Spriguns -

Spriguns were an English folk-rock band from Cambridge that recorded two albums as Spriguns of Tolgus in 1974/75, the second released on Alida Star and the first released 18 years after the fact by archivists Kissing Spell. Under the shortened name, the band released the 1976/77 Decca albums Revel Weird And Wild and Time Will Pass. Their fifth album, Magic Lady, appeared in 1978 on local-press Banshee Records with frontwoman Mandy Morton featured before the nameplate. In 1980, she issued the Polydor solo album Sea of Storms.

Members: Mandy Morton (vocals), Mike Morton (vocals), Chris Russon (guitar), Rick Thomas (fiddle), Tom Ling (fiddle), Dick Powell (keyboards), Chris Woodcock (drums), Dennis Dunstan (drums), Wayne Morrison (guitar)

Background

Spriguns of Tolgus formed in Cambridge in 1972 as a married duo comprised of bassist Mike Morton and his multi-instrumentalist wife Mandy, who played dulcimer and 12-string.

Mandy (born Amanda Janina) left Nottinghamshire at age fifteen to join older sister Gaynor in Cambridge, where the sisters played local pubs as Simple Folk.

Mike Morton was a Cambridge student when he met Mandy in 1971 at a boutique and cafe near the university. The Mortons married in January 1972 and took the group name from Cornish spriggan lore and the Tolgus tin mine.

By 1973, Mandy and Mike Morton ran a music club at the Anchor pub in Cambridge. The club brought English, Scottish, and Irish ballad material into their regular sets and drew local floor singers into the group’s orbit. Chris Russon joined Spriguns of Tolgus as guitarist-mandolinist. Rick Thomas joined as a multi-instrumentalist (vocals, guitar, mandolin, dulcimer).

Spriguns of Tolgus recorded Rowdy Dowdy Day in the Mortons’ rented-house kitchen in 1974 with a Revox reel-to-reel machine, a four-track mixing desk, live takes, and no overdubs. Mandy Morton assembled the handmade cassettes and photographic labels for sale at the Anchor, where the group used proceeds to finance PA equipment. The cassette documented the first lineup before a Leicestershire studio contact led to Jack With a Feather, their 1975 self-financed vinyl album on Alida Star.

Rowdy, Dowdy Day

Spriguns of Tolgus released their debut album, Rowdy, Dowdy Day, in 1974 as a private cassette.

Rowdy, Dowdy Day documents the first Spriguns of Tolgus lineup in a live, home-recorded cassette format. The program draws on traditional songs, ballads, reels, and verse material, with “Matty Groves” as the extended first-side piece and “Scotia Reel” and “Cuckoo’s Nest” as second-side dance-tune entries. The Milne–Thomas title “Sir Brian Botany” breaks the traditional program.

“Let No Man Steal Your Thyme” carries Morton’s clearest early lead over a small-room acoustic setting. “The Jolly Tinker” rests in a muted electric setting, anchored by Morton’s bass line. “Matty Groves” stretches the narrative through the same muted electric treatment. “The Trees They Do Grow High” settles into a plain ensemble surface, and the low line holds the song’s weight. “Three Drunken Maidens” clips the folk-club material to the same restrained electric outline.

A1. “Let No Man Steal Your Thyme” (2:48)
A2. “The Jolly Tinker” (2:21)
A3. “The Laily Worm and the Mackerel” (2:20)
A4. “Spanish Ladies” (2:17)
A5. “Matty Groves” (7:31)
A6. “The Trees They Do Grow High” (3:15)

B1. “Three Drunken Maidens” (2:48)
B2. “Scotia Reel” (2:06)
B3. “Keys of Canterbury” (3:11)
B4. “Sir Brian Botany” (3:04) – Milne, Thomas
B5. “Trooper’s Nag” (3:37)
B6. “Cuckoo’s Nest” (2:35)

The group recorded Rowdy, Dowdy Day live in the dining room of a rented house with a small tape recorder and mixing desk. Spriguns of Tolgus sold a small cassette run through the Anchor Folk Club in Cambridge.

Jack With a Feather

Spriguns of Tolgus released Jack With a Feather in 1975 on Alida Star Recordings as the group’s second album and first vinyl LP.

Feather moves the Rowdy lineup onto the group’s first vinyl LP. The album contains traditional songs, Child-ballad material, and dance-tune sets, with shared dulcimer and 12-string guitar credits across Mandy Morton, Chris Russon, and Rick Thomas. Morton sets “The Twa Magicians” and shares the “Flodden Field” music with Thomas; Tim Hart contributes “Seamus the Showman.”

The repertoire draws mainly from traditional material. “Lambton Worm” carries a C.M. Leumane credit. “Flodden Field” combines traditional words with added music by Mandy Morton and Rick Thomas. “The Twa Magicians” sets traditional words to music by Mandy Morton. “Seamus The Showman” is a Tim Hart song.

“Lambton Worm” bounces on bass and an electric figure, then keeps the vocal line clear of clutter. “Flodden Field” winds through a tricksy tune shaped around old text. “Curragh of Kildare” narrows to a gentle, bittersweet lead, and intertwined guitar figures trace the ache in Morton’s line.

A1. “Lambton Worm” (4:10) – Leumane
A2. “Let No Man Steal Your Thyme” (2:58)
A3. “Derby Ram” (2:46)
A4. “Jigs: Rakes of Malo / St. Patrick’s Day / The Ten Penny Bit” (3:52)
A5. “Flodden Field” (6:44) – traditional, Morton, Thomas

B1. “Trooper’s Nag” (3:41)
B2. “Curragh of Kildare” (4:49)
B3. “Keys of Canterbury” (3:36)
B4. “The Twa Magicians” (4:04) – traditional, Morton
B5. “Seamus The Showman” (2:49) – Hart
B6. “Barren Banks of Aden” (1:18)

Mike Morton produced Jack With a Feather at Alida Star Recordings. The album appeared on Alida Star Recordings as ASC 7755.

Revel Weird and Wild

Spriguns released their third album, Revel Weird and Wild, in 1976 on Decca.

Revel Weird and Wild introduces the shortened Spriguns name and the group’s first Decca lineup. The Mortons remain, now joined by violinist-vocalist Tom Ling, guitarist-keyboardist Dick Powell, and drummer Chris Woodcock. Mandy Morton wrote five titles and co-wrote three others. Ling and Powell wrote “Hasberry Howard.” B.J. Cole adds pedal steel guitar on selected titles.

“Trysting Tree” tilts toward pedal-steel color and leaves Morton’s lead in a quiet pastoral tone. “Outlandish Knight” opens in a light Elizabethan figure, turns abruptly into a darker episode, then releases a short reel before the close. “Sir Colvin” threads lively dance-tune figures through rippling piano. “Piscie Song” sharpens Morton’s playful delivery against the tale’s lighter turn.

“Nothing Else To Do” skips through compact dance-tune phrases led by the fiddle. “Hasberry Howard” cuts as an instrumental; electric edge and a firm low line press the tune. “Lord Lovell” darkens through a sonorous bowed line and a tale-bound vocal. “Laily Worm” gathers strong, nearly unaccompanied harmonies around the old tale. “When Spring Comes In” settles into quiet pastoral air; slide work and chord ripples answer the romantic vocal.

A1. “Trysting Tree” (4:04)
A2. “Outlandish Knight” (4:35)
A3. “Sir Colvin” (5:57) – Morton, Powell
A4. “Piscie Song” (4:05) – Morton, Powell

B1. “Nothing Else to Do” (3:01) – Morton, Morton, Powell
B2. “Hasberry Howard” (2:55) – Ling, Powell
B3. “Lord Lovell” (4:50)
B4. “Laily Worm” (3:19)
B5. “When Spring Comes In” (3:08)

Tim Hart produced and mixed Revel Weird and Wild at Decca Studios in Tollington Park, London. Alan Leeming and Adrian Martins recorded the album.

Revel Weird and Wild appeared in a sleeve with cover concept and design by Mike Collins and Sonja Collins. Bruce Atkins provided the back-cover photography.

Decca lifted “Nothing Else to Do” as a November 12, 1976 single (b/w “Lord Lovell”).

Time Will Pass

Spriguns released their fourth album, Time Will Pass, in 1977 on Decca.

Time Will Pass retains the Ling, Powell, Mortons core, joined here by concertinist Lea Nicholson, drummer Dennis Dunstan, and guitarist-mandolinist Wayne Morrison. Mandy wrote eight titles; “Blackwaterside” adapts traditional material. Robert Kirby arranged the orchestral parts on “All Before,” “White Witch,” and “Letter to a Lady.”

“Dead Man’s Eyes” hardens around a firm kit pattern, electric guitar, and violin-riff motion. “All Before” softens around piano and acoustic strum, then strings lift the line. “For You” glides through mandolin and electric-slide replies. “Time Will Pass” coils around a persistent keyed figure and a brief bowed tag. “White Witch” swells under orchestral scoring, cool woodwind, and Morton’s warm acoustic strum.

“Blackwaterside” expands through synthesizer color, heavy electric force, and a rough middle solo. “You’re Not There” narrows around a personal vocal and a short bowed close. “Devil’s Night” sharpens through ghostly vocal harmonies and firm electric backing. “Letter To A Lady” fades from Robert Kirby’s orchestral wash.

A1. “Dead Man’s Eyes” (3:52)
A2. “All Before” (2:50)
A3. “For You” (3:42)
A4. “Time Will Pass” (2:34)
A5. “White Witch” (3:10)

B1. “Blackwaterside” (5:19) – traditional
B2. “You’re Not There” (2:57)
B3. “Devil’s Night” (2:58)
B4. “Letter to a Lady” (5:12)

Sandy Roberton produced Time Will Pass at Decca Studios in Tollington Park, London. Derek Varnals and Craig Thomson recorded the album. Robert Kirby arranged the orchestral parts on “All Before,” “White Witch,” and “Letter to a Lady.”

Time Will Pass appeared in a sleeve with cover concept and design by Mike Collins and Sonja Collins. Bruce Atkins provided the photography.

Decca lifted “White Witch” as a November 4, 1977 single (b/w “Time Will Pass”).

Magic Lady

Mandy Morton & Spriguns released Magic Lady in 1978 on Banshee Records.

Magic Lady contains twelve Mandy originals, performed with Mike, Ling, guitarist-vocalist Byron Giles, and drummer Alex Cooper.

Ling adds harpsichord beside electric and acoustic violin. Gryphon guitarist Graeme Taylor guests alongisde returning auxiliary Tim Hart, who adds dulcimer. Magic Lady also welcomes concertinist Gordon Folkard, cellist Sarah Folkard, and backing vocalist Gaynor Roberts.

“Music Prince” rolls through a bright tune and darker lyric weight. “According to Matthew” reels around a winding fiddle line and a nursery-rhyme turn. “Little In Between” flits around harpsichord decoration and Tudor color. “Witchfinder” crouches under darker harpsichord figures; dulcimer tones lengthen the shadow before a bowed cry. “Ghost of a Song” hushes into a lullaby with a doubled vocal and a snaking low line.

A1. “Magic Lady” (2:29)
A2. “Music Prince” (3:19)
A3. “According to Mathew” (3:29)
A4. “Little Inbetween” (1:36)
A5. “Goodbye the Day” (4:25)
A6. “Silence Do the Rest” (3:01)

B1. “The Lady” (3:13)
B2. “White Ship” (2:45)
B3. “Witchfinder” (3:41)
B4. “Gypsy Glass” (3:48)
B5. “Ghost of a Song” (2:59)
B6. “Magic Lady (reprise)” (0:53)

Morton wrote all titles on the original LP. Later editions add “Winter Storms” (2:58), a Morton and Chris Mills title, before “Magic Lady (reprise).”

Morton and Mike Kemp produced Magic Lady for Spaceward Productions. Sessions occurred in June 1978 at Spaceward Studios. Abbey Road Studios mastered the album.

Magic Lady appeared with a hexagonal lyric insert and band photos.

Banshee lifted “Song For Me (Music Prince)” as a 1979 single (b/w “Little Inbetween”).

Sea of Storms

Mandy Morton released her first solo album, Sea of Storms, in 1980 on Polydor.

Sea of Storms expands Morton’s Spaceward lineup with two electric guitarists (Mark Boettcher, Doug Morter), two drummers (Alex Cooper, John Lingwood), and two keyboardists (Kevin Savigar, Silvian Valet). Tom Ling and Mike Morton remain on violin and bass. Terry Cottam adds sitar, manda guitar, and tabla. Morton wrote ten titles; “Compline Anthem” and “Warriors’ Grave” are short traditional pieces.

“Maybe One Day” plants sharp electronic figures beneath a resigned Morton vocal, then gives Tom Ling’s violin a sorrowed solo. “Ghost Of Christmas Past” lifts a bouncing synth figure under a bleak winter lyric, then closes on an echoing riff. “Wake Up the Morning” rings with sitar and tabla around the lyric. “Victoria By the Window” rolls as a hymnal. “Compline Anthem” layers unaccompanied voices across a brief traditional link. “Warriors’ Grave” darts through a short traditional dance link. “The Sculptor” extends into a long instrumental coda, where lead guitar, fiddle, and concertina fold into the close.

A1. “Maybe One Day” (3:51)
A2. “After the Storm” (3:49)
A3. “Black Nights” (3:07)
A4. “Compline Anthem” (0:52) – traditional
A5. “Victoria by the Window” (2:50)
A6. “Ghost of Christmas Past” (4:09)

B1. “Twisted Sage” (4:03)
B2. “Wake up the Morning” (3:17)
B3. “Silas the Silent” (3:33)
B4. “Land of the Dead” (3:40)
B5. “Warriors’ Grave” (0:40) – traditional; arranged by Ling
B6. “The Sculptor” (3:53)

Morton and Mike Kemp produced Sea of Storms at Spaceward Studios in Cambridge. Polydor lifted “Ghost of Christmas Past” as a 1980 Norway single (b/w “Black Nights”).

Valley of Light

The Mandy Morton Band released their lone album, Valley of Light, in 1983 on Banshee Records.

Valley of Light places Morton in a local-band format after Sea of Storms. The lineup pairs her with lead guitarist-synthesizer player Simon Wheeler Hunt and the rhythm section of bassist Sean Boucousis and drummer Dominic Green. Gaynor and David Griffiths add voice and acoustic guitar, respectively. Morton wrote eight titles; the lone cover adapts the Jefferson Airplane classic “Someone to Love” as “Somebody to Love.”

“Ice Queen” turns to a dark, tale-bound subject that still carries traces of earlier Spriguns material. “Chosen Few” shifts through several passages and mood changes; synth effects illuminate the anti-nuclear text. “Natural Born” starts as a simple acoustic-led piece, then swells into a full-band finale with forward keyboards and high-running lines before the fade.

A1. “I Need Your Love” (3:18)
A2. “Valley of Light” (2:32)
A3. “Time Machine” (4:47)
A4. “No Reason” (2:30)
A5. “Somebody to Love” (4:15) – Darby Slick

B1. “Ice Queen” (4:05)
B2. “Not for Sale” (2:21)
B3. “Chosen Few” (6:17)
B4. “Natural Born (For Polly and William)” (5:04)

Sessions occurred at Spaceward Studios in England with Morton as producer and Mike Kemp as engineer. Kemp had recorded Magic Lady at the same studio after earlier Spriguns sessions moved through Decca Studios in Tollington Park.

Valley of Light appeared in a sleeve designed by Anna Llinares with photography by Chris Morton. The cover uses red line art around a central female face, riders, animals, figures, and small narrative scenes.

English Garden reissued Valley of Light on CD in 1996 in England. Cherry Red later included the album in After the Storm: Complete Recordings, where the disc adds “Skeleton Rock” and “Flying High” from the Spriguns archive.

Discography: