I sometimes have to pinch myself when I think of Martin Springett and wonder just what might have been if his musical talents had been recognised at the right time. I first came across Martin when I reviewed the reissue of his debut solo album, 1983’s ‘The Gardening Club’ more than 40 years after it originally appeared. Not long afterwards he contacted me and I soon reviewed his other three releases, but I am sure neither of us realised what was going to happen next, in that he was going to form a new band in his seventies, and we now have the seventh album since the world started to catch up on his music. Here we have basically the same line-up as 2024’s ‘Another Country’, but I note that Norm Macpherson (who is responsible for the music alongside Martin and Kevin Laliberte) does not play on this one, so the line-up is Martin Springett (vocals, guitars), Kevin Laliberte (guitars, keyboards), Thomas Kinzel (piano), Drew Birston (fretless bass), Wayne Kozak (saxophone), Chendy (drums and percussion) and Danie Friesen (soprano vocals).
I felt the last album truly had Martin spreading his musical wings as while the core of his sound was still Camel and Roy Harper he was moving into other areas, and here he has continued that progression as while those influences are still there he has also brought in musical theatre, The Moody Blues, symphonic elements, classic pop, acoustic and more. In “Marrakesh” we also get some world influences which find us transported immediately to Morocco, and it is the way the album keeps switching which makes it such an inviting listen. This truly is progressive at its core, yet there is so much more taking place as opposed to being purely “prog” as a genre but instead keeps blending and refusing to accept pigeonholed boundaries which are often put on music when people use labels.
This is a concept album about The Grey Men, and of course we have a fully illustrated booklet bringing the stories to life, with the lyrics again by Steve Bennett (who also provided the lyrics for ‘Mr. October And The Moon Of Madness’). There is no doubt that some singers lose their power and range when they age, but Martin is still as direct, controlled and emotive as always. I must confess to always feeling somewhat of a fraud in that each time I review one of his albums I say it is the best one to date, yet he continues to build on what has gone before and his relationship with Norm and Kevin in particular continues to deliver outstanding results. Danie, who came on board for the last album, has been a great find, as her professionally trained vocals provides a very different foil indeed.
It is unusual for an artist to be highly skilled in more than one area, but Martin has had a highly distinguished career as a book illustrator (and of course kindly provided the covers for ‘The Progressive Underground’ volumes), yet as a musician he is also reaching great heights. Simply superb, if you enjoy melodic music which is broad and diverse ter also accessible and enjoyable while also telling a story, then this is for you. 10/10 By Kev Rowland
