Many of you will be saddened with the cessation of daily routine and life, especially in the area of live music. Big Big Train have certainly had a rough time of all this with their inaugural headlining show at Rosfest in Florida being cancelled due to the virus. During this time David Longdon has not been idle, instead he has been able to complete a rather significant and a very personally special project with Judy Dyble (whose pedigree includes being Fairport Convention’s original vocalist and also being latterly of Trader Horne, alongside an interesting solo career of late). When Big Big Train undertook a run of shows at King’s Place in 2015, Judy was introduced to multi instrumentalist David Longdon and they bonded over their shared love for words and history to the extent that Judy performed a duet with David on The Ivy Gate from the band’s ‘Grimspound’ album and they expressed the desire to work together further at some point.
This new album is a further and, sadly, final chapter to that friendship as Judy passed away shortly after the completion of the album. So this release will be a celebration of that very special friendship and act as both a testament and a tribute to Judy.
‘Between A Breath And A Breath’ is a very fine album indeed, there is a lot of very fine music compositions and sublime lyrics on offer on this release. The artwork by Sarah Louise Ewing is exquisite & sensitive and the photos are lovely and dignified, especially the lovely photo of Judy and her beloved greyhound Jessie.
Of interest to many will be the appearance of most of BBT in some form or another and whilst the music is far more folky than rock, there is still enough punch to bring this into the progressive rock realm, especially on the longer tracks like the epic France and Whisper, both of which are intriguing compositions.
Judy wrote interesting lyrics and she often said strong things within her songs, as evidenced by her scorn for Astrologers who dupe people with their false promises. This song is the first single from the album and it is a great opener with a fine guitar line from Dave Gregory, whose complex playing adds layers of depth to the song. Obedience follows which is a wonderfully expressive track that swoops and soars with David providing an impressive vocal performance, especially on the chorus. Possibly the most powerful track on the album and one on which the BBT influence can be heard the most.
Tidying Away The Pieces is another song that speaks of preparing for death but is still somehow a positive experience. It is a beautiful song, very emotional but not cloying, rather it is practical and decisive. This song made me smile and cry at the same time. Between a Breath and a Breath is the title track for the album and is a duet between David and Judy in which they swap lines to great effect. A subdued song that has a totally other worldly feel to it.
Then we are onto side two of this remarkable record and the lengthy epic track France at nearly eleven and a half minutes. The song is split in two sections linked by a mirror ball dance section and is about impressions captured on a trip to France and the history encountered whilst there, how war came and changed the home again. This is a sombre piece but the music it contains brings great pathos to the proceedings. It is very expressive and has great guitar solo performed by David Longdon, sweeping accordion from Rikard Sjoblom, in fact pretty much all of BBT bring this song to life beautifully and sensitively, a truly magnificent piece of music.
Whisper is next and is another strong piece, the playing on this track is graceful and full, very satisfying. It rewards the listener with repeated playing, unlocking different nuances as the song plays on. It is about being isolated and left out but still being able to listen.
Final track Heartwashing is a bit different in that Judy doesn’t sing on it but she does speak the words. I gather that illness had consumed Judy by this stage and she couldn’t sing but she did speak with the final lines telling much of the tale when Judy says, “For what will be the next adventure, should there be such a thing…” Sadly it was not to be as she died on the 12th July in advance of the release of the album.
It is an absolute pleasure to be able to recommend this music to you all, between them David and Judy have gifted us with a graceful poignant and touching record that is a fine testimonial to the unique gentle talent of Judy Dyble and one that is brought to life by the great skills of David Longdon, the members of Big Big Train and a few others.
This is an album that you must listen to or you miss it at your peril. I cannot recommend this highly enough, I think it is one of my albums of the year. Indeed the beautiful music and the grace that the album offers make this worthy of a place in any albums of the year listing. Yes, it is that good, truly remarkable in fact!
It is with great sadness that we announce that English singer-songwriter Judy Dyble passed away on 12th July 2020 following a long illness borne with great courage.
Judy Dyble was one of the pioneers of the English folk rock scene in the 1960s, most notably as a founding member of Fairport Convention and vocalist with cult band Trader Horne.
Judy largely withdrew from the music scene in the early 1970s to concentrate on her family before being invited back to the Fairport fold in 1997 for the 30th anniversary reunion at Cropredy. To Judy’s great relief, her worries, ahead of the event, disappeared as ‘suddenly the years fell away.’ Further Fairport anniversary appearances reassured Judy and showed that her passion for music had remained through the years and she made three albums with Marc Swordfish, of Astralasia, as she began a revival of her music career.
This included numerous guest appearances on albums by a host of artists including, in 2017, Big Big Train. Judy went on to form a close working relationship with Big Big Train’s multi-instrumentalist frontman David Longdon. Together they will release their album Between A Breath And A Breath on 25th September 2020, with Longdon providing the music for Judy’s poignant lyrics.
Two songs from the Dyble Longdon sessions which are not included on the album, Crossbones and The Daguerreotype, will be released by English Electric in the autumn subsequent to the release of Between A Breath And A Breath as a tribute to Judy Dyble via Bandcamp.
The lyrics for Judy’s final collection of songs are, at times, haunting and beautifully fragile, dark in tone but neither morbid nor desperate. Specifically, The Daguerreotype looks at how the Victorians dealt with death, turning it into an art form.
In accordance with Judy’s request, Crossbones and The Daguerreotype will be made available as free downloads, with listeners being encouraged to make a donation to Judy’s chosen charity, the Barley Greyhound Sanctuary (www.barleykennels.co.uk/) if they wish.
David Longdon says: “It is with great sadness that I write to say that my dear friend Judy Dyble passed away this morning. Judy and I became friends during the writing and making of this album. Along the way, there was much laughter and joy – but also challenging moments. She was a woman of a certain age and she wrote articulately and unflinchingly about the autumn phase of her life.”
“She dealt with her illness with incredible courage and fortitude. She suspected this album was her swan song and she gave it her all. Judy reassured me that she’d had a great life. Which indeed she did. And I will miss her greatly.”
We wish to express our deepest sympathies to Judy’s family, friends and many associates from her musical career at this time.
Judy’s family would like to thank her fans for their messages and good wishes on social media over the last few weeks, but at this time ask that they avoid contacting them for now as they would just like some quiet time.
Dyble Longdon is a collaboration between iconic vocalist Judy Dyble (ex Fairport Convention, Trader Horne) and Big Big Train songwriter and frontman David Longdon. They release their highly anticipated album Between A Breath And A Breath on 25th September. The CD edition is released on English Electric, distributed by RSK, and the gatefold vinyl edition is released on the Plane Groovy label.
The album contains seven original compositions with all lyrics by Judy Dyble and music and production by David Longdon. The songs are, at times, haunting and, at others, beautifully fragile.
This collaboration with David Longdon is something Judy Dyble has hoped for for some time. “I first heard David sing with Big Big Train at King’s Place in London 2015 and immediately decidedthat I really wanted to sing with him someday. And here we are with a collaborative album, which I think is wonderful!” she said.
David Longdon added: “Judy asked if I would like to work with her. She sent me some great lyrics which inspired the music and over the years we’ve become good friends. Judy duetted with me on The Ivy Gate, which appears on Big Big Train’s Grimspound album. The Dyble Longdon album is a natural development on from this piece.”
Judy, who is fighting serious illness, expanded on the subject matter of the songs: “The lyrics for these songs virtually wrote themselves, with minor tweaks, as music grew around them. All were written before I was diagnosed and before the dreadful virus stamped its footprint on our world.
“Quite a few of my lyrics have a touch of sadness about them but always with an optimism for the future and a desire to know what happens next. France, Whisper and Obedience tell stories suggested in conversations and Between A Breath And A Breath is sheer magic. Astrologers was a simple ‘Hmmpph! Stop it!, while Heartwashing and Tidying Away were just poems which wrote themselves.”
Between A Breath And A Breath was recorded at Real World Studios in Wiltshire and Playpen Studios in Bristol. The album was produced by David Longdon and mixed by Patrick Phillips (Elbow, Kate Bush and Sir Paul McCartney). The artwork for the album is by Sarah Ewing.
Track listing for Between A Breath And A Breath
1. Astrologers
2. Obedience
3. Tidying Away The Pieces
4. Between A Breath And A Breath
5. France
6. Whisper
7. Heartwashing
Judy Dyble (vocals, autoharp) and David Longdon (vocals, acoustic and electric guitars, mandolin, piano and keyboards) are joined by Jeff Davenport (Jade Warrior, drums) and Longdon’s Big Big Train bandmates Danny Manners (double bass), Rikard Sjöblom (accordion), Rachel Hall (violin), Greg Spawton (bass guitar and Moog Taurus pedals) and Nick D’Virgilio (drums). Other featured musicians are Dave Gregory (ex-Big Big Train and XTC, guitar), Andy Lewis (Paul Weller, bass guitar), Luca Calabrese (Isildurs Bane, trumpet), Dave Sturt (Gong and Steve Hillage, fretless bass).
About Judy Dyble
Judy Dyble intended to be a librarian but got side tracked into joining many bands in their infancy, and became one of the pioneers of the English folk-rock scene in the 1960s, most notably as a founding member of Fairport Convention and vocalist with cult band Trader Horne.
Judy largely withdrew from the music scene in the early 1970s to concentrate on her family before being invited back to the Fairport fold in 1997 for the 30th anniversary reunion at Cropredy. To Judy’s great relief, her worries, ahead of the event, disappeared as ‘suddenly the years fell away.’ Further Fairport anniversary appearances reassured Judy and showed that her passion for music
had remained through the years and she made three albums with Marc Swordfish, of Astralasia, as she began a revival of her solo career.
This has included numerous guest appearances on albums by a host of artists including, in 2017, Big Big Train, with Judy forming a close working relationship with Big Big Train’s multi-instrumentalist frontman David Longdon
About David Longdon
David Longdon is best known as the vocalist for multiple award winning progressive rock band Big Big Train, whom he joined in 2009. Since then David has recorded six studio albums with Big Big Train, including 2019’s Grand Tour, and has fronted the band for a series of acclaimed live shows in the UK and Germany.
Prior to joining Big Big Train, David pursued a variety of musical avenues. These included leading Nottingham based band The Gifthorse, playing within Louis Philippe’s band alongside future Big Big Train member Danny Manners, reaching the final two in the auditions to replace Phil Collins in Genesis and performing on The Old Road, 2008’s farewell album by former IQ keyboardist Martin Orford, which brought him to the attention of Big Big Train.
An accomplished producer, songwriter, multi-instrumentalist and arranger, David has also previously released a solo album, 2004’s Wild River.
“No matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away.”
― Haruki Murakami, Kafka on the Shore.
Imagine, if you will, a deserted beach and a man in studious concentration, digging up the sand and then, like an artist who works in silica, crafting the most wonderful sandcastle. Like a medieval wonder it rises from the sand into a creation of unparalleled brilliance, a thing of spectacle for all to marvel at.
Fast forward twenty four hours to the same beach where the wondrous castle has disappeared, swallowed up by the unremitting tide, and the sand is pristine, not a single sign of the artist’s incredible work.
The artist may return to take up his labour of love once more but nature will always prevail, no matter what he does, and the sandcastles will always return to their constituent particles.
To me, this is something of an allegory of modern music. New records have such a short time-frame to impress the listener before the next big thing comes along. A lot of these albums will have been labours of love that the musicians have slaved over for months until they are as close to perfect as they can be. What do they do to make their achievements stand out enough for people to want to listen to and buy and to stay long in the memory to still be played in a years time or more?
British progressive rock stalwarts Big Big Train have long been known for their immersive musical productions with songs that tell stories from history and folklore and have been incredibly succesful. They are one of the bands that I turn to often for my musical fix and their pastoral progressive rock has been a big part of my life for the last four or five years.
April 2017 saw the release of their latest studio album ‘Grimspound’. On ‘Grimspound’, Big Big Train tell stories from the oceans and the skies, from the meadowland and the mead hall, tales of scientists and artists and poets and dreamers. Here can be found songs drawn from history and folklore, true-life tales of a flying ace, of Captain Cook’s ‘experimental gentlemen’ on his first voyage of discovery and the legend of a ghost waiting outside an ivy gate whilst the carriers of souls circle overhead.
Now, even though I liked the last year’s ‘Folklore’ (and still do!), I felt that, even though it had immediacy, it lacked the depth and endurance of albums like ‘The Underfall Yard’ and ‘English Electric’ and I don’t go back to it as often as I do the others.
Would ‘Grimspound’ be another engrossing tour-de-force that would take longer to really get into but, because of that, become a much loved classic? Let’s delve into the past and let the amazing story telling of Big Big Train do its magic…
“A statue of a young man
Defiantly stands
Glove held in left hand
With an Angel close by his shoulder…”
“The wonderfully atmospheric tale of Captain Albert Ball, a reluctant flying ace and hero of the Great War,“a young knight of gentle manner who learnt to fly and to kill at a time when all the world was killing … saddened by the great tragedy that had come into the world and made him a terrible instrument of Death”. DL
A haunting introduction paves the way for what is a classic Big Big Train track and really gives me the impression that the band have returned to their roots with this record. The build up is slow and measured before the guitars and drums herald the main part of the song and you are already rapt in attention. Lovely touches of flute and violin draw in David Longdon’s expressive and emotive vocal to tell the tale of this heroic airman. The music has a touch of pomp and circumstance in parts, befitting such a hero but also has gentle and subtle touches that would seem to mirror his compassionate soul. The build up to the chorus is spine-tingling and has you singing along with the words,
“I’ll be a brave captain of the sky.”
There’s a segue into a fast-paced instrumental section that has you on the edge of your seat, these consummate musicians once again showing their skill and class with guitar parts that are intricate and memorable and the mesmerising keyboards playing off against each other. Nick D’Virgilio’s drums and Greg Spawton’s bass are the glue that holds everything in place on this enduringly powerful piece of music before we are brought back down to ground and David’s voice over tells us more about Captain Ball and how he finally came to be shot down, aided perfectly by the stirring strings of Rachel Hall that almost seem to talk to you.
This amazing song closes out with another brilliant instrumental section interspersed by the repeated refrain,
“Brave Captain of the skies..”
Heart-wrenching guitars and that vibrant rhythm section hold your attention right to the suitably impressive end. Wow, what a start to the album!
“On The Racing Line, this instrumental is a further piece about John Cobb, the racing driver, who was the subject of our song Brooklands on the ‘Folklore’ album.” GS
An immediate and expressive instrumental that seems to convey the impression of speed and racing from the first note. Just let the music wash over you and be transported back in history to a time of gentlemen racers who would drive their cars to the track before risking life and limb careering round at high speed. The drums, keyboard and piano seem to be the motive force of this song, the descriptive strings and compelling guitar painting the pictures in your mind, it is all really inventive and quite majestic in delivery. Not just a piece of music but one that recreates history right in the depths of your mind.
“Farewell, my friends,
taking leave of England
headed due south;
experimental gentlemen.”
In 1768, Captain Cook’s ship, HMS Endeavour, set sail from Plymouth. The voyage had been financed by the Royal Society and the Royal Navy and had a number of aims, including the observation of the 1769 Transit of Venus.
Along the way, the botanists aboard the ship were tasked with collecting specimens from all locations visited in the southern hemisphere. Cook called the scientists on the Endeavour, who included the astronomer Charles Green and the botanist Joseph Banks, his ‘experimental gentlemen’. GS
Experimental Gentlemen was the track that, upon first listen, made me realise that the band were reverting back to their older sound. The introduction is gentle and pastoral and lifts the soul, leaving you in some kind of reverie, flute and piano meandering around your mind before Nick’s drums direct everything into a more regimented sound. There’s a feel of ‘English Boy Wonders’ to the rhythm and vocals and the brilliantly evocative and descriptive guitar is a beautiful touch. Every time David Longdon sings the title line I find myself joining in and a smile appearing on my lips, this is Big Big Train at their expressive and illuminating best. Rachel Hall’s violin takes centre stage half way through as a more serious note pervades the song, aided and abetted by some emotive keyboard playing to give a real affectional feel to the song. Her violin follows the motif of the chorus and we are off again on this jaunty journey into the wonder of it all. The climax begins with a brilliant, rising guitar solo that grabs your attention before calm and reflection settles over the track and it segues into a piano led section where Greg’s subtle bass playing joins Nick’s drums as the foundation on which a haunting guitar and ethereal strings raise the hairs on the back of your neck, quite clever and very touching as this superb song comes to a close, leaving you enjoying the silence and solitude.
“Here, with book in hand,
follow the hedgerow
to the meadowland.”
“One of the characters who featured on our ‘English Electric’ albums was David’s Uncle Jack. The Meadowland in this song is an idealised place where people gather together to share their thoughts about the things they love. You may bump into people when you are out and about and spend some time talking with them, creating your own such space. As the song is set in the countryside, I couldn’t resist a final appearance for Uncle Jack, who follows the hedgerows up to the meadowlands, as he did many times in his long life.” GS
A short song as Big Big Train ones go, coming in at under four minutes go, it opens with a wistfully delicate guitar and violin that immediately gets under your skin with its sentiment and warmth. This is an exquisitely graceful track that really plucks at your heartstrings, David’s vocal is heartfelt and just brings nostalgia flooding back. The interplay between the violin and guitar is genius, I don’t mind admitting that I had a tear of joy in my eye as it came to an elegant close.
“What shall be left of us?
Which artefacts will stay intact?
For nothing can last…”
“Grimspound is a slightly older song than the others on the album. In fact, the drums were recorded by Nick at Real World back when we were making ‘Stone & Steel.’ Big Big Train music contains many historical and archaeological references, and this song is no different in that respect, because it is the name of a Bronze Age settlement on Dartmoor in Devon. When I came to write the lyrics for ‘Grimspound’, I decided that it would be a song about the folklore and myth that surround crows. It is specifically about life, from the perspective of Grimspound the crow.” DL
A slow building opening to the song, a gentle breeze blowing around your mind as the calming music settles upon your soul. There’s a touch of ‘Folklore’ to this track, a more folk edge to the music and the vocals and the repeated musical motif which has become a much loved instrumental earworm to me. Grimspound is a song that just epitomises Big Big Train and their wonderful brand of pastoral progressive rock with its unique Britishness that the fans can relate to. The music is catchy and grabs hold of you and won’t let go but in a gentle and jovial manner, it is music for long summer days in the meadows with meandering streams and for making lifelong memories. The delightful run out with the elegantly nomadic guitar line just adds to the class and charm.
“Upon nights this cold
So the story goes
Some folk say they see the ghost
of Thomas Fisher wait
Outside the Ivy Gate..”
“The origins of this dark song began when I was trying to write a piece called Folklore. This was way before we had decided to call our 2016 album by the same name. The Ivy Gate is a song about family and loss, the perils of childbirth, warfare and faith. It is also a supernatural tale concerning damnation. The Ivy Gate is set during a time of war and centres around the life and times of the ill-fated Fisher family. I met Judy Dyble when she attended the Saturday BBT show at Kings Place. We kept in touch and, as The Ivy Gate developed, I thought that it would make an interesting duet.” DL
The idea of The Ivy Gate being a duet between David and Judy Dyble of Fairport Convention fame borders on genius and gives an elegant fusion of traditional folk and the more pastoral, progressive rock tinged, version that Big Big Train produce. The deep and dark, banjo inspired opening gives real atmosphere and depth to the song right from the off. Judy’s voice adds drama and suspense to the song and a mysterious aura envelops the music, added to by the haunting strains of Rachel’s strings. I feel like I’m transported back in time to be in the middle of a supernatural Victorian spectacle and when David joins in it is almost spine tingling and dramatic. There’s a tense, nervous feel to the music, the violin and banjo adding real tension before the song erupts with Greg’s dynamic bass giving real drive and force to proceedings and progressive overtakes folk as the stimulus. Keyboards swirl, drums are pounded and we are back in the 70’s with a proper prog out instrumental section backing David and Judy’s vocal conjoinment, a powerful musical statement from the band.
“With an eye pressed to the spyglass
counting constellations.
On the shores of distant oceans
charting undiscovered lands;
the collectors and observers,
curators and explorers,
reflectors of light.”
“A Mead Hall in Winter began life as a two-minute acoustic guitar and piano instrumental, which was originally intended for the ‘Folklore’ album. Somewhere along the way, Rikard developed his short instrumental into an epic progressive rock piece. Once we had received the initial demo from Rikard and had spent some time getting to grips with the complexities and twists and turns in the song, it was decided that, between the three of us, I would write the vocal melody and backing vocals and Greg would write the words. When I was developing the vocal melodies for A Mead Hall in Winter (which I demoed on the flute), I mentioned to Greg that the song reminded me a little of The Underfall Yard.DL
When David mentioned the connection to The Underfall Yard, I went back to that song and reminded myself of the words. The main theme of the lyrics is the concern that we are losing sight of the Enlightenment values which underlie much of the scientific and social progress that mankind has made in the last few centuries. I thought I would revisit that theme and explore it in greater detail on A Mead Hall in Winter.” GS
A proper ‘prog epic’ at over fifteen minutes, A Mead Hall in Winter is an early favourite of all the Big Big Train fans but, initially, it doesn’t grab me as I’m not a fan of the opening which I feel is a bit messy and almost sounds like an 8 bit Nintendo theme tune from the 80’s. Luckily, after 30 seconds or so, guitar and violin combine to good effect and, as far as I’m concerned, the blue touch paper is lit and we’re off. I love the way that the song seems to drop you slap bang in the middle of the Mead Hall, fire roaring, mead flowing and music playing, it’s really a rather immersive piece of music, one that asks the listener to get involved and become part off. David isn’t just the singer here, he’s a proper troubadour, a minstrel telling stories through the ages and his voice seems to go back in history to echo the early days of the band from ‘The Difference Machine’ and onwards. The captivating and addictive chorus will have you singing along with every word, the harmonised vocals are hauntingly memorable and the little snatches of violin and guitar are the glue that brilliantly hold it all together.
“Artists and dreamers and thinkers are right here by your side…”
Midway through the song we are treated to another entrancing and mesmeric instrumental section that leaves me open mouthed and slack jawed in appreciation. The vocals and instrumentals entwine and combine to deliver an intricate and yet amazingly accessible piece of music that demands to be listened to above all else, stop what you are doing and just concentrate on what is laid before you. The organ section that follows just leaves me transfixed as Rachel’s violin swoops in like Grimspound of the title and dances before your very eyes. Fifteen minutes of sonic delight come to a close with the beguiling vocals and enthralling music resounding in your ears, incredible stuff.
“All here is good,
still and quiet.”
“Sarah’s concept for the cover artwork of the ‘Grimspound’ album has always been that of a crow in flight. Amongst all of the pieces that we have written over the last few years about people and landscape and folk tales we have always featured some songs (or observations within songs) which are more personal in nature. This includes As the Crow Flies. One of the most profound experiences is caring for other people, whether that be for children or aged relatives or others who need support. As the Crow Flies is about the succession of moments of letting go as children prepare to take flight on their own.” GS
As The Crow Flies is perhaps the most personal and melancholy track on the album, when we talk of our children ‘flying the nest’ it is at once both a happy and sad time, it marks a big change in people’s lives and this song has a profound and yet and uncertain timbre to it, echoing perhaps the feelings when we must venture out on our own. The opening to the track has a very sombre tone to it, David’s vocal especially and the music feels like it is treading carefully, almost walking on metaphorical eggshells. The guitar work on this song is as exemplary as ever, almost as if the instrument is talking to you, an accompaniment to David and when Rachel Hall’s delicate voice joins in, it is a thing of ethereal grace and adds hope and longing to lift the feeling of loss that hung over everything. Ultimately our children are our hopes and our futures, we must let them out into the world to become what they are destined to be and to leave their own mark. The sentimental nature of the music and the vocals leaves its mark on my heart and soul and I’m left looking forward to the future, whatever it may bring.
‘Grimspound’ was a hugely anticipated album from one of Progressive Rock’s most revered bands and had to deliver on every front. And it has, many times over, songs like this are what have given Big Big Train the reputation they have today. They are not just music, they are historical tales that take that music and weave it around stories, factual and fictional, to deliver an deeply engaging and riveting spectacle that stays with you forever. This is one sandcastle that no tide will ever wash away…
