Train

The Difference Machine is their 5th album. For those unfamiliar with the band, they hail from southwest England and began their career in the late 80's with a decidedly late 60's King Crimson sound (think In The Wake Of Poseidon). The Difference Machine hails back to that early Crimson sound, especially in the stop/start of the arrangements, the bass and drum production, and the usage of wind instruments such as alto and tenor saxophone, viola and predominant use of the mellotron. The classic prog arrangements are spiced up with some modern technology, including digital loops and industrial sounding distorted vocals…

What if Genesis had decided to go back to their progressive roots rather than a commercial direction in the 1980's? Of imagine if you will the notorious three reuniting to do likewise. The result might sound something like The Underfall Yard. You've got your mellotrons, twelve string guitars, a lead vocalist, David Longdon, who sounds just like Phil Collins (Phil called and he'd like his vocal style back), also the occasional flute.
After that Big Big Train starts to diverge from the old Genesis sound. David's flute playing is more reminiscent of Ian McDonald than Peter Gabriel. The bass work by Andy Poole is more complex than the basic bass of Mike Rutherford and reminds me more of Geddy Lee…

On "Songs and Symphoniques: The Music of Moondog," Ghost Train Orchestra teams up with the trailblazing Kronos Quartet to celebrate and reimagine the music of Louis Hardin, aka Moondog, the ground-breaking composer and poet who lived on the streets of New York City in the 50s and 60s, and influenced the minimalists Philip Glass, Steve Reich and Terry Riley. A blind composer who moved from Kansas to New York City and built his own instruments and mythology, Moondog's story and music continue to be an inspiration to many.

Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids.