Spring - Spring (11 tracks) +Album Reviews

I keep coming back to it, so 5 stars

Allen Ray | Chuncheon, Gangwon Province, South Korea | 08/21/2002

(5 out of 5 stars)

"If you've heard anything about Spring's only release from 1971, chances are you've probably also heard the mellotron hype a thousand times already (SOAKED IN MELLOTRON! THREE MELLOTRONS PLAYING AT ONCE! A MELLOTRON LOVER'S DREAM COME TRUE!) Be assured, though, that overall this is actually a pretty good collection of songs. Part of the hype stems from the liner notes themselves, which proclaim, "It is often tempting to use fancy recording techniques in the studio but Spring don't need it. Everything on the album is exactly as it is on stage - with the exception of some overdubbed acoustic guitar." Since the band essentially recorded live in the studio, and given that three of the five band members are credited with playing the mellotron, there are indeed places where there are three 'trons going at once, though it's entirely possible that three people were playing just one beast. In fact, Spring were one of the first groups to actually incorporate the mellotron into their sound right from their conception. Understand that the arrangements are not just all mellotron, though; there's plenty of acoustic 6 and twelve-string guitar, a good balance of driving blues-rock electric guitar, and gritty Hammond organ as well as bass and drums. Pat Moran's vocals may be an acquired taste for some, especially on "Shipwrecked Soldier" and "Golden Fleece," but I've apparently acquired it because it doesn't bother me anymore. It fits well with the mood of the music and the tone of the lyrics. And the speaking of lyrics, they're surprisingly good, which often isn't the case with a large chunk of progressive rock. As Mr. Miler points out in his review, the first five tracks seem to be the strongest, but all of the tracks from the original album are enjoyable. On the other hand, none of the three extra tracks from the shelved second album are quite up to the same standard, though the first of these, "Fool's Gold," is pretty good. Sadly, there is no mellotron on any of these three tunes, which instead place emphasis on organ and guitar. These could just as easily have been left off of this CD.

If you're a fan of early 1970s progressive rock, enjoy some of the other short-lived bands from the same era such as Gracious, Cressida, and Fantasy, and like the Moody Blues but wish they had a slightly edgier sound and more down-to-earth lyrics, then this could well some music you'll like a lot. Highly recommended."

Mellotron + Early 1970's + Good Music = MAGIC

Gerald Ellis | INDIANA | 12/06/2002

(5 out of 5 stars)

"To start off, you must know this- I am a sucker for the great prog-rock mellotron assisted-sound. This CD hits the spot. I just picked it up 2 days ago and I have listened to it 5 times. The mellotron is used to compliment a great band from the UK. The only sorry thing about "Spring" is that they only released this 1 LP. SO, if you love early Genesis, King Crimson, Moody Blues, etc. this is a must. Not that "Spring" sounds like or copies those bands, they have there own distinct sound. The singer has a very distinctive, pleasant voice. The songs are well-written and not pretentious for the sake of being "cool". I have alot of CDs and this is one of my better finds in many months."

Mellow English rock lent added oomph with the mellotron

Jeffrey J.Park | Massachusetts, USA | 09/02/2006

(4 out of 5 stars)

"As a fan of stylistically similar bands such as Barclay James Harvest, Strawbs, Beggars Opera, Gracious, Cressida, and the Moody Blues, I found this 1971 album to be very enjoyable. As an added bonus, this album is loaded with the mellotron and this is a major plus in my book. In fact, I think that it is the abundant use of the mellotron on the album that has led to its elevated status among most prog fans.

The musicians on this album include Pat Moran (vocals, mellotron), Ray Martinez (electric guitar, acoustic 12 string guitar, and mellotron); Adrian Maloney (bass guitar); Pique Withers (drums and percussion); Kips Brown (piano, organ, and mellotron). The abilities of each musician are well suited to the material, which is largely a breezy and occasionally gloomy mixture of mellow rock and English folk styles. Although I like the vocals a lot, they may not be to every listener's liking. I guess it's worth noting that Pique (Pick) Withers went onto fame and fortune with the pop group Dire Straits.

The eight tracks on the album range in length from 1'53" to 6'59".

Unlike a lot of progressive rock out in 1971 (e.g. Tarkus, ELP; Moving Waves, Focus; Acquiring the Taste; Gentle Giant; The Yes Album, Yes; and Nursery Cryme, Genesis), this music is not characterized by blinding virtuosity, sophisticated harmonies or odd meters. Although these guys were clearly interested in pushing the boundaries of pop song form and structure (and they do somewhat), this is largely a collection of very nice and melodic songs with good vocals that are lent added "oomph" and sophistication with the use of the mellotron. A very nice mixture in my opinion - in fact, even though I am a prog fan I actually enjoy just listening to songs once in a while.

Repertoire did a pretty good job remastering this album and it features the lyrics along with some informational tidbits. The bonus tracks are pretty good and are more adventurous than the tracks on the original album.

This is a great album that would make a fine addition to the prog collection, although I could easily recommend this album to just about anybody. Another stylistically similar album that folks might also like is the debut album by Supertramp."

Needs a bit more Mellotron

Elliot Knapp | Seattle, Washington United States | 12/31/2007

(5 out of 5 stars)

"The first thing critics and reviewers alike note when describing Spring's only album is the abundance of Mellotron, the unique tape-sampling precursor to synthesizers. Legend has it that the band toured for over 2 years with 3(!) of the bulky, delicate keyboards (or at least, 3 members of the band played Mellotron). So, in many ways, Spring's debut is notable as THE Mellotron album, which may be enough to attract aficionados of the instrument (which is quite something, producing totally unique sounds originally meant to mimic orchestral instruments, flutes and choirs). Really, though, Spring is more than just a Mellotron showcase--it's an early prog tour de force that sports tightly-written but experimental songs, some gnarly guitar, and an excellent lead singer with an incomparable voice. Even the album's artwork, a sprawling 4-panel photo of a soldier bleeding into a stream as the band looks on, is a pull for this lost gem.

"The Prisoner (Eight By Ten)" is a superb opener, subdued but flickering with energy. The Mellotrons simultaneously project string harmonies and indescribable synth-like leads as Pat Moran sings a prisoner's lament. His tenor is fragile and beautiful enough to fit in with an ethereal song like this opener, but his unusual British accent (I'm not sure which part of the U.K. he's from, but his pronunciation is quite different from the usual multitude of British accents music listeners are used to receiving) lends him an idiosyncratic edge that allows him to cut loose when the band rocks. "Grail" drives a fair bit harder than the opener, with some pretty cool and unexpected compositional moves that make no bones about the band's progressive intentions. The "nights go on when days pass by..." chorus is a genuinely strong hook with some great lyrics to back it. By now, any Moody Blues comparisons can be dispelled...although they both feature Mellotrons, Spring is a lot edgier, with less frilly attempts at classical rock, and they're much darker to boot.

"Ships" is an excellent acoustic British-folky ballad that sounds more like an early David Gray tune than 70's prog. "Shipwrecked Soldier" is another highlight, combining pounding military snare drums with stabbing Mellotron "strings," "trumpets" and groovy guitar. "Golden Fleece" is pop-prog at its best, with a galloping acoustic guitar riff and swelling crescendo in the vocals (doubled by the Mellotron). As for the rest of the album, it's full of catchy prog, including the spare, tender piano ballad, "Song to Absent Friends" and the simultaneously dreamy and foreboding "Gazing."

Anyone who has developed a fascination for Mellotron through recordings like the Zombies' Odessey and Oracle, the Pretty Things' masterpiece, S.F. Sorrow, and early Moody Blues, Pink Floyd, and some Beatles songs ("Strawberry Fields") will be delighted with the instrument's center-stage role here. Fans of the catchier side of prog displayed by the Strawbs and Caravan will be delighted to find another obscure British progressive band that actually has some pop instincts and songwriting chops."

At last I've found it

S. Ridout | Poole,UK | 09/03/2006

(5 out of 5 stars)

"In 1973 I borrowed this album(vinyl of course)and have had a copy(sorry) on tape ever since,this is without doubt one of the finest albums from the 70s,and the least heard sadly,the guys voice is a pleasure and I agree with the other writer here that if you are a Moody Blues fan of that era then you will not be dissapointed here,I would put it up there with Childrens Children and Question of balance etc it's in my top ten albums from that time and I've been listening to a bad copy only recently transferred to CD on the PC,thank goodness for the internet because I've only just tracked down a copy here and have just ordered it,so there's one bit of the UK that I'm importing back home,thanks Amazon I cant wait to hear it without the pops and scratches after 33 years (is it realy that long?)Brilliant"

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