposal of releasing <b>EEpt 1</b> on vinyl. Initially we thought that having it available on vinyl would only appeal to a small and selective niche market of vinyl junkies but we were wrong. Releasing it on vinyl had a much bigger impact for us than that. The resourceful <b>Marc Catchpole</b> managed to place a vinyl copy of <b>EE pt 1</b> into the hands of legendary broadcaster <b><a href="http://en.wikipedia.org/wiki/Bob_Harris_(radio)">Bob Harris</a></b>, when Bob was hosting the <b><a href="http://www.classicrocksociety.co.uk/">Classic Rock Society</a></b> awards. We have been labelled as being a 'crossover progressive rock band' by some and this came to be justified when '<b>Uncle Jack</b>' was played on <a href="http://www.bbc.co.uk/programmes/b006wqtf">Bob's show</a>. This opened the door and subsequently other BBT material was broadcast, which has helped to bring our music to a wider audience.<br />
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2013 was the year in which we decided to commission and launch our very own <a href="http://www.boxsteambrewery.co.uk/">Big Big Train Ale</a> brewed by the <b>Box Steam Brewery</b></div>
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<b>English Electric Part 2</b> came out in March 2013, continuing seamlessly on from where Part 1 left off. Like it's sibling, it too is available on vinyl. It was a tricky process getting the balance right over the two English Electric releases. Although they would eventually be merged into one, both releases had to have their own <i>zen</i> about them - and work together as a whole.</div>
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<b>Full Power</b> finally emerged in September 2013. It is a colossal, sprawling- widescreen-Technicolor-epic thing to behold when presented like this. </div>
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The 'directors cut' of English Electric parts 1 and 2 along with four additional new pieces, collated in a new definitive running order and lavishly packaged. </div>
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<b>Make Some Noise </b>was also released at the same time along with its accompanying video and in an e.p format. Reaction was positive but for a few, the song caused a few raised eyebrows. It's a straight forward catchy rock song with fewer progressive elements than usual. It also kicks off <b>Full Power</b>.</div>
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<b>Q1:</b> Is it a new direction for BBT?<br />
<b>A:</b> No. <br />
<b>Q2:</b> Why is it not as typically BBT as the material on EE pt1 and pt 2?<br />
<b>A:</b> The music reflects the subject matter of the lyric. It is a suitable soundtrack to the concept of the song which is about young people forming rock bands. The song features some musical nods to the signature sounds of some of those classic artist who inspired us to start playing in bands. Even the lyric is deliberately untypical of BBT.</div>
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When we write songs for BBT albums, <b>Greg Spawton</b> has a particular style to his writing which has been the bedrock of BBT dating back to <b>The Infant Hercules</b>. So when I began co-writing and then submitting material for the band, I did not want it to sound like Greg's writing and I did not always want it to necessarily fit in with what BBT would usually do. I wanted to offer an alternative and show the breadth of what we're capable of. I'm not interested in writing to formula and so I only write what interests me. <b>Judas Unrepentant</b> and <b>A Boy in Darkness</b> are most certainly progressive rock pieces, while <b>Uncle Jack</b> and particularly <b>Leopards</b> are deliberately less so. However, <b>Uncle Jack</b> and <b>Leopards</b> have both been lucky for <b>BBT</b> by being played on <b>Radio 2</b>.<br />
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In early September we were invited to attend <a href="http://www.progrockmag.com/news/2013-progressive-music-awards-the-story-of-the-night/" style="font-weight: bold;">The Prog Awards 2013</a>. So Greg, Andy and I went off to <b>Kew Gardens</b>. We were nominated in two categories:- Best album and breakthrough act. We won the latter and were absolutely delighted. It was an honour for us to receive the award because it was the readers who had cast their votes.<br />
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Highlights included meeting <b>Andy Tillison</b> [actually - it was the very first time I met him which is odd considering we'd worked together on <i>Le Sacre Du Travail</i> earlier on in the year], <b>Steve Hillage</b>, <b>Steven Wilson</b>, <b>Roine Stolt</b>, <b>Pete Trewavas </b>and<b> Matt Stevens</b>. BBT were also name checked by the jovial <b>Mike Portnoy</b> during his acceptance speech for his virtuoso award - thanks Mike!<br />
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A big big thank you to <b>Alison Henderson</b> who organised <b>The Big Big Weekend</b> in Winchester, along with visits to notable sites that feature in <b>BBT</b> material alongside cultural presentations by Greg and Alison. A curry was eaten (because that's how this train rolls] and a visit to Aubitt Studio where <b>Andy Poole</b> and <b>Rob Aubrey</b> had <i>Judas</i> on the slab ready for dissection!<br />
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I'm thrilled that my fellow <i>Tangenteer</i> <b>Jakko Jakszyk</b> finally landed <b>THE CRIM</b> gig. Much as I've enjoyed the work that <b>Adrian Belew</b> did with the band, I can't wait to hear what they come up with in their newly resurrected current line-up.</div>
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The final two months of 2013 we have been busy getting ready to go into <b>Realworld</b> during August 2014. We have chosen the material that we will perform and shortlisted five tracks to get into shape by the end of January. I have been busy arranging the various layers of vocals in a way that they can be performed by the band. It's sounding good so far!<br />
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Thank you to all of you who are on the <b>BBT Facebook group page</b>, who make it such a great place to visit. Thank you to all who voted for us in the various Progressive Rock Polls this year. Thank you to all who support us and spur us on.<br />
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Happy New Year to you and here's to 2014<br />
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Peace<br />
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<b>David</b><br />
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-3191918966335088887.post-29765708286923900352013-09-19T07:42:00.000-07:002013-09-27T06:19:34.305-07:00Make Some Noise<br />
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It's all go! We won the Breakthrough Award at the 2013 Progressive Music Awards, we have a BBT Ale out and now we have released a single with its very own video.<br />
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I wrote <strong>Make Some Noise</strong> as a retro sounding nostalgic piece about being young and wanting to form a band. I fondly remember starting to play music with my school friends in drummer Sam's attic room throughout one summer. Sam's mum and dad worked during the daytime so we had the house to ourselves and we could make as much noise as possible. Much to the horror of the neighbours - Philip Avenue would never be as quiet again. Sam's parents had recently bought a greenhouse for their garden and with that our band name was born. We were <strong>GREENHOUSE</strong>. </div>
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This song is more of a rock song rather than a progressive rock song and it doffs its cap to bands/artists like <strong>The Beatles</strong>, <strong>David Bowie</strong>, <strong>Queen</strong>, <strong>The Faces</strong> and all those other bands that caught imaginations and inspired young would be musicians to want to get together and make a racket. It also has a <a href="http://www.youtube.com/watch?v=-SlvZF6k5bE"><strong>Grange Hill</strong> </a>style instrumental section which lead into a rock'n roll style section. [Many notable bands from that time had rock'n roll tunes in their live sets because they were inspired by it when they were starting out - <strong>Mott The Hoople </strong>and <strong>Uriah Heep</strong> to name two!]</div>
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We were certainly rough around the edges back then but what we lacked in ability, we more than made up for in enthusiasm and hopefully charm. Once we had a few covers under our belt, I tried my hand at writing songs, simply because the band needed them. It was all very exciting and inspiring and now, many years later, we look back on those days with fond memories.</div>
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We [BBT] had a drum tracking session at Aubitt one Christmas and Greg said there might be some downtime left over from the session and asked if I had any solo material that Nick could play on. I only write within BBT at the moment and so thinking about solo material seemed unusual. I had my demo of <strong>Make Some Noise</strong> and it was part of a project I'd been working on called <strong>Door 1</strong>. Because of the nature of the songs subject matter, it deliberately sounded like a retro rock song and I thought it would be fun for Nick to drum on.<br />
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So we did the tracking session and it came time to do Make Some Noise. As we worked on it, Rob Aubrey really got into it and Greg was getting a Jellyfish vibe from it. As a reasonably short and direct piece of rock music, it was thought that it would make a good single for BBT! <br />
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So no, it isn't your usual BBT sounding recording. It's us letting off steam (groan) and having some fun.<br />
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We are often asked about the possibility of our performing live but being studio based has allowed us to make huge and intimate dynamic soundscapes. Transferring these expansive songs onto a restrictive stage with the strings and brass etc will be a huge logistical undertaking. For me, Big Big Train albums have always been things of fantasy. Make Some Noise shares this same fantasy but only this time it is viewed from the other end of the telescope. In this track we have tried to rein in the multi tracking and present the band in much more scaled down version of itself. After the success of our <a href="http://www.youtube.com/watch?v=jfKfcfIeYYI">promotional video for English Electric part 1</a>, we decided to make a video to accompany the song which would show the band performing the track in a live like environment. It affords the fans the opportunity to have a glimpse of what we might be like in a live situation. The video was shot on location at the <strong>Eastleigh Railway works</strong> in Southampton on 02/01/13. It was well nippy!<br />
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The video also features archive photographs and vintage Super 8 footage of BBT members in their early bands. The footage was shot by <strong>Tony Withers</strong>, Sam's father. So the young lead vocalist that you see moving around was a teenage me.<br />
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With love<br />
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<strong>David</strong><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3191918966335088887.post-29452807940831272062013-02-02T16:11:00.000-08:002013-02-02T16:22:56.363-08:00Leopards<span style="text-align: justify;">The story behind </span><strong style="text-align: justify;">Leopards</strong><span style="text-align: justify;"> is simple in one sense. Essentially it is a love story but you know love; it can be... complicated. </span><br />
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<b>Leopards</b> is a song about two people who had gone their separate ways after the end of their relationship. Years pass until one day, by chance the pair meet again. Their mutual feelings are rekindled and they carefully begin to rebuild their relationship. Inevitably, they both have their insecurities, their baggage and fears.<br />
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On the eve of her birthday, he presents her with a small ornate jewellery box which when opened, contains a beautiful Cartier Panther brooch. The jewelled body of the beast sparkles in the light. It must have cost a fortune. She pins the bejewelled feline to the lapel of her dress and as she stands to admire it in the large mirror above the mantlepiece, he drapes her shawl around her shoulders. He gently kisses the nape of her neck as he does so. It may be the champagne or the high emotion of the moment but she finds herself lost for a while in her reverie. </div>
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'Happy birthday darling' he whispers.</div>
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But she is troubled by her rekindled love towards her former lover. Back then she loved him dearly and afterwards she then had to learn to live without him. She remembers her terrible sorrow and it has taken time and courage to learn to trust and to give again.<br />
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Her dilemma is this:- He tells her that he was a fool to leave her. He says that not one single day had passed since they parted without him thinking of her and regretting his selfish act. He also says that he has changed but the question she asks herself is this:- Are we really able to change?<br />
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On one hand, if she does not surrender herself, she will never know what could be. On the other, will her fear of being hurt all over again outweigh her overwhelming desire to love him and be loved by him?<br />
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You see! Complicated!</div>
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The leopard metaphor within the title concerns itself of course with the old proverbial question <i>'can a leopard change its spots?'</i><br />
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The gentle rolling acoustic guitar riff is played in DADGAD. <b>Danny Manners</b> adds a swinging double bass. <b>Nick D'Virgilio's</b> drumming is subtle but hits hard in all the right places. I did at one point, consider that it might make a good duet but I changed my mind for some reason, during the recording process. <b>Dave Gregory</b> turns in some incredible guitar playing here, listen how he moves around within this arrangement. <b>Greg Spawton</b> lends a hand with some backing vocals. <b>Andy Poole</b> remarked as we were recording the vocals, that although <b>Leopards</b> is considerably shorter in length in comparison with some of the other BBT tracks, it was no less complicated to record.<br />
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The strings were beautifully performed by <b>The Covent Garden String Quartet</b> and the arrangement is once again by <b>Louis Philippe</b>. As you can see clearly in the picture below, recording engineer <b>Ken Brake</b> has collapsed after giving his all!<br />
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I thought Louis would be the perfect choice for <b>Leopards</b> and he came up with the lovely swooning string intro that starts the track off. It is also featured at the start of our <b>Big Big Train</b> promotional video, released in order to plug <b>English Electric Part 1</b>. Louis' arrangement gives the track a romantic nostalgic feel and for me it seems to set the piece within a specific era. I can almost imagine it as part of a <b>Powell</b> and<b> Pressburger</b> film.<br />
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While I'm on the subject, my favourite film without question is <b>'<a href="http://en.wikipedia.org/wiki/A_Matter_of_Life_and_Death_(film)">A Matter of Life and Death</a><span style="font-size: xx-small;">*</span>' </b>Directed by <b><a href="http://en.wikipedia.org/wiki/Michael_Powell_(director)">Michael Powell</a> </b>and written by the masterful <b><a href="http://en.wikipedia.org/wiki/Emeric_Pressburger">Emeric Pressburger</a></b>. I first saw it when I was ill as a child. I was feverish and lay on my parents sofa, watching this incredible movie. It was so unusual that I thought I surely must have dreamed the whole thing. Years later I saw it again and recognised it at once. Check it out, you will not regret it.</div>
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If you would like to have a preview of <b>Leopards </b>before<b> English Electric Part 2 </b>is released, it is featured here in <b><a href="http://www.louisphilippe.co.uk/podcasts.html">podcast No.9</a></b> on Louis' site. Louis is being interviewed by our very own [and long time <b>Louis Philippe</b> musical accomplice] <b>Danny Manners</b><br />
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I would also like to take a moment to thank all those who voted for <b>Big Big Train</b> in the recent <b>Prog magazine readers Poll</b>. Thanks to you we did very well indeed. I'd also like to thank all who voted for me in the male vocalist category. I am very flattered and also very grateful for your support.<br />
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That's all from me for <b>English Electric Part 2</b><br />
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Until the next time...<br />
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Peace<br />
<br />
<b>David</b><br />
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<span class="Apple-style-span" style="font-size: xx-small;">*= '<b>A Matter of Life and Death</b>' was known as '<b>Stairway to Heaven</b>' in America</span></div>
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<span id="goog_1924916388"></span><span id="goog_1924916389"></span><br />Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-3191918966335088887.post-84381094652714363322013-01-20T05:19:00.003-08:002013-01-20T05:19:32.347-08:00Swan Hunter<div class="separator" style="clear: both; text-align: center;">
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Greetings from a snow covered UK! </div>
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Here is my blog for the story behind <b>Swan Hunter,</b> a song featured on our forthcoming album <b>English Electric Part 2.</b></div>
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<b>Swan Hunter</b> is a song about the inevitable changing world and how these changes impact directly upon local communities. </div>
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What an awe inspiring picture this is. The name on the ship says it all. Imagine being a child who grew up within this community, in one of those houses. Seeing these huge vessels grow daily until their launch and another would start to grow in its place. Imagine the relentless sound of machinery and construction workers. Your father most likely would have worked there and probably his father before him. It must have been almost impossible back then to imagine a time when this way of life, would come to an end. When it did end, what would the people do? If this is what you know and it has defined your role in life for generations ... <b><i>'what do you do, when what you did is gone?'</i></b></div>
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There is a parallel here between the shipyards and the collieries. When I was a boy I remember my <b>Uncle Jack</b> going off to work. I remember their stories, the community and way of life which had developed around generations of miners. It was how things were. It was the way things happened and it was impossible from within it all to imagine it ever coming to an end. The closing of the pits in the late 20th century would change everything. </div>
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This song centres around a main character. Let's call him Jim. Jim is now an old man and he is reflecting back on his life as a shipbuilder who worked at <b><a href="http://en.wikipedia.org/wiki/Swan_Hunter">Swan Hunter</a></b> in the <b>Neptune Yard</b>. Imagine Jim, sitting by his fireside and recounting tales to his son about how it all once was and how much life has changed. Jim accepts the impermanence of material things and the inevitable passing of time.</div>
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<b>Swan Hunter</b> was written by <b>Greg Spawton</b> and I. It was inspired by <b>Big Big Train</b> artist <b>Jim Trainer</b>. Jim sent a letter to Greg a few years ago, which detailed some stories that had happened in the Swan Hunter shipyards. Jim's family had worked in those yards for generations. Greg thought it would make an interesting story and when I wrote the lyrics, once again I endeavored to find the human story of those who worked and lived in the shadow of those mighty imposing machines.</div>
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Jim told me that most of the males in his family were called Jim Trainer! Which must have made for interesting moments on Christmas day when they all received their gifts! Jim said that family members would differentiate between their particular Jim by assigning an identified characteristic of the Jim in question, alongside their shared name e.g Big Jim, Little Jim etc.</div>
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So with love and respect, <b>BBT</b> would like to dedicate <b>Swan Hunter</b> to <b>Our Jim</b> or as he is known back home, <b>'Little Jim's Jim.'</b></div>
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More next week but until then ...<br />
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Peace<br />
<br />
<b>David</b><br />
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-3191918966335088887.post-40535021074988373242012-12-17T04:11:00.002-08:002012-12-17T04:12:23.873-08:00Ant Music<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: xx-small;"><b>David Longdon</b>: <b>ANT</b> <i>Self Portrait</i>: 02/12/12</span></div>
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"It's beginning to look a lot like Christmas!"<br />
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We [in <b>BBT</b>] are planning to meet in Southampton early in the New Year. <b>Nick</b> is once again flying in from the states and we will be recording rhythm tracks for new material including pieces designated for <b>THE BIG BIG THING</b>. I'm really looking forward to getting together again with the band and hearing the new tracks start to come to life.<br />
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We are also working on something special that will be available in early 2013 but that is all I can tell you for now!<br />
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What a year it's been. <b>EE pt 1</b> was released back in September and it has been incredibly well received. Thank you all for the support you have given us throughout 2012.<br />
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On a slightly religious note [well it is Christmas!] has anyone else noticed an implied Christ-like face on the cover of <b>EE Pt.1</b>? My friend <b>Simon Withers</b> noticed it and mentioned it to me the other evening. I have to say that I have never noticed it but Simon is an artist, so he spends much of his time either making images or looking at them.<br />
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What do you think? Can you see it too?<br />
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Q: What's with the ant reference and the ant-like portrait then David?</div>
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Well... in November 2012, <b>Andy Tillison</b> [from <b>The Tangent</b> and also recently involved with <b>BBT</b> on <b>English Electric</b>] invited me to contribute vocals and vocal arrangements for the new album by <b>The Tangent</b> called <b>Le Sacre Du Travail</b>. The piece is written by Andy and some of it is influenced by the orchestral works of <b>Igor Stravinsky</b>, especially the<b> Rite of Spring</b>. It will feature musical performances by <b>Theo Travis</b>, <b>Jakko Jakszyk,</b> <b>Gavin Harrison, Jonathan Barrett</b> and me!<br />
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Ants are featured in the concept of this album.<br />
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With <b>English Electric Part 2</b> being released in March 2013 and <b>Le Sacre Du Travail</b> coming out later in the year, it looks as though 2013 is going to be busy!</div>
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"Although it's been said, many times, many ways... </div>
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<span class="Apple-style-span" style="color: #cc0000; font-size: large;">Merry Christmas!</span></div>
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To you."<br />
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Peace<br />
<br />
David</div>
Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-3191918966335088887.post-68455516662042565162012-09-02T12:05:00.000-07:002012-09-02T12:05:57.257-07:00Hedgerow<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b>Hedgerow</b> is the eighth and final song on <b>English Electric Part 1</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhk-Rxvvah70BdjxzGNe1fR1NJmDMot-kLZ1m6y6KS1rnqBgWEfrqGQRwRwjvY3PukEB6E6qwdH9eSPJ6EFUuRdKCUOcjVVF0wzsRgv_6bsQqlMUhNlQ84uh1zPpcjuXMV5G8JjhgO2sI/s1600/22989_greenman_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhk-Rxvvah70BdjxzGNe1fR1NJmDMot-kLZ1m6y6KS1rnqBgWEfrqGQRwRwjvY3PukEB6E6qwdH9eSPJ6EFUuRdKCUOcjVVF0wzsRgv_6bsQqlMUhNlQ84uh1zPpcjuXMV5G8JjhgO2sI/s1600/22989_greenman_2.jpg" /></a></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">So, here we are with the last blog entry for the songs featured on <b>English Electric Part 1</b>. When we began working on English Electric, <b>Greg Spawton</b> had been working on some musical ideas for a song called <b>Hedgerow</b>. I had written <b>Uncle Jack</b> which also mentions hedgerows in the lyric, so it was natural for us to make a rural comparison between the two pieces. As I have said in other posts, my uncle was a collier who spent his working life below the ground which gave him a deep appreciation for the natural world, nature, seasons and wildlife. He would walk his dog '<b>Peg</b>' and spend as much time outdoors as possible. (Listen out for Peg in the track)</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: small;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423213"><br /></span></span></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: small;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423213">When I heard the initial demo for <b>Hedgerow</b>, it featured an opening section that had a 1960's feel to it. It reminded <b>Andy Poole</b> of something that <b>The Move</b> might have written. I wrote some lyrics for it based around Greg's demo phrasing. It is about my Uncle Jack once again only this time it focusses on the contrast between his life on the earth's surface and his working life below. The song has an anthemic feel to it as it develops. It includes great musical contributions from <b>Rachel Hall</b> who adds layered violin. Backing vocalists <b>Lily Adams</b> </span><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423276">and <b>Violet Adams</b> reprise their nursery rhyme-like list of the sort of things that you would expect to find in a british hedgerow, previously featured in <b>Uncle Jack</b> (track two) . <b>Danny Manners</b></span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: small;"><span class="yiv278617284ecxyiv2028739892Apple-style-span"> once again plays piano and the track also features <b>Daniel Steinhardt</b> on guitar who plays with <b>Dave Gregory</b> in <b>Tin Spirits</b>.</span></span><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423236"><br id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423243" /><span style="font-size: small;"></span></span></span></div>
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<div class="yiv278617284ecxyiv2028739892yui_3_2_0_18_134653766869464 yiv278617284ecxyiv2028739892yui_3_2_0_15_134653840242370" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_134651512843969" style="background-color: transparent; color: black; font-size: 19px; font-style: normal; text-align: justify;">
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: small;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423236">Hedgerow has a 'cast of thousands'. Well, not thousands but it does feature a large number of musicians. The Brass band are back! <b>Dave Desmond</b> and his men once again make the hairs stand up on the back of our necks with the Beatles-esque coda, especially with <b>Ben Godfrey's</b> cornet lines. I remember writing the embryonic demo idea for the brass one sunday afternoon and when I reached the final bar I added a 'tally-ho' trumpet phrase. I did this mainly to make Andy laugh when he received my audio files but it was I who laughed when I heard the brass sessions and good old Dave Desmond had included it in his arrangement. The '<b>Hedgehoppers Chorus</b>' consists of, the voices of the brass players, <b>Nick D'Virgilio</b>, <b>Dave Gregory</b>, <b>Martin Orford</b> and <b>Sandra Olma</b>. It adds an 'all together now' sing along feel. We've included a number of 'sing along' songs on English Electric because when we play live, it will be great to get you all involved!</span></span><span class="yiv278617284ecxyiv2028739892Apple-style-span"><br /><span style="font-size: small;"></span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423250" style="font-size: small;">The blogs written by Greg and I over the last few months have helped us reveal the various stories, ideas, meanings and developments that have gone into making the music of English Electric. We hope that it adds to your listening experience and from the positive feedback we have received, it has been successful. </span><span class="yiv278617284ecxyiv2028739892Apple-style-span" style="color: #454545;"><br id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346515128439118" /><span style="font-size: small;"></span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423257" style="font-size: small;"><br /></span></span></div>
<div class="yiv278617284ecxyiv2028739892yui_3_2_0_18_134653766869476 yiv278617284ecxyiv2028739892yui_3_2_0_15_134653840242382" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_134651512843981" style="background-color: transparent; color: black; font-size: 19px; font-style: normal; text-align: justify;">
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423257" style="font-size: small;">We would also like to thank you for all the continued support you have given to us. It makes a difference. We especially enjoy reading the comments and debates from all our friends who are part of the ever growing <b>BBT Facebook Group </b>community. Thank you for your comments and words of encouragement. It really has spurred us on and given us the confidence to be braver and to reach further.</span><span class="yiv278617284ecxyiv2028739892Apple-style-span"><br id="yiv278617284ecxyiv2028739892yui_3_2_0_15_134651512843993" /><span style="font-size: small;"></span></span></span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423262" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;"><br /></span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423262" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">English Electric Part 1 has received some fabulous comments so far including <b>Rich Wilson's</b> glowing review [which made us shelve long term plans for our 'BBT presents Fred Dibnah/The Musical' album] and <b>Nick Shilton's</b> interview with us for <b>PROG magazine</b> Aug 2012. <b>Geoff Barton</b> the legendary music journalist brilliantly said in the September edition of <b>Classic Rock</b>, that we are 'the prog equivalent of the Olympics opening ceremony.'</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="yiv278617284ecxyiv2028739892Apple-style-span" style="font-size: small;">We would like to thank <b>Professor Brad Birzer</b> and <b>David 'Wilf' Elliot</b> for their championing of 'The Train' over the last few years and urge you to listen to David's <b><a href="http://www.theeuropeanperspective.com/?p=1764">Dividing Line, European Perspective special on English Electric</a></b>. There are other interviews coming along soon from <b>Alison Henderson</b> and <b>Cliff Pearson</b> as well as the recent one from <b>Jordan Blum</b>, and, again, thank you to Alison, Cliff and Jordan for helping to spread the word.</span><span class="yiv278617284ecxyiv2028739892Apple-style-span"><br id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346515128439125" /><span style="font-size: small;"></span></span></span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423265" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">Once again we have reached the point where we now pass the album over to you.</span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">We hope you enjoy English Electric Part 1</span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">Love</span></div>
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<span class="yiv278617284ecxyiv2028739892Apple-style-span" id="yiv278617284ecxyiv2028739892yui_3_2_0_15_1346538402423290" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;"><b style="font-style: normal;">Big Big Train:</b> <i>Andy, Greg, David, Dave & Nick</i></span><br />
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<span class="Apple-style-span" style="color: #454545; font-family: 'Trebuchet MS', sans-serif; font-size: x-small;"><b>Big Big Train</b> will return with <b>English Electric Part 2</b></span></div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-3191918966335088887.post-20482168890839146422012-08-26T12:01:00.000-07:002012-08-26T12:08:15.604-07:00A Boy in Darkness<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>A Boy in Darkness </b></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is track seven on </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>English Electric (Part 1)</b></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Warning:</b> <u>Part 3 of this post concerns subject matter and a link that some people may find distressing</u></span>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I have mentioned in earlier posts that my Uncle Jack was a collier who worked from a young age in the Derbyshire coal mines in the 20th century up until he retired in the late 1970's. At that time young lads were expected to work down the mines in hard conditions once they had left school. It was hard and dangerous work but that is how it was in those days. By the time I'd arrived on the planet during the mid 1960's and had grown up into a teenager by the 1980's, the pits were on their last legs and a world of educational and work opportunities were now opening up. </span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">One day, Jack told me the story from when he was working down the pit and how a lad had become trapped and injured below ground in an accident. Jack and his crew stayed with the frightened boy but he tragically died from his injuries. Jack said 'no one should have to die like that, down there... especially a boy.' That stuck with me. That was the seed of the song.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Over the years I have tried to write a song about the unfortunate young man but each attempt did not seem to do it justice. There have been many </span></span><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">songs written about mining fatalities but the further I went down this route, the more I realised that it was not what I was trying to say. So the undeveloped song remained on the shelf for a few years.</span></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The title of the song is based on the <b><a href="http://en.wikipedia.org/wiki/Boy_in_Darkness">Mervyn Peake</a></b> story. I chose it because I liked the imagery but not because it relates to Peake's story line.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><br /></b></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>Part 1</b></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">When Andy and Greg invited me to contribute material for <b>English Electric</b>, I thought about revisiting <b>A Boy in Darkness </b>because t</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">he </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">mysterious sounding opening </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">piano and acoustic guitar part was possibly the most typically mournful Big Big Train-esque piece of music that I had. </span></span>I wanted these verse sections to be eerie, ghostly and sparse. In contrast to the choruses, which should be powerful and emotional with the lead vocal predominantly holding the same fixed note while the other instruments swirl dramatically around it. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I inherited many books from my Uncle Jack's library and there were several books concerning mining. The most fascinating ones were the volumes by the <b><a href="http://www.heanorhistory.org.uk/publications.htm">Heanor & District Local History Society</a></b>. I gathered most of the information for part 1 from 'A History of Mining in the Heanor Area' - ISBN 0 9508430 3 2.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As I read more I discovered that the day to day stories of conditions in the 19th century mines for the young. The Mining in Heanor book contained extracts from a Sub Commissioners report detailing the working conditions of children and young people employed in the collieries in 1842. The pits employed many young children who worked 'extremely long hours', six days a week and they would have to walk several miles to the pit. These daily demands placed upon those local children were dramatic enough and that is what I decided to write about.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The character <b>Godfrey Fletcher</b> was made up from some of the case studies contained in the Sub Commissioners report. In 1842 <b>Lord Ashley</b> (who would later become <b>Earl of Shaftesbury</b>) proposed </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">a bill which excluded women and children from working underground and in the</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> August of 1842 Parliament passed it.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /><b>Part 2:</b></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The middle instrumental section is meant to denote the passing of time between Part 1 and Part 3. I had the organ riff in place and imagined guitar, organ and flute trading solos with each other. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The string parts on <b>ABID</b> were arranged by <b>Louis Philippe</b>, performed at the height of the London riots by <b>The Covent Garden String Quartet </b>and recorded by <b>Ken Brake</b>. In the first part they add drama to the verses and in this part they are playing some swift and furious lines.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">L to R: <i>Sue Bowran, Ken Brake, Geraldine Berreen, Teresa Whipple, Louis Philippe and Abigail Trundle.</i></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The organ playing is by <b>Andy Tillison</b> (<b><a href="http://en.wikipedia.org/wiki/The_Tangent">The Tangent</a></b>) who adds enormous energy and passion to the proceedings. <b>Dave Gregory</b> also cranks up his guitar here (using a Fender Strat that he has fiddled and tweaked - previously used on <b><a href="http://en.wikipedia.org/wiki/Drums_and_Wires">Drums and Wires</a></b>) spraying aggressive bursts of searing electric guitar vandalism!</span> <span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">It's very easy to naively look back on previous generations and think that the bad and unenlightened aspects of ourselves and who we are, is all safely in the past. We can reassure ourselves of how far we have moved on. Young people of later generations certainly have rights and choices with greater </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">protection </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and provision. </span></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The final section of this song was the hardest part to write. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I vividly remember the headline story of <a href="http://en.wikipedia.org/wiki/Death_of_Baby_P"><b>Peter Connelly</b></a> breaking and being horrified by the unfolding events. Listening to the harrowing reports of what happened made me think that no one should have to die like that and for me, that realisation was the final piece in the puzzle.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>ABID </b>is not about the death of Peter Connelly but<b> Baby P</b> was definitely a boy in darkness. He was one child out of many children who suffer at the hand of those to whom they are entrusted. Other news stories to break during the writing of <b>ABID</b> included certain individuals hiding inside respected establishments like the church and education. These stories were the catalyst behind completing the song. </span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">There is a connection between Godfrey Fletcher and the young protagonist in this final section. They were both in different circumstances but they are both boys in darkness. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The message within the song is this:- Don't be afraid to shine bright light into dark corners.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Next week, the story behind <b>Hedgerow</b> (the last song on <b>English Electric Part 1</b>) will be disclosed.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Peace</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3191918966335088887.post-38273893509501263772012-08-18T12:34:00.002-07:002012-08-18T12:36:41.820-07:00Upton Heath<div style="text-align: justify;">
<b>Upton Heath</b> is the sixth song on English Electric Part 1.</div>
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<span class="Apple-style-span" style="font-size: x-small;">Big Big Train: <b>Oxford</b> August 2012</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">L to R: Greg Spawton, David Longdon, Dave Gregory and Andy Poole</span></div>
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The words and music to <b>Upton Heath</b> are by <b>Greg Spawton</b> and I. Upton Heath is a place in Dorset, UK and Greg has chosen this title because it is one of his favourite places to go walking.</div>
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I initially received the audio files which contained an arrangement of the song with the addition of a few sketched out lyrics. It also had a delicate 'world music/roots style rhythm' beautifully performed by <b>Nick D'Virgilio. </b>I was told to avoid being seduced by this rhythm and not follow it down the 'world music' path. </div>
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Those initial impressions are very important and when I listened to the track I thought it would be a good idea to give it a campfire sing along feel. I kept as many of the original lyrics that I could and keeping it simple, I then repeated them. I used a call and response theme between the lead and backing vocals, to give it that campfire feel.</div>
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I severely re-arranged the structure of the song because the chorus section (that you will hear) was only a very short four bar phrase in the original arrangement. I decided to use it and extend it as the chorus and so I edited a new structure together. The audio files were bounced and sent down to Bournemouth.</div>
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Other than shortening the length of the piece and changing one chord in the reprise of the bridge, that (as they say) was that! Structure in place, it was now time to colour it all in.</div>
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I came down to <b>Aubitt Studios</b> in Southampton to record the vocals and added the folky riff which is played in unison on mandolin, accordion and violin. It also features <b>Dave Gregory</b> playing banjo for the first time! </div>
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<b>Upton Heath</b> was a track that could have gone either way, it could have worked or it could have been abandoned. In context of the album, it is a moment of calm amidst the frantic, flamboyant and epic moments elsewhere. Some <b>Big Big Train</b> songs can be lengthy, dynamic and intense, <b>Upton Heath</b> is none of these things, it is uplifting, relaxed and has its own sense of peace.</div>
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The track also features <b>Rachel Hall</b> who has added some lovely strings along with <b>Abigail Trundle</b> who plays the cello. <b>Danny Manners</b> plays double bass. <b>Lily and Violet Adams</b> are in fine voice and they seamlessly blend their voices with the moving wave vocal sample patch, giving <b>Upton Heath</b> an etherial quality.</div>
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<i>' And all that we are</i></div>
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<i>And all we shall be</i></div>
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<i>Walk with me</i></div>
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<i>Up on Upton Heath'</i></div>
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I will be in the chair once again next week when I will tell you the story behind <b>A Boy In Darkness</b></div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3191918966335088887.post-28852731699375901932012-08-05T09:46:00.001-07:002012-08-18T03:36:32.162-07:00Judas Unrepentant<div class="separator" style="clear: both; text-align: justify;">
<b>Judas Unrepentant</b> is the fourth song on <b>English Electric Part 1</b></div>
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Some of you may already be familiar with this track because of its inclusion on the cover mount CD for the July 2012 edition of <b>Classic Prog</b>.</div>
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Greg and I had a conversation one evening about the flow of the songs we had been working on for <b>English Electric</b> and we highlighted the need for a quick progressive rock song. I thought that Judas would be able to fit the bill because I already had the story in mind, Greg and Andy liked the story and I also had many of the sections sketched out so it would be simple enough to develop. </div>
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<b>Judas Unrepentant</b> is a song that concerns <b><a href="http://en.wikipedia.org/wiki/Tom_Keating">Tom Keating</a></b>. There is plenty available on the internet which will give you information about his life but here is a brief overview.<br />
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Tom was an art restorer who eventually turned to art forgery after failing to break into the art market. He was on a personal crusade to destabalise the art world by forging works to fool the experts. He deliberately planted clues in the works that would reveal them as forgeries. He also cunningly managed to falsify provenances for his forgeries.</div>
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However, eventually in 1970 an article appeared in <b>The Times</b> concerning auctioneers suspicions about the provenance of thirteen water colours. Tom knew the game was up and handed himself in. He was eventually arrested and charged in 1977 but the case was dropped due to his deteriorating health. </div>
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During 1982 and 1983, Tom had his own television series in which he demonstrated the painting techniques of the great masters. If you are interested in seeing footage of Tom paint, then treat yourself and click <u><a href="http://www.youtube.com/watch?v=JyG9kG5SSG0">here.</a></u></div>
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Tom died at the age of 66 and in an interview he said that he did not consider himself to be a good painter. I have to disagree with him on that point.<br />
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I was at art college in the early 1980's and that is where I learned about the notorious <b>Tom Keating</b>. He was an anti-hero for me and I have often thought that his story is a remarkable one and it deserves to be heard. I also think it would have made a brilliant <b><a href="http://en.wikipedia.org/wiki/HandMade_Films">HandMade</a></b> film.</div>
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After his death, I am sure you will not be at all surprised to learn that Tom's paintings have increased in value and his forgeries also reach high prices. Ironically, there are also forgers out there who are now forging Tom Keating forgeries! </div>
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Tom Keating's favourite artist was <b>Rembrandt</b>. The title of the song came from my variation on the title of the painting above which is called <b>'Repentant Judas Returning the Pieces of Silver'</b> by <a href="http://en.wikipedia.org/wiki/Rembrandt">Rembrandt</a>. Tom may possibly have been considered to be a 'judas' by the art establishment for his forgeries but because he refused to disclose which forgeries he had made and put into circulation, it struck me that he was an unrepentant judas. I like the drama of the title and it sets the scene for the song.<br />
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<b>Judas Unrepentant </b>is a ripping yarn which is driven buy the relentless opening riff and rhythm along with a lyrical narrative. Check out Nick's complex drumming alongside Greg's crazy bouncing bass line. <b>Andy Tillison</b> (from <b>The Tangent</b>) has added boundless energy with his organ playing.<br />
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The middle 'court room' scene includes <b>Dave Gregory's </b>throaty 'All rise' courtroom usher vocal (a role he was destined to play). It also contains some beautiful piano playing by <b>Danny Manners</b> and expressive violin work from <b>Rachel Hall</b> (who has previously worked with <b><a href="http://en.wikipedia.org/wiki/Stackridge">Stackridge</a></b>)<br />
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If you would like to listen to <b>Judas Unrepentant</b>, please <a href="http://soundcloud.com/big-big-train/judas-unrepentant">click here</a>.</div>
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In the next episode <b>Greg Spawton</b> will tell you about <b>Summoned by Bells</b></div>
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<br />Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-3191918966335088887.post-65255228726292334072012-07-22T11:41:00.002-07:002012-07-22T11:41:29.576-07:00Uncle Jack<div class="separator" style="clear: both; text-align: center;">
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<i><span class="Apple-style-span" style="font-style: normal;"><i><span class="Apple-style-span" style="font-style: normal;"><i>'Uncle Jack knows, a song of the hedgerow'</i></span></i></span></i><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b>Uncle Jack</b> is the second song on <b>English Electric part 1</b>.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">I wanted to write a song about my Uncle Jack. John Henry Herring</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> was a collier and he worked in the pits around the Heanor (Derbyshire:UK) area. He spent so much time beneath the ground that he truly valued his time on the surface. Jack would walk his dog (Peg) and would take notice of all that was happening around him in the natural world. The changing of the seasons, birdsong, woodland wildlife and the 'bustle in your hedgerow.' </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">At Christmas time and for birthdays he would buy me books. The books usually concerned wildlife, birds and the ways of country life. However, there were also books like 'Tales of Mystery and Imagination' by <b>Edgar Allen Poe</b> and the collected poetry of <b>Sir John Betjeman</b>.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Greg, Andy and I were talking one day about possible songs for inclusion on <b>English Electric</b> and I mentioned <b>Uncle Jack</b> and how it is about a colliers love of nature, seasons and hedgerows and Greg said he had been tinkering around with an idea for a song called <b>Hedgerow</b>. That's how it works. One thing leads to another and gradually songs and albums begin to take shape.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The writing of it started before I was in <b>Big Big Train</b>. I had bought an old Windsor banjo that had clearly seen better days but once I had sat down with it, tuned it and began to play, t</span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">he main riff came within a couple of minutes and the other sections quickly followed. All there under my fingers, fifteen minutes max! It's not always like that... believe me.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></span></span>I am very fond of <b>My Friend The Sun</b> by <b>Family</b> and <b>Ooh La La</b> by <b>Faces</b> and </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">I wanted <b>Uncle Jack</b> to have that 'all-together-now-sing-along' feel to it. </span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Verse one concerns itself with how seasons happen on earth and </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">t</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">he end 'nursery rhyme' section was just a list of the typical inhabitants you would expect to find within british hedgerows. I wanted </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Violet and Lily's </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">chanting to have a pagan-like <b>Wicker Man</b> soundtrack flavour. There is also a nod and a wink to my favourite <b>XTC</b> album <b>Mummer</b>.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b>Uncle Jack</b> is really a personal thank you to my Uncle for all those childhood memories.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The next <b>EEpt1</b> installment will be courtesy of Greg, when he will reveal the story behind <b>Winchester from St Giles' Hill</b>.</span><br />
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<i><br /></i>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-3191918966335088887.post-6187459854913220422012-03-13T09:30:00.000-07:002012-03-13T09:39:10.076-07:00It's that time once again...<div style="text-align: justify;">
<strong>English Electric</strong> is nearly ready to head off into <strong>Aubitt</strong> to be mixed and mastered. <strong>Andy Poole</strong> is furiously preparing the files and tweaking the initial working mixes to get them ready for their final transformation. </div>
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For Greg and I this is the eerie bit. We've been full on writing, arranging and performing. Musicians have added their invaluable contributions and notched everything up with each inspired addition. Time is ticking, the mixing deadline looms and then ...........................................</div>
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All is still....... calmer at least..... or so it seems.<br />
It is an illusion. The focus has just...shifted - elsewhere.<br />
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It's a bit like that feeling you get when you have come to the end of a gripping novel x1000. Energy, time, emotion and money has been lovingly poured into the making of the album from all concerned. Once the making comes to an end, it changes. It becomes defined. Then upon release, it becomes something else again.</div>
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<strong>English Electric</strong> has been a long haul. It is a double album and it has been a huge undertaking. I wonder what listeners will make of it on release? </div>
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We are collating performance credits for inside the CD booklet. We are listening back through the working mixes to make sure the lyrics that will be also printed in the booklet are accurate. It is an odd thing to finally hear and see <strong>English Electric</strong> come to life. <br />
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A journey from the mind into the tangible, audible world.<br />
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Peace<br />
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<strong>David</strong><br />
<br /></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-3191918966335088887.post-67532478497520913902011-12-16T03:28:00.000-08:002011-12-18T12:13:10.024-08:00Merry Christmas<div class="separator" style="clear: both; text-align: left;">
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<strong>Greg</strong> and <strong>Andy</strong> spent a day at <strong>Regal Lane Studio</strong> earlier this week, recording <strong>Danny Manners</strong> playing double bass on tracks that will be featured on the next <strong>Big Big Train</strong> album <strong>English Electric</strong>. [<span style="font-size: x-small;">Part 1 of English Electric will be out in September 2012.]</span></div>
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<strong>Nick D'Virgilio</strong> is in the UK over Christmas and we will be in <strong>Aubitt</strong> recording more drum parts. I will also be recording more vocals. <strong>Dave Gregory</strong> will join us for a photo shoot that we intend to squeeze in at some point between all those activities and festivities.</div>
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It's been a busy few months, writing, completing lyrics, adding musical texture and vocal harmonies to our new material. There is good energy and high spirits aboard The Train at the moment. </div>
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I have completed the lyric to <strong>A Boy in Darkness</strong>, which was a relief because it has been a tricky thing to write about and getting the balance of the subject matter right was the key to it working as a whole. The middle section is a galloping instrumental which is supposed to denote the passing of time in the narrative and I wanted someone to play on it who would add fire and energy. I'm delighted to announce that it features a guest keyboardist in the shape of the very capable <strong>Andy Tillison</strong>. A man who needs no introduction in the microcosm of the Progressive Rock world for his outstanding work with his band <strong>The Tangent</strong>.</div>
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I enjoy the work of <strong>The Tangent</strong> and inviting Andy to play a furious organ solo was exactly the right thing to do. Andy T has played a blinder! So much so that when Andy P heard it, it resulted in an unrepeatable two word enthusiastic appraisal.</div>
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A <b>t</b><strong>rainspotter*</strong> on our <strong>Big Big Train Facebook Group</strong> kindly asked how the<strong> "Big Big Thing"</strong> was going. </div>
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It's going well. The characters are established and there is a mapped out story line, which of course may (and almost inevitably will) alter as the project develops. There are some completed pieces of music and many other sections earmarked for consideration. It is going to be a big undertaking writing it, editing it and making it. I have set up another blog to chart these developments. It hope it will serve as a guide to the characters, places and events within the story. </div>
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When the time is right, I will publish the blog posts so you can see what we have been up to. There should be plenty to get your teeth into.</div>
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That's all for the moment and now all that remains to be said is...</div>
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<span style="color: #cc0000; font-size: x-large;">Merry Christmas and a Happy New Year</span></div>
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Peace</div>
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<strong>David Longdon</strong></div>
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* <em> 'Trainspotter'</em> ~ <span style="font-size: x-small;">An enthusiast for Big Big Train</span><br />
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<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3191918966335088887.post-22272296259568645862011-10-14T08:07:00.000-07:002011-10-14T08:13:03.232-07:00Aubitt Bound<div style="text-align: justify;">
We aboard the <strong>Big Big Train</strong> are once again getting ready to go into <strong>Aubitt</strong> for the second vocal tracking session for <strong>English Electric</strong>.</div>
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I have been frantically trying to complete the lyrics for <strong>A Boy in Darkness</strong>. It has taken a great deal of work to get it to where it currently is but I'm not out of the woods just yet. The subject matter is tricky and I've had to do lots of research. Let's hope I have some finished words to sing in two weeks time.</div>
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It has been mentioned that <strong>English Electric</strong> will be a double album released in two parts. That means it will need to work as a whole and also as individual releases, so listing the running order is taking some time. Once we have one in place and I know which tracks are going where, I will write about the songs and their subject matter.</div>
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<strong>Nick</strong> will be in the UK once again at Christmas and there are more tracks awaiting him. <strong>Greg</strong> has written a couple, we've co-written some more and I have contributed two. </div>
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One track is called <strong>Make Some Noise</strong> and is about being young and forming your first band. It was originally intended for a solo autobiographical concept album I intend to make called <strong>DOOR 1</strong>. There is another song taken from <strong>DOOR 1</strong> which will feature on <strong>English Electric</strong> called <strong>Uncle Jack</strong>.<br />
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Since joining <strong>BBT</strong> I only have limited time to give to music and all my creative output is currently housed within <strong>BBT</strong>. Hopefully <strong>DOOR 1</strong> will at some point, see the light of day. It could be my <strong><a href="http://en.wikipedia.org/wiki/Lifehouse_(rock_opera)">Lifehouse</a></strong>.</div>
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The second song is called <strong>Judas Unrepentant</strong> but I don't want to say too much about this one just yet.</div>
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<strong>Andy</strong> is preparing audio files to send to <strong>Dave Desmond</strong>, so he can arrange the brass parts. <strong>Dave Gregory</strong> has completed work on a project by <strong>Steve Hogarth</strong> and <strong>Richard Barbieri</strong>.</div>
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<strong>Dave G</strong> and <strong>Martin Orford</strong> will be joining us at <strong>Aubitt</strong> for the session and inevitable curry.</div>
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Did I also mention that we have a very special guest keyboardist lined up to play in the middle section of <strong>A Boy in Darkness</strong>?</div>
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Spoilers!</div>
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<strong>David</strong></div>
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<br /></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-3191918966335088887.post-58115703802828314942011-08-27T00:25:00.000-07:002011-08-28T12:43:04.792-07:00The English Electric Vocal sessions: Part 1<div style="text-align: justify;">On the 22nd and 23rd of August 2011, Andy, Greg and I went to record the vocals for <b>English Electric</b> with <b>Rob Aubrey</b> at <b>Aubitt Studio</b> in Southampton.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We managed to get a great amount completed. The initial idea was to concentrate on capturing as many lead vocals as possible and leaving backing vocals until later on. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The sessions were fast paced and during those two days we have managed to complete not only the lead vocals but also the backing vocals on <b>Swan Hunter</b>, <b>Curator of Butterflies</b>, <b>Leopards</b>, <b>Hedgerow</b>, <b>East Coast Racer</b> and <b>Uncle Jack</b>.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We also discussed, planned and tweaked our release schedule. <b>English Electric</b> is going to be a double album and it will be released in two parts. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The artwork and concept behind <b>Station Masters</b> was fine tuned on our Tuesday morning car journey from Bournemouth to Southampton.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We also spoke about instrumentation for our <b>'Big Big Thing'</b>- Project (remember that?)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We also discussed how, where and when <b>Big Big Train</b> will play live. Lots of things to consider! </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Greg '<b>Live blogged</b>' his way through the sessions ( See <b>Big Big Train's Facebook page</b> for the posts) </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We have another vocal session planned for October 2011 and then <b>Nick D'Virgilio</b> will be in the UK at Christmas once again to record more drum parts.</div><div style="text-align: justify;"><br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3191918966335088887.post-80398670328103662772011-08-11T02:13:00.000-07:002011-08-11T06:21:43.562-07:00String Driven Thing<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JLX7xA7n5zn4QbP5-7TYUgFKl9Ry9rTNwNwF6fuE4I1tAhC7wxIzpB12laMakntJQufYIpxhBw7dqX-G6lo168F_uio2RsJa4vpnpwMRTdB-aslpUM730hj7AtIXqHFXydkir9sa-aE/s1600/IMG_2020.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JLX7xA7n5zn4QbP5-7TYUgFKl9Ry9rTNwNwF6fuE4I1tAhC7wxIzpB12laMakntJQufYIpxhBw7dqX-G6lo168F_uio2RsJa4vpnpwMRTdB-aslpUM730hj7AtIXqHFXydkir9sa-aE/s320/IMG_2020.jpeg" width="320" /></a></div><br />
<div style="text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><b>Leopards </b>and <b>A Boy In Darkness</b> string session at <b>Regal Lane Studio</b> 09/08/11</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><b>BBT</b> with <b>Louis Philippe</b> & <b>The Covent Garden String Quartet</b></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: xx-small;">L to R:</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: xx-small;"><b>Sue Bowran </b>Violin I, <b>David Longdon</b>, <b>Geraldine Berreen</b> Violin II, <b>Teresa Whipple</b> Viola,</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: xx-small;"><b>Louis Philippe</b> string arranger, <b>Andy Poole </b>and <b>Abigail Trundle</b> Cello</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: xx-small;">photograph taken by <b>Ken Brake</b></span></div><br />
<div style="text-align: justify;">Andy and I travelled to London to record <b>The Covent Garden String Quartet</b> at <b>Regal Lane Studio</b>. The string parts were arranged by <b>Louis Philippe (Philippe Auclair)</b> and the session was engineered by <b>Ken Brake</b></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We worked on two songs which will be featured on <b>English Electric</b>. <b>Leopards</b> is straight forward in terms of what it needed string-wise and I knew that Louis would be perfect for the task. <b>A Boy in Darkness</b> is a little more unusual and has been written using an experimental process. It is in three sections:-</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In section one, the strings add eerie and unsettling textures. Section two heads off at full gallop. <b>Greg</b> and <b>Nick</b> are pounding away in the rhythm section and Louis has scored some finger knittingly rapid lines for the quartet which they take in their stride. In section three the strings are full and emotional.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It was great fun to record. Louis has written some wonderful arrangements. Despite the length of the session the girls played beautifully with energy and spirit throughout.<br />
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I can't wait for you to hear it!<br />
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After the session we went into Camden for something to eat and in the evening sunshine sitting outside the <b>Spread Eagle</b>, it was business as usual. Londoners carrying on.<br />
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Peace<br />
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<b>David</b></div><div style="text-align: justify;"><br />
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Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-3191918966335088887.post-1726049722775139752011-07-25T11:31:00.000-07:002011-07-25T11:31:42.703-07:00Incoming<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip1b_V0f3ZVoReS6Mfupf8PcptwunXYMJA7a0Oq7ujDH9EnLPT83EGU2BW9t_73AOUGsGah1rFPg6x2Ha3kT3AFJ2uEvCvI4e9oIgkrkE9NHfdy7PZMHvxD1wDRSOajVDiFFzjLefawBw/s1600/On+The+Air.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip1b_V0f3ZVoReS6Mfupf8PcptwunXYMJA7a0Oq7ujDH9EnLPT83EGU2BW9t_73AOUGsGah1rFPg6x2Ha3kT3AFJ2uEvCvI4e9oIgkrkE9NHfdy7PZMHvxD1wDRSOajVDiFFzjLefawBw/s320/On+The+Air.jpg" width="174" /></a></div><div align="left"><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Kingmaker</strong> came out earlier this month as an exclusive track for <strong>Classic Rock Presents Classic Prog</strong> Magazine. It was recorded to replace <strong>Master of Time</strong> on the Russian version of our <strong>Far Skies Deep Time e.p</strong>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Inside the magazine on the CD track and artist listing page there is a small picture of Andy, Dave, Greg, Nick and I, taken by Neil Palfreyman during a photo shoot at Winchester Cathedral last December. It all looks very <b>Hogwarts</b>.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We (BBT) have a string recording session in London on the 9th of August. <strong>Andy Poole</strong> and I will be at <strong>Regal Lane Studio</strong> with the very capable <strong>Ken Brake</strong> at the helm. <strong>Abigail Trundle</strong> and her quartet will be performing the parts for two new songs that will be on <b>English Electric</b> called <strong>Leopards</strong> and <strong>A Boy in Darkness</strong>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I am over the moon to announce that the string arrangements on these songs have been written by my dear old friend and mentor <strong>Louis Philippe</strong> (<strong>Philippe Auclair</strong>) </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I'll take some photographs and keep you posted.<br />
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<b>David</b></div><div style="text-align: justify;"> </div></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-3191918966335088887.post-83744015029556425232011-04-05T12:02:00.000-07:002011-04-05T12:02:04.900-07:00The Genesis Revelations<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_1M5ROS6DjRil1bI2GQVRZZOaaYbEEnXuKumS62fO0X_Zmp2HExHT8VPiZQCmsdAw32D2V_wRFwD6MNYjl0isSWlEtvDEEpFbdRzHTrEFBpd5XtmaigoxHwCLM3Iq9CqhChUPtTwHOo/s1600/IMG_0132.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_1M5ROS6DjRil1bI2GQVRZZOaaYbEEnXuKumS62fO0X_Zmp2HExHT8VPiZQCmsdAw32D2V_wRFwD6MNYjl0isSWlEtvDEEpFbdRzHTrEFBpd5XtmaigoxHwCLM3Iq9CqhChUPtTwHOo/s320/IMG_0132.JPG" width="320" /></a></div><br />
<div style="text-align: justify;">In the last days of 2010, I was interviewed for <b>DUSK</b> magazine (an Italian Genesis enthusiasts publication) by <b>Mario Giammetti</b>. The interview centres around:-</div><div style="text-align: justify;"><br />
</div><ul><li style="text-align: justify;">My involvement with <b>Genesis.</b></li>
<li style="text-align: justify;">Their search for a replacement lead singer.</li>
<li style="text-align: justify;">The initial recording sessions for the <b>Calling All Stations</b> album.</li>
<li style="text-align: justify;">My early work and the <b>Wild River</b> album. </li>
<li style="text-align: justify;">My recent work with <b>Big Big Train</b> and the release of our <b>Far Skies Deep Time ep</b>.</li>
</ul><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The interview came out in the Christmas edition of <b>DUSK</b> (in Italian). I am pleased to announce that the interview is now available in English. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">If you are curious and would like to read it, please click <b><u><a href="http://www.dusk.it/david_longdon_exclusive_interview.htm">here</a></u></b></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Ciao</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><b>David</b></div><div style="text-align: justify;"><b><br />
</b></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: xx-small;">Photograph of <b>David Longdon</b> by <b>Amy Mumford</b>:- Aug 2010</span></div>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-3191918966335088887.post-32076606357442214992011-02-04T04:10:00.000-08:002011-02-04T04:10:45.569-08:00BBT CGI ?................. LOL<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGaVwKd-AtuB4SD8LS8noonnSQQvAEk44i0U2m59PE0HRzL4FBprUrlpy13HH3FxpLnpwtWhU1eHAFR5hBB7vy5RO6gdSymVCZfXFwdMchpu1X8rhc5h1qVxe5IfU3yjW05jA-1Dc4yw/s1600/SavedPicture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGaVwKd-AtuB4SD8LS8noonnSQQvAEk44i0U2m59PE0HRzL4FBprUrlpy13HH3FxpLnpwtWhU1eHAFR5hBB7vy5RO6gdSymVCZfXFwdMchpu1X8rhc5h1qVxe5IfU3yjW05jA-1Dc4yw/s320/SavedPicture.jpg" width="261" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;">CGI Picture of <strong>David Longdon</strong> by </span><span style="font-size: x-small;"><em>Jared Jackson</em></span> <span style="font-size: xx-small;"><strong>01/01/11</strong></span></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><em>'After a text from Mr Spawton, Mr Longdon senses another epic is on the cards...'</em></div><div style="text-align: center;"><br />
</div><div style="text-align: center;">Taken from the forthcoming PC Game* </div><div style="text-align: center;"><span style="color: #990000; font-family: "Trebuchet MS", sans-serif; font-size: x-large;">BIG BIG TRAIN</span></div><div style="text-align: center;"><span style="font-family: "Courier New", Courier, monospace; font-size: large;">Out of Aubitt</span></div><div style="text-align: center;"><br />
</div><div style="text-align: center;">Only £39.99*</div><div style="text-align: center;"><br />
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</div><div style="text-align: left;"><span style="font-size: xx-small;">* = This is not true!</span><br />
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</div></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3191918966335088887.post-68854459600971746522011-01-18T07:34:00.000-08:002011-01-18T07:34:51.389-08:002011<div style="text-align: justify;"><strong>Antifreeze?</strong> Check! </div><div style="text-align: justify;"><strong>Flask of black coffee?</strong> Check! </div><div style="text-align: justify;"><strong>Sandwiches?</strong> Check! </div><div style="text-align: justify;"><strong>Sounds for the duration of the journey?</strong> Oh Yes!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So there I was, travelling down to Southampton on the 28th of Dec 2010 to attend the drum tracking sessions at Aubitt for the next <strong>Big Big Train</strong> album, <strong>English Electric</strong> . </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Christmas card weather in the UK over the last few weeks has made for some breathtakingly beautiful and dramatic scenery but rather hairy driving conditions. Poor visibility, cars speeding up then slamming on the breaks only to proceed at crawling pace once more. Repeat ad infinitum....</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The brilliant sunshine, ethereally glowing behind banks of fog and mist, made for some very beautiful skies. Reminiscent of a <strong>Turner </strong>painting.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZNPDO6LhxbxWfV2BixnDmezEzqPGLkrFrMbyiJRt84ur65S_jkwrjwWk51Hcw6FBVpad0JJWgPGAqWUkc7zVkSxs7GdUQ-QR4WG0qyIeAep8Y_OT95E0kabCPztqkl-Khn_VS4v84vo/s1600/Turner+P.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZNPDO6LhxbxWfV2BixnDmezEzqPGLkrFrMbyiJRt84ur65S_jkwrjwWk51Hcw6FBVpad0JJWgPGAqWUkc7zVkSxs7GdUQ-QR4WG0qyIeAep8Y_OT95E0kabCPztqkl-Khn_VS4v84vo/s1600/Turner+P.jpg" /></a></div></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It's always good to to meet up with Greg, Andy and Rob again. Despite the road trip down to the south of England being a three hour drive for me, <strong>The Train</strong> manage to get together quite often throughout the year. The company is always good humoured and often hilarious. In stark contrast to our melancholy sound and serious nature of some of our material.<br />
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I met <strong>Nick D'Virgilio</strong> and his family for the first time. On the afternoon of the 28th, we were working on drum tracks for three songs I've contributed to <strong>English Electric</strong>. Nick is a very musical drummer and added much to the tracks. He is professional and able to swiftly adapt to anything we threw at him. Everything he does has a compelling groove. He is highly attentive to details, the mood of the pieces and the sounds he brings from his drum kit. I know he's a bit of a drum octopus in the world of professional drummers and I fully expected his playing to be as breathtaking as it usually is. The main thing that impressed me was how he engaged with the material. How he listened and understood what was needed. What a great musician he is.<br />
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Despite it being the first time we were all together in one room (<strong>Dave Gregory</strong> not included - we'd see him in Winchester on the 29th for a photo shoot), in between tracks it was just like any other band in a recording studio. Out came the stories, the banter and the jokes. <br />
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I spoke with Greg last Sunday who has been busy laying down bass parts over the past few weeks and he's delighted with the energy of the rhythm tracks we've got down for <strong>English Electric</strong>. All being well the first track may be with me by the end of this week! <br />
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I can't wait!<br />
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<strong>Happy New Year</strong><br />
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<strong>David</strong></div>Unknownnoreply@blogger.com3