Customer Reviews

Spring

5 star:		(11)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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.

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.

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

I bought this recently on the strength of a glowing review that made much of their use of the Mellotron, an instrument that has long stirred my soul. Unfortunately, I have a tough time getting past Pat Moran's lead vocals; his style is definitely an acquired taste. Apparently, when they started work on a follow-up album, they had dropped the Mellotron from their sound palette, and without it, their music shows me little; I could have done quite nicely, thank you, without the three bonus tracks.

One of the best one shot albums in the history of rock. Spring played a softer brand of classically influenced progressive rock. There is not one wasted note on this album-no indulgent solos or jamming. Although most of the songs are over 5 minutes, Spring displays melody, content, and a superb songwriting craft into every song. Many songs also feature two mellotrons playing at once. In fact, if you are a mellotron lover and don't have this album, you don't know what you've been missing. The original album contained eight songs-all are excellent. There are also three bonus tracks that were to be recorded for a never finished second album. These songs showed Spring moving into harder rocking territory. One of the songs is on a par with the original album. The last two are mediocre. But hey, nine excellent songs on an album that every progressive rock lover should own. If you don't believe my review, read the Spring review on Delirium's web site.

I like the review by Allen Bruce Ray and agree with his comments almost in total.

I'll add a couple items. The lead vocalist does have an unusual voice. It takes a couple listens and then you actually appreciate. It is almost Van Morrison/jazzy-like.
My main objection to the vocalist is his lack of enunciation - words slur together; however he has a unique melodic jazz/deep and rich in harmonics voice that really enhances the music.

The overall tenor of this album is like either Chris Squires' "Fish out of Water" or PFMs "Per un Amico" in mood and texture and mix with a prolivication towards bass and keyboard Bach-like enveloping keyboards. If you like this album I think you will like "Per un Amico" and visa versa. If you do not like "Fish" or "Amico" I do not think you will like this album.

There is a great mix of music on the album and consistently high quality. Some tracks highlight an accoustic guitar while most highlight the 3 mellotrons. In Prog circles, this album is known as the "mellotron album". Tracks 1, 4, 5, 6 in particular showcase this essential prog instrument ans show its great versatility.

I just got this album and on the first day I listened to it once and was neutral about it - primarily, somewhat turned off by the vocalist. The second day listened to it once and had to make sure I put the same album in. On day 3 listend to it about 5 times and have discovered 5 or 6 tracks I really love. It is a shame that this is short-lived Spring's only album, the reissuers added 3 previously recorded tracks (non-Mellotron) to the album. It is a real shame the group did not mature more and issue more music.

This Leicestershire based band had only released one album, originally on Neon, a division of RCA, complete with a triple foldout gatefold like Yes' Going For the One. The original LP of Spring is quite difficult to come by, so luckily it's been reissed on CD. If you're a lover of Mellotron, you can't go wrong with this album. Three guys are credited to playing Mellotron, that is vocalist Pat Moran, keyboardist Kips Brown, and guitarist Ray Martinez. I have the American CD reissue on The Laser's Edge, which states (with the exception of acoustic guitar) that there are no overdubs, which means there are many times all three Mellotrons are being played at once! Basically the music reminds me of the Moody Blues, without the cosmic sludge lyrics that often turns me off about that band. The first five cuts seem to be the best, "The Prisoner (Eight By Ten)", "Grail", "Boats", "Shipwrecked Soldier" and "Golden Fleece". The next two songs seem a bit weaker but not bad. "Song to Absent Friends (The Island)" seems actually out of place on this album since it's a piano oriented piece that sounds a whole lot like what Elton John was doing around the same time (probably due to the fact Spring's producer, Gus Dudgeon had also produced for Elton John), before closing with "Gazing" which returns to the Mellotron-drenched sound of Spring. It's also as great as the first five cuts. My CD reissue also includes three bonus cuts, "Fool's Gold", "Hendre Mews", and "A Word Full of Whispers" which was apparently from a never finished 1972 followup. These are three amazing cuts, but the Mellotron was gone in favor of the Hammond organ. I can only imagine that this second album would have been great if it was completed. Spring then broke up, Pat Moran then went to studio engineering (you can see his name appear on some later Hawkwind album, like 1981's Sonic Attack, as well as some Van der Graaf Generator albums like Still Life). Drummer Picque Withers was later a member of Dire Straits (as Pick Withers) from their formation until 1982. Spring does get hyped, which deserves it, but warning: upon first listen, you might not even like it. A lot of the compositions seem to be of the same tempo, and it might seem like the album needs more kick, but it simply requires several listens for it to kick in. So if you love early British progressive rock, you love the Mellotron, and some of the Moody Blues lyrics are making you sick to the stomach, I suggest you give this album a try.

I listen to this album all the time; even if you have to buy it on import, it's totally worth it. A beautiful gem from the prog rock era, Spring is drenched in Mellotron but still rocks out pretty hard. If you like early Bowie or bands like Gracious, you'll like these guys.