UK Psych Bands

The 23rd Turnoff: Liverpool quartet, issued one 1967 Deram single: “Michael Angelo” (b/w “Leave Me Here”). Evolved from beatsters The Kirkbys. Further recordings (demos, alternates) collected on the Bam Caruso disc The Dream of Michaelangelo. Singer/guitarist Jimmy Campbell cut three 1969–72 solo albums and one with Rockin’ Horse.

The Accent: Bradford quintet, issued one 1967 Decca single: the much-comped “Red Sky at Night” (b/w “Wind of Change”). Guitarist Rick Hayward cut a 1971 folk-psych album.

The Act: Essex quartet, issued three 1967/68 freakbeat singles on Columbia: “Cobbled Streets” (b/w “One Heart”), “Here Come Those Tears Again” (b/w “Without You”), and “Just a Little Bit” (b/w “The Remedies of Dr. Brohnicoy”). Both sides of the first and third singles have been comped, “Brohnicoy” being a cornerstone of the Rubble series.

The Action:

The Actress: One single on CBS: “It’s What You Give” (b/w “Good Job With Prospects”). Bassist/songwriter Alan Barry (Bowery) joined the Shy Limbs (see below) and subsequently teamed with that band’s drummer, Andy McCulloch, in Fields. Barry and Actress drummer Tino Licinio later re-teamed in the ’77 one-off King Harry.

The Alan Bown:

Andwella’s Dream:

Angel Pavement:

Apple:

The Aquarian Age: Post-Tomorrow duo of bassist John “Junior” Wood and drummer John “Twink” Alder. One Mark Wirtz-produced single on Parlophone: the shimmery/cello-laden “10,000 Words In a Cardboard Box” (b/w the acting dialogue “Good Wizard Meets Naughty Wizard”). Also cut a third track, “Me.”  All three are included on the 2009 EMI deluxe reissue of Tomorrow. Alder concurrently played on The Pretty ThingsS.F. Sorrow. He later co-founded the Pink Fairies and fronted ’77 one-off punks The Rings.

Arcadium:

Argosy: One 1969 single on DJM: “Mr. Boyd” (b/w “Imagine”). Essentially a pre-Supertramp solo single by Roger Hodgson with support by Elton John (piano) and his nascent backing players, Caleb Quaye (guitar) and Nigel Olsson (drums).

Art: One 1967 album of Hendrixian psych on Island: Supernatural Fairy Tales, sporting a technicolor, fish-eyed cover. (The title was later appropriated for a V.A. progressive-rock box set on Rhino.) Evolved from Carlisle mods The V.I.P.’s. Subsequently became Spooky Tooth (see below) with the addition of American keyboardist/singer Gary Wright.

Arzachel:

The Attack:

The Bamboo Shoot: Bristol combo, issued one 1968 Columbia single: the Rubble cut “The Fox Has Gone to Ground” (b/w “There and Back Again Lane”), produced by David Paramor (Head Machine).

The Beatles:

Bee Gees:

Blossom Toes:

The Bonzo Dog Doo-Dah Band

The Brain: One 1967 single of rupturous baroque-psych on Parlophone: the echoey “Kick the Donkey” (b/w with the cackling, much-comped “Nighmare in Red”). A second 7″ — “Murder” (b/w Dylan’s “Most Likely You Go Your Way (and I’ll…)”) — exists only on acetate. Evolved from beatsters Trendsetters Limited/The Trend. Drummer Michael Giles and bassist Peter Giles proceeded to Giles, Giles and Fripp (see below), the precursor to King Crimson.

Bulldog Breed: One 1969 single of raunchy freakbeat — “Halo In My Hair” (b/w “Portcullis Gate”) — and the like-minded 14-song album Made In England. Evolved from the beat-psych Please (originally Neon Pearl). Drummer Louis Farrell played on the two Gun albums. Bassist Bernard Jinks formed T2 with two late-arriving Bulldog members. Guitarist/singer Rod Harrison resurfaced in Asgærd.

The Bunch: Bournemouth beat septet, cut four 1967/68 CBS singles and one acetate, produced by Eddie Tre-Vett. Psyched up on “Spare a Shilling” (b/w “Looking Glass Alice”). Recordings compiled on the Record Collector Magazine CD Spare a Shilling.

The Bystanders: Welsh harmony pop/beat group, issued seven 1965–68 singles, mostly on Piccadilly. Edged into organ-psych on 1967’s “Pattern People” and two 1968 Pye singles: “When Jezamine Goes” (b/w “Cave of Clear Light”) and “This World Is My World” (b/w “Painting the Time”). Mutated into legacy jam-rockers Man.

Caleb: Guitarist Caleb Quaye. One 1967 Philips single: the phased/vocally distorted “Baby Your Phrasing Is Bad” (b/w “Woman of Distinction”). Became a mainstay of Elton John‘s backing band and its early ’70s rustic-rock spinoff Hookfoot.

Caravan:

The Casuals: Lincolnshire beat group, part of the British Invasion of Italy (The Rokes, The Primitives). Cut numerous 1965–69 singles in English and Italian on assorted labels (Fontana, Joker, Decca, Vogue), embracing orchestral pop on 1968’s “Jezamine.”

Cherry Smash: Gosport psychsters, issued the 1967 Track single “Sing Songs of Love” (b/w “Movie Star”), the a-side included on Up The Junction (OST). Two 1968/69 Decca singles: “Goodtime Sunshine” (b/w “Little Old Country Hometown”) and the Tony Hazzard-penned Rubble fave “Fade Away Maureen” (b/w “Green Plant”). The first two singles were co-written by producer Mike Hugg (Manfred Mann, Chapter Three) and Brian Hugg.

Chocolate Frog: An alias of Les Fleur de Lys (see below) on the 1968 Atlantic single “Butchers and Bakers” (b/w “I Forgive You”).

Christopher Colt: AKA singer/songwriter Chris Simpson. One 1968 Decca single: the vibraslap-laden “Virgin Sunrise” (b/w the zither-echoing “Girl In the Mirror”). Subsequently co-founded Magna Carta.

The Cortinas: One 1968 Polydor single of harmony-laden toytown: “Phoebe’s Flower Shop” (b/w “Too Much In Love”). Morphed into Octopus for the 1970 album Restless Night. Bassist Nigel Griggs later joined Kiwi art-rockers Split Enz.

Craig: Birmingham quartet, issued two 1966 Fontana singles: the much-comped “I Must Be Mad” (b/w “Suspense”) and “A Little Bit of Soap” (b/w “Ready Steady Let’s Go”). Guitarists Geoff Brown and Richard Pannell formed brass-rockers Galliard. Drummer Carl Palmer joined The Crazy World of Arthur Brown and its offshoot Atomic Rooster, ultimately finding fame in ELP.

The Crazy World of Arthur Brown:

Cream: Super-trio comprised of ex-Yardbird slowhand Eric Clapton and the GBO rhythm section, bassist/singer Jack Bruce and drummer Ginger Baker. Three 1966–68 albums of blues-rock/psych on Atco. Evergreens include the breezy/exuberant “I Feel Free,” the wispy “Strange Brew,” and the melodramatic “White Room.” Disraeli Gears (1967) sports one of the era’s iconic dayglo covers.

The Creation:

Crocheted Doughnut Ring: Southend freakbeat quintet, cut two 1967 Polydor/Decca singles: the phased/sparkly “Two Little Ladies (Azalea & Rhododendron)” (b/w the proto-ambient drone “Nice”); “Havana Anna” (b/w the harpsichord/fuzz-adorned “Happy Castle”). Two additional Decca singles of streamlined pop followed in 1968. Produced by Donovan manager Peter Eden.

The Cuppa T: Harmony pop-psych duo, cut two 1967–68 Decca singles: the cockney music-hall “Miss Pinkerton” (b/w the woodwind ditty “Brand New World”) and “Streatham Hippodrome” (b/w “One Man Band”). Bassist/singer Terry Widlake passed through a sequence of beat and bubblegum acts (The Overlanders, The Pudding, The Art Movement).

The Cymbaline: Redbridge beatsters, issued seven 1965–69 singles (Pye, Mercury, Philips), including the ’68 fuzz-box ditty “Down By the Seaside” (b/w “Fire”). Morphed into the more psych-oriented Infinity (1968–70). A third incarnation as Lodestone yielded the 1971 German release Time Flies. Keyboardist John Da Costa moonlighted in The Flies (see below). Guitarist/bassist Gerry Morris issued a 1973 solo album, Only the Beginning. Singer Stuart Calver became a polific backing vocalist (Cockney Rebel, Linda Lewis, Al Stewart, Cliff Richard, Alan Parsons, Danny Kirwan, Roger Daltery, etc).

Dantalian’s Chariot:

Dave Dee, Dozy, Beaky, Mick & Tich

Deep Purple:

The Drag Set: London freakbeat quartet, issued the 1967 Go single “Day and Night” (b/w “Get Out of My Way”). Morphed into The Open Mind for an eponymous 1969 album on Philips.

Eire Apparent:

Elmer Gantry’s Velvet Opera:

The End:

Episode Six

The Exception

The Executives

Eyes of Blue:

The Factory

The Factotums: (aka Barley-Bree)

The Fairytale

Family:

Felius Andromeda

Finders Keepers

Fire:

Fleur de Lys

The Flies

Floribunda Rose: One 1967 Piccadilly single: “Linda Loves Linda” (b/w “One Way Street”). Morphed into Scrugg (see below) for a trio of 1968/69 Pye singles, all collected on the Castle Music comp Lavender Popcorn. Frontman John Kongos hailed from South African beatsters Johnny & the G-Men.

The Flower Pot Men

Focal Point: Liverpool five-piece, issued one 1968 Deram single: “Love You Forever” (b/w the crunchy/echoey “Sycamore Sid”). Signed to Apple Publishing, but no further records materialized. Their complete recordings, including the band faves “Never Never” and the Zombies-like “Far Away from Forever,” are collected on the Kissing Spell CD First Bite of the Apple.>

Focus Three

Forever Amber:

Fortes Mentum

The Frame

Fresh Air

Friends

The Fruit Machine

Gary Walker & The Rain

Genesis:

Giles Giles and Fripp:

The Glass Menagerie

The Glass Opening

The Gods:

Granny’s Intentions

Grapefruit: Eight 1968–70 singles on RCA Victor: five collected on the beat-psych Grapefruit (1968), three on the rootsier Deep Water (1969). Bassist/singer Alexander Young was part of the Scot/Oz kin of George/Angus/Malcolm Young (Easybeats, AC/DC, Flash & the Pan). Guitarist/singer John Perry — not bassist John G. Perry (Gringo, Quantum Jump) — later surfaced in Tranquility and Cliff Richard‘s backing band.

Gun:

Hat and Tie

The Herd:

The Hollies

Honeybus

The Hush

Icarus

Ice: Two Zombies-esque singles on Decca in 1967/68: the melancholic harmony pop of “Anniversary (of Love)” (b/w “So Many Times”) and the eerie/shimmery organ-psych of “Ice Man” (b/w “Whisper Her Name (Maria Laine)“). Emerged from beatsters The Baskervilles and subsequently merged with jazz-rockers Affinity. Recorded an album’s worth of live tracks/demos and masqueraded as Russell’s Clump. Complete recordings compiled on the Angel Air disc Ice Man. Drummer Grant Serpell resurfaced in Sailor.

The Idle Race:

Jason Crest:

Jigsaw:

John’s Children

The Joint

Jon

Joyce’s Angels

July

Junior’s Eyes

Kaleidoscope:

Kate

The Kinks:

Kippington Lodge

The Koobas:

The Kytes

Lace

Lavender Grove: evolved from mod-rockers The Game

Lemon Tree

Living Daylights: Two singles of freakbeat-psych on Philips: “Let’s Live for Today” / (b/w “I’m Real”) and “Always With Him” (b/w “Baila Maria”), the first paired on a maxi-single with two further songs, “Jane” and “‘Cos I’m Lonely.” “Let’s Live for Today” — soon made famous by American act The Grass Roots — was the first-recorded English translation of The Rokes’ 1966 Italian hit “Piangi Con Me.” Guitarist Garth Watt-Roy and bassist Norman Watt-Roy joined brass-rockers The Greatest Show On Earth.

Made in Sheffield

Magic Mixture

Marmalade

Marquis of Kensington

The Medium

The Merseys

The Mickey Finn

Mighty Baby:

Mike Stuart Span

The Mirage

The Moles

The Monopoly

The Move:

The Neat Change

The Nerve

The New Formula

The Nice:

Nirvana:

One in a Million

Onyx

Opal Butterfly

Orange Bicycle:

The Orange Machine

The Orange Seaweed 

Our Plastic Dream: Alter ego of beatsters The Jeeps, issued one 1967 Go single: the tremolo-drenched “A Little Bit of Shangrila” (b/w “Encapsulated Marigold”). One of several psych-era projects of guitarist/songwriter Pierre Tubbs (The Owl, see below).

The Outer Limits

The Owl

The Pandamonium

Paper Blitz Tissue

The Penny Peeps

Picadilly Line

Piccadilly Circus

Pink Floyd:

Pinkerton’s Assorted Colours

Plastic Penny

Please: Emerged from UK/German act Neon Pearl. No recordings from original 1967–68 formation with (later Gun) guitarist Adrian Gurvitz. Drummer Peter Dunton briefly joined The Flies (mid-’68) then reformed Please with bassist Bernie Jinks This incarnation recorded two album’s worth of organ-dominated pop-psych, unreleased at the time but later compiled on the Acme discs 1968/69 and Seeing Stars. Changed names to Bulldog Breed (see above) after Dunton joined Gun. Jinks and Dunton later re-teamed in T2.

The Poets

The Pop Workshop

The Pretty Things: Central figures in London’s R&B/beat boom of 1963/64. Experimented with orchestral pop on 1967’s Emotions, then went phaser-psych on the single “Defecting Grey” (b/w “Mr. Evasion”). Recorded one of rock’s first operas, S.F. Sorrow (1968), followed by another classic psych single, “Talkin’ About the Good Times” (b/w “Walking Through My Dreams”). Turned hard-rock in the ’70s.

Procol Harum:

The Purple Gang:

Pussy:

The Pyramid

The Quik

Rainbow Ffolly:

Rhubarb Rhubarb

Robbi Curtice

The Rolling Stones: Turned experimental in 1966 with the “dive-bomb” bass on “19th Nervous Breakdown” and the sitar-guitar on “Mother’s Little Helper,” followed by forays into baroque-pop (“Lady Jane”) and rock melodrama (“Paint It Black”) on Aftermath. Further baroque-psych experiments (“Yesterday’s Papers,” “Cool, Calm & Collected”) on 1967’s Between the Buttons, followed by the tripped-out Pepper-isms of Their Satanic Majesties Request.

Rupert’s People

Scaffold

Schadel 

The Scots of St. James

Scrugg

Second Hand:

Serendipity

The Shame

Shy Limbs: Two 1969 CBS singles of thick organ-psych: “Reputation” (b/w “Love”) and “Lady In Black” (b/w “Trick or Two”). Evolved from beatsters The Shame. Robert Fripp plays on “Love.” Bassist Greg Lake joined him in King Crimson, which drummer Andy McCulloch joined in 1970 after Lake departed for ELP. McCulloch subsequently played in Fields (1971) and Greenslade (1973–75). Keyboardist/songwriter John Dickenson later re-teamed with late-period Shy Limbs bassist Alan Barry (who also played in Fields) for the ’77 one-off King Harry.

Simon Dupree & The Big Sound:

Skip Bifferty:

Sleepy

Small Faces:

Smile: London trio, issued one 1969 Mercury single: the organ/harmony ballad “Earth” (b/w the jaunty “Step On Me”). The b-side features the Red Special guitar of Brian May and the piledriving drums of Roger Taylor, traits they would advance in their next band, Queen. Bassist Tim Staffell surfaced in Morgan.

The Smoke:

Smokey and His Sister

The Societie

Soft Machine:

Sons and Lovers

The Sorrows

The Spectrum

Spice

Spooky Tooth:

Status Quo:

Still Life

The Stoics

Strawberry Children

Studio Six

The Syn

Tales of Justine

Tapestry

Thunderclap Newman:

The Tickle

Timebox:

Timon

Tinkerbells Fairydust

Tintern Abbey

Toby Twirl

Together

Tomorrow:

Traffic:

Tuesday’s Children: Six singles (Columbia, Pye, King, Mercury) of light harmony pop-psych between 1966 and 1968, including the brassy “She,” the cello/harpsichord-laden “High On a Hill,” and the exotic-flavored “A Strange Light From The East.” Complete recordings collected on the Rev-Ola comp Strange Light From the East. Morphed into symphonic-rockers Czar.

Turnstyle

Turquoise

Velvett Fogg:

The Virgin Sleep

Warm Sounds

The Washington D.C.’s

West Coast Consortium

White Noise:

The Who:

Wimple Winch

Winston’s Fumbs

World of Oz

Writing On the Wall:

The Yardbirds:

The Yellow Bellow Room Boom

Yellow Pages

The Zombies: