Fractured

Fractured were a British neo-rockabilly band that popped up during the mid-1980s, right in the middle of the UK rockabilly and psychobilly revival. They weren’t a mainstream name, but they were very much part of that underground scene where punk energy collided with old-school rock ’n’ roll. Their sound leaned hard on fast tempos, gritty attitude, and that classic slap-bass drive that defined neo-rockabilly at the time.

 
The band are mainly known for their 1987 release 'No Peace For The Wicked', an eight-track mini-album that ended up being their main recorded legacy. It captured exactly what they were about: raw, high-energy rockabilly with a rough edge. Tracks like “Chauffeur Driven Limousine,” “Gamblin’ Man,” and “Sold My Secret” stood out and helped them gain recognition among fans of the scene, even if they never broke into the wider music press. 

Fractured were also a live band first and foremost. They played regularly on the UK circuit and appeared at places like London’s Klub Foot, which was one of the most important venues for psychobilly and alternative rockabilly in the 1980s. Playing there put them alongside a lot of other cult bands from the era and helped cement their reputation with dedicated fans rather than casual listeners. 

Musically, they sat somewhere between straight neo-rockabilly and psychobilly. You could hear strong 1950s rockabilly influences in the guitar and bass, but everything was pushed faster and harder, with a punk-ish edge that matched the attitude of the mid-80s scene. That mix made them fit perfectly into the revival movement without sounding like a pure retro act.

 
Today, Fractured are mostly remembered by collectors and longtime fans of British rockabilly. They’re one of those bands that didn’t last long or release much music, but still get name-checked when people dig deep into the UK neo-rockabilly and psychobilly underground of the 1980s.

 

Long Tall Texans

Long Tall Texans are a long-running psychobilly/rockabilly band from Brighton, UK, and they’ve been part of the scene since the mid-1980s. They came out of the same South Coast underground that helped shape British psychobilly, mixing rockabilly roots with punk energy, ska rhythms, and a sense of humour that never took itself too seriously. Brighton was a key hotspot for the genre at the time, and the band quickly became associated with the city’s wild live circuit. 

 
Long Tall Texans are best known for their upbeat, energetic sound built around slap double bass, driving drums, and twangy guitar. While they’re usually labelled psychobilly, they’ve never stuck rigidly to one style. Across their albums you’ll hear straight rockabilly, punk, ska, blues, and even hints of pop and country. That flexibility is part of why they’ve lasted so long -they always sounded like themselves rather than trying to follow trends in the scene. 

 
The band has gone through various lineup changes over the years, but vocalist and double-bass player Mark Carew has always been the core of Long Tall Texans. Early members included guitarist Mark “Boggles” Denman and drummer Theo (Anthony Theodotou), with later lineups adding different guitarists and even saxophone at times, which helped push their sound in new directions. No matter the lineup, their live shows have always been loud, fun, and crowd-friendly rather than dark or aggressive. 

 
They released their first recordings in the late 1980s, with albums like 'Sodbusters', 'Los Me Boleros', and 'Saturnalia!' helping establish them in the UK and European psychobilly scenes. Around the turn of the 1990s, records such as 'Five Beans in the Wheel' and 'Singing to the Moon' showed them branching out stylistically, adding more melody and genre crossover. After a quieter period, they returned with later releases like 'The Adventures of the Long Tall Texans' in 2005 and 'The Devil Made Us Do It' in 2014, proving they hadn’t lost their spark. 

 
Long Tall Texans were regulars at legendary venues like the Klub Foot in Hammersmith and became a familiar name on the European festival circuit, where they built a loyal following. Even as psychobilly faded from the mainstream, the band kept going, touring, recording, and popping up on festival bills decades after they first formed. 

 
Today, they’re remembered as one of the most approachable and enduring bands to come out of the UK psychobilly scene -not the darkest or fastest, but one of the most fun. Their legacy is tied to great live shows, catchy songs, and a refusal to take the genre too seriously, which is exactly why people are still listening to them after more than 40 years. 

 

Torment

Torment were a UK psychobilly band who came out of Bristol in late 1985 and were active through the end of the decade, winding down around 1990 or shortly after. The band was formed by singer and guitarist Simon Brand after he left Frenzy, teaming up with drummer Kevin Haynes and double bassist Sean Holder. Like a lot of bands in the scene at the time, they quickly became part of the tight-knit UK psychobilly circuit and were regulars at London’s Klub Foot, which was basically the heart of the scene in the 1980s. 

Line-ups shifted a bit over the years, especially on double bass. Sean Holder didn’t stay long, and Simon Crowfoot took over bass duties for most of the band’s classic period, later followed by Vince Mildren. Despite the changes, Simon Brand was always the core of the band and the main creative force, giving Torment a pretty consistent identity throughout their run. 

Their debut album, 'Psyclops Carnival', came out in 1986 on Nervous Records and immediately set them apart. While they were clearly psychobilly, Torment didn’t lean heavily into the usual horror-movie clichés or cartoonish shock themes. Instead, their songs were often more personal, darker, and sometimes introspective, which made them stand out in a genre that was often loud, fast, and deliberately over the top. Musically, they mixed classic psychobilly with touches of rockabilly, swing, and even hints of punk and neorockabilly. 

They followed up quickly with 'Three’s a Crowd' in 1987, then 'Round the World' in 1989, and finally 'Hypnosis' in 1990. Across those albums you can hear the band experimenting more, stretching the genre a bit without completely leaving it behind. They also released EPs like 'Mystery Men' and appeared on key compilations such as the "Stomping at the Klub Foot" series, which helped cement their reputation, especially across Europe. 

Live, Torment were well respected and toured widely, particularly in continental Europe, where psychobilly had a huge and very loyal following. By the early 1990s, though, things slowed down. Simon Brand eventually moved abroad, and after his death in the mid-1990s, any real possibility of a full revival ended.

 
Even though they weren’t around for that long, Torment left a solid mark on the genre. They’re remembered as a band that proved psychobilly didn’t have to be all gimmicks and horror imagery, and that you could still be part of the scene while writing more thoughtful, emotionally heavy songs. 

The Radiacs

The Radiacs were a psychobilly/rockabilly band from Sheffield, UK, who came together in the mid-to-late 1980s, around 1986. Sheffield wasn’t exactly known as a rockabilly hotspot at the time, which made the band stand out even more in the UK underground scene. The original lineup featured Dale Williams on vocals, Billy Oxley on guitar, Paul Oxley on slap bass, and Shaun Williams on drums. 

 
Before settling on the name The Radiacs, the band briefly went by The Epileptic Hillbillys, but dropped it early on due to obvious controversy. The name “Radiacs” itself was very Sheffield-specific, taken from a radiac steel-cutting machine used in the city’s steel industry -one that Dale Williams actually worked with. That industrial background fit nicely with their gritty, no-nonsense sound.

 
Musically, The Radiacs blended classic rockabilly with punk aggression and psychobilly energy. They became known for fast tempos, driving upright bass, raw guitar tones, and lively stage shows. During the late ’80s and early ’90s they were often described as Sheffield’s only true psychobilly band, regularly sharing stages with bigger names on the UK and European psychobilly circuit. 

 
Their debut album, 'Hellraiser', was released in 1989 on Link Records and quickly became their best-known release. It captured their raw early sound and helped establish them within the scene. This was followed by 'Live & Rockin’' in 1990, which showed just how energetic they were on stage, especially at hometown shows. In 1993 they released their second studio album, 'Going Strong', on Tombstone Records, which featured a slightly tighter and more polished sound. 

 
Around this period there were some lineup changes, most notably on bass, but the band continued touring across the UK and Europe, building a solid reputation, particularly in Germany and France where psychobilly had a strong following. By the mid-1990s, around 1994 or 1995, The Radiacs quietly called it a day without any big breakup drama, and the members moved on to other projects. 

 
Interest in the band never completely faded, though, and in the late 2000s they reunited for new recordings and occasional performances. This led to 'The Return of the Radiacs', released around 2010–2011 on Raucous Records, which included new tracks along with material that long-time fans were happy to hear again. 

 
Today, The Radiacs are remembered as a solid and authentic part of the original UK psychobilly wave — not a flashy band, but one with strong songs, real scene credibility, and a loyal cult following among fans of old-school psychobilly and rockabilly punk crossover.

 

Skitzo

Skitzo were a British psychobilly band from London, active mainly during the mid to late 1980s, and they’re remembered as one of the rawer, more punk-leaning bands in the UK psychobilly scene. They shouldn’t be confused with other bands called Skitzo from different countries or genres -this Skitzo were firmly rooted in the underground psychobilly movement that grew out of punk and rockabilly in Britain. 

 

The band formed in early 1985 and originally went by the name The Electros. The core members included vocalist Phil Connor and drummer Rod Connor, later joined by Tony Bronham on bass and Anthony McVey on guitar. After some early gigs and a lineup change -Rod was replaced by drummer Steve Tomlinson following an accident- the band changed their name to Skitzo and began to gain attention on the London psychobilly circuit. 

Musically, Skitzo stood out because they leaned harder into punk aggression than many of their peers. While they still used classic psychobilly ingredients like upright bass and rockabilly rhythms, their sound was rougher, faster, and less cartoonish, with shouted vocals and a gritty garage-punk feel. This made them especially popular with fans who preferred the tougher, less polished side of psychobilly.

 
Their debut album, 'Skitzo Mania', was released in 1987 on Nervous Records and quickly became a cult favorite. The record captured their wild energy and included both original songs and twisted covers. A year later, they released 'Terminal Damage', which pushed their sound even further into punk territory with heavier guitars and a more aggressive overall feel. Around this time, they were also known for intense live shows, including appearances at legendary venues like the Klub Foot. 

By around 1990, Skitzo broke up, largely because Phil Connor developed vocal problems after years of extreme screaming. The band briefly reunited in the mid-1990s and released more material, including the album 'Vertigo' in 1997 and the single 'The Glove', before splitting up again. While they never became mainstream, their recordings continued to circulate through reissues and live albums, keeping their name alive in the scene. 

Today, Skitzo are remembered as a no-frills, hard-hitting psychobilly band with a strong punk attitude. They’re often mentioned alongside other classic UK psychobilly acts of the era, and 'Skitzo Mania' in particular is still considered an essential record for anyone digging into the darker, louder side of psychobilly. 

Tall Boys

The Tall Boys were a British psychobilly band that came out of London in the early 1980s. They were formed by Nigel Lewis and Mark Robertson, both of whom had previously been involved with The Meteors, one of the most important bands in shaping the psychobilly scene. Because of that connection, the Tall Boys were right at the heart of the genre’s early development. Their music mixed punk’s speed and attitude with rockabilly twang and a bit of gritty garage rock, giving them a raw, energetic sound that fit perfectly with the UK underground at the time. 

They started releasing records in the early ’80s, and one of their most well-known releases is the mini-album 'Wednesday Addams’ Boyfriend' from 1984. That record did surprisingly well for an underground psychobilly band, reaching the UK indie charts and helping them build a strong cult following. Over the next couple of years they put out singles and EPs like 'Final Kick' and 'Brand New Gun', which showed a more aggressive, punk-leaning side and even caused a bit of controversy due to their lyrics. 

Although the Tall Boys never reached the wider fame of bands like The Meteors or Guana Batz, they earned a lot of respect within the psychobilly scene. Songs such as “Ride This Torpedo” became fan favorites, and their live shows were known for being loud, fast, and intense. Recordings from gigs at legendary venues like the Klub Foot helped cement their reputation as a great live band. 

After their original run in the mid-1980s, their music continued to circulate through compilations and reissues, especially the 'Funtime' CD, which pulled together most of their classic material. The band even returned with later releases, including a full album in 2013, showing that there was still interest in their sound decades later. Today, the Tall Boys are remembered as an important cult band from psychobilly’s formative years -maybe not the biggest name, but definitely one that helped define the style and attitude of the genre.

 

The Termites

The Termites were a Scottish psychobilly band from Kilmarnock, Ayrshire, who first came together in the mid-1980s. They became part of the early UK psychobilly underground, mixing punk aggression with rockabilly rhythms and a loud, chaotic live energy that quickly earned them a cult following. 

The band formed around 1985, with members who had grown up together in the New Farm Loch area of Kilmarnock. That shared background gave them a tight, almost gang-like feel, which really showed in their shows. The original lineup included Kenny “The Duke” Mitchell on vocals, Scott Ballantyne on guitar, Ewin Murray on drums and Gerry Doyle on bass. From the start, they stood out for being rough, fast and unapologetically raw. 

Their first recordings appeared in the late 1980s, including the track “Devil Call” on the Fury Records compilation 'Gypsy Girl' in 1987. Not long after, they released a four-track EP on Raucous Records, which helped spread their name further within the psychobilly scene. In 1989 they released their debut album, 'Overload', on Link Records as part of the "Chuck Flintstone Presents" series. The album captured their no-frills sound perfectly and has since become a cult favourite among psychobilly fans.

 
Like many bands from the scene, The Termites had a turbulent run. Line-up changes and internal problems eventually took their toll, and after their final gig in 1991 the band split up, with Kenny Mitchell being the only remaining original member by the end. 

The story didn’t end there, though. In 2005, The Termites reunited with Mitchell, Ballantyne and Murray back on board. They added an upright bass player, Matt Black, and later fiddle player Johnny “Johnny Fiddles” Grant, giving the band a slightly broader sound while keeping their edge. In 2008 they released the album 'Kicked in the Teeth' on the German label Crazy Love Records, marking a solid comeback and reintroducing them to a new generation of fans. 

In later years the band remained active off and on, with reissues, new recordings and occasional live appearances. Sadly, original bassist Gerry Doyle passed away in January 2021 due to COVID-19. Despite that loss, The Termites’ influence on the Scottish psychobilly scene remains strong, and they’re still remembered for their fierce energy, rough-and-ready sound and their place in the early UK psychobilly movement. 

Sugar Puff Demons

Sugar Puff Demons were a UK rock/psychobilly band that came out of the underground scene in the late 1980s and early 1990s. They were part of the same wave of British psychobilly and garage-rock bands that included groups like The Meteors and Guana Batz. Their music mixed fast, punchy rock ’n’ roll with punk attitude and classic psychobilly elements like driving rhythms and dark, tongue-in-cheek themes. 

Their most well-known release is the album 'Falling From Grace', which originally came out in 1989 on Link Records and was later reissued on CD in the 2000s. The album has built a bit of a cult reputation over the years, especially among fans of old-school psychobilly and garage rock. Songs like “Family in a Suitcase,” “Burn the Church,” “Phantom of the Fog,” and “Nice Day for a Homicide” give a good idea of their raw sound and sense of humor. 

The band was based in the North East of England, around the Newcastle area. The lineup that recorded 'Falling From Grace' featured Andy Hall Summers on guitar and vocals, Drew Bartley on bass, and Mark Coppin on drums, with backing vocals shared among the members. Like many bands from that scene, they didn’t last a long time but left a strong impression with a single solid release. 

Musically, Sugar Puff Demons sat right at the crossroads of psychobilly, punk, and gritty rock ’n’ roll. They never became a mainstream act, but they’re still remembered by collectors and fans of the genre. If you’re into raw late-80s UK psychobilly with a rough edge, they’re definitely worth checking out. 

The Batfinks

The Batfinks were a British psychobilly band that came out of the underground UK scene in the 1980s, right when psychobilly was really starting to carve out its own identity. They weren’t one of the big mainstream names, but among fans and collectors they’ve always had a bit of cult status. Like a lot of bands from that era, they leaned hard into the spooky, campy horror vibe that psychobilly is known for, mixing it with fast, raw punk energy. 

Musically, they sat squarely in that classic psychobilly lane: slap bass thumping away, quick rockabilly-style rhythms pushed through a punk filter, gritty guitars, and vocals that sounded like they’d crawled straight out of a B-movie. Their songs often played with dark humor and horror themes, which was pretty much the badge of honor for UK psychobilly bands at the time. 

Their best-known release is 'Long Lost Psychobilly Volume 1' from 1989, which pulled together a bunch of their tracks and ended up becoming the main record people associate with them. They also popped up on a few live and compilation releases over the years, including titles like 'Live And Rockin’' and 'Wazzed ’n’ Blasted'. Most of their material was tied to the UK indie psychobilly world, especially labels like Link Records that specialized in that wild, upright-bass-driven sound. 

Even though they never reached the level of fame of bigger psychobilly acts, The Batfinks are remembered as one of those gritty scene bands that helped shape the early UK side of the genre. Their records still float around in collector circles, and for fans digging into old-school psychobilly, they’re one of those cool hidden gems worth checking out. 

Batmobile

Batmobile is a legendary psychobilly band from the Netherlands, originally formed in 1983. Although often linked to Rotterdam, the band’s roots are actually split between Rotterdam and Breda. Over the years, Batmobile became one of the most important psychobilly acts outside the UK, helping push the genre across Europe and beyond. 

The band consists of Jeroen Haamers on vocals and guitar, Eric Haamers on upright bass, and Johnny Zuidhof on drums. What’s pretty rare is that this lineup has stayed the same since the beginning, which definitely helped shape their tight, recognizable sound. They took their name from Batman’s famous car, which fits well with their love for comic-style imagery, horror themes, and over-the-top rock ’n’ roll attitude. 

In the early days, Batmobile mainly played 1950s rockabilly and rock ’n’ roll covers, drawing inspiration from artists like Elvis Presley, Gene Vincent, and Chuck Berry. Not long after, they started writing their own songs and mixing that classic sound with the speed and aggression of punk. By the mid-1980s, they had fully locked into psychobilly and released their first recordings, quickly gaining attention in the underground scene. 

Their self-titled mini-album from 1985 opened a lot of doors, and Batmobile soon made history by becoming the first non-British band to headline at Klub Foot in London, one of the most important psychobilly venues at the time. From there, they toured relentlessly across Europe, Japan, and the United States, building a strong international following and proving that psychobilly wasn’t just a UK thing.

 
Musically, Batmobile is known for fast, punchy rockabilly riffs, heavy slap bass, driving drums, and lyrics that often reference horror movies, dark humor, and B-movie culture. They sometimes describe their style as “B-music,” a nod to low-budget horror films and trash culture. While they’ve experimented a bit over the years, their sound has always stayed raw, energetic, and unmistakably Batmobile.

 
Their discography spans several decades, with classic albums like 'Bambooland', 'Bail Was Set at $6,000,000', 'Amazons from Outer Space', and 'Sex Starved'. After a quieter period in the early 2000s, the band returned to live shows and new releases, including 'Brand for Impact' in 2023, which celebrated their 40th anniversary. 

Today, Batmobile is seen as one of the cornerstones of European psychobilly. They’ve influenced countless bands, inspired tribute albums, and earned a reputation for explosive live performances. Even after all these years, they remain a respected and active name in the scene, proving that loud, fast, and slightly unhinged rock ’n’ roll never really goes out of style.

 

The Tailgators

The Tailgators were a UK band connected to the psychobilly and rockabilly underground scene that was active mainly in the late 1980s and very early 1990s. Like many bands from that era, they never really broke into the mainstream and stayed firmly underground, which is why information about them is pretty scarce today. Most of what we know comes from record collectors, old vinyl listings, and niche music databases rather than interviews or official band histories.

 
They released a self-titled album, 'The Tailgators', around 1990. It originally came out on vinyl in the UK and later saw a CD reissue years after the band had disappeared. The record fits right into that late-80s British psychobilly sound: fast, raw rock & roll mixed with punk energy and a strong rockabilly backbone. It’s not as aggressive or horror-obsessed as some psychobilly bands, but it still has that rough, underground attitude.

 
Musically, The Tailgators sat somewhere between classic 1950s rockabilly and the harder UK psychobilly scene that bands like The Meteors helped define. You can expect twangy guitars, driving rhythms, and that straight-ahead rock & roll feel, rather than heavy distortion or extreme imagery. Because of this, they sometimes appeal just as much to rockabilly fans as to psychobilly diehards.

 
There isn’t much solid information about the band members, where exactly they were based, or how much they toured. Like a lot of small UK bands from that time, they seem to have released their album, played some gigs, and then quietly faded away. Still, their record has stuck around and gained a bit of cult status over the years.

 
Today, original vinyl pressings of 'The Tailgators' album are fairly collectible among psychobilly and rockabilly fans, especially those into late-80s UK releases. While they’re far from a household name, The Tailgators are one of those bands that pop up when you start digging deep into the scene -a reminder of just how many solid, lesser-known acts were active during psychobilly’s peak years.

 

Scared Stiff

Scared Stiff were a psychobilly/rockabilly band from Ireland that were active mainly in the late 1980s and very early 1990s. They were part of the underground psychobilly scene, mixing classic rockabilly sounds with punk energy and a darker, rougher edge. Like a lot of bands in that scene, they never became mainstream, but they built a cult reputation among fans of the genre. 

The band formed after the breakup of another Irish psychobilly group called Shark Bait. Their sound fit right in with the European psychobilly movement at the time -fast, raw, and high-energy, with driving rhythms and a slightly gritty feel. They played both original material and covers, and their music leaned heavily into that stripped-down, no-frills style that psychobilly fans love. 

Their most well-known release is an album called 'Dark Streets', which came out in 1989. It’s basically their defining record and the main reason they’re still remembered today. One of the tracks on the album is also titled “Scared Stiff,” and the record has become something of a collector’s item over the years. If you’re into old-school psychobilly, it’s one of those albums people recommend digging up. 

The band didn’t last very long and faded out in the early ’90s. One interesting side note is that frontman Dave Finnegan later became much more widely known as an actor, especially for his role in "The Commitments". Because of that, Scared Stiff sometimes gets rediscovered by people who stumble across his music background. 

These days, Scared Stiff are mostly remembered as a cult band rather than a major name. Their music still pops up on streaming platforms and psychobilly websites, and every so often there’s talk online about reunions or renewed interest, but nothing major has really come of it. Still, for fans of old-school psychobilly, they’re a solid and underrated part of the scene.

 

Coffin Nails

The Coffin Nails are a classic UK psychobilly band that came out of Reading, England in 1985. They’re part of that second wave of British psychobilly bands that followed the early scene set by groups like The Meteors, mixing punk aggression with rockabilly rhythms and a strong dose of dark humor and horror themes. From early on, they built a reputation for being loud, energetic, and not taking themselves too seriously.

 
The band’s early lineup included Tony Szajer on vocals, Steve “Humungus” Clarke on guitar, Gra Farr on bass, and Toby “Juggy” Griffin on drums. They quickly started playing shows and supporting other psychobilly acts, which helped them get noticed around the UK scene. Juggy later went on to play with The Meteors, which also helped cement Coffin Nails’ place in psychobilly history.

 
Their debut album, 'Ein Bier Bitte', came out in 1987 on Nervous Records and is often seen as a cornerstone of their early sound. It’s raw, fast, and full of that tongue-in-cheek psychobilly attitude. Not long after, Steve “Humungus” Clarke took over lead vocals, and the band released 'A Fistful of Burgers' in 1988 on Link Records, pushing their sound in a heavier, more guitar-driven direction.

 
Through the late ’80s and ’90s, Coffin Nails released several albums and live recordings, including 'Who’s He?', 'Live & Rockin’', and 'Wreckers Yard'. Like many long-running psychobilly bands, their lineup changed over the years, especially on drums and bass, but the core sound stayed the same. They continued playing clubs and festivals across the UK and Europe, becoming regulars on the psychobilly festival circuit. 

 
In the 2000s, they were still very much active, releasing albums like 'Out For The Weekend', 'Hard As Nails', and later 'The Dead Don’t Get Older', which came out on their own Greystone Records label. That record showed they could still deliver gritty, high-energy psychobilly without losing the feel that made them popular in the first place.

 
Overall, Coffin Nails are remembered as one of those dependable, no-nonsense psychobilly bands that kept the genre alive beyond its early years. They never chased trends, stuck to what they did best, and earned a loyal following by doing exactly what psychobilly is supposed to do: sound fast, rough, and fun. If you’re into classic UK psychobilly, they’re definitely a band worth knowing. 

 

Deltas

The Deltas were a rock ’n’ roll band from London, England, who came out of the early 1980s underground scene. They originally formed as a straight-up rockabilly band, deeply inspired by 1950s rock ’n’ roll, but very quickly developed a much wilder and more aggressive sound. Because of this, they became closely associated with the emerging psychobilly movement, even though they never fully limited themselves to one label.

 
Musically, The Deltas mixed fast, frantic rockabilly with heavy blues influences and raw rock ’n’ roll energy. Their songs were loud, dirty, and intense, driven by slap bass, pounding drums, and sharp, biting guitar lines. While their roots were clearly rockabilly, they pushed things harder and faster than many of their peers, which is why psychobilly fans embraced them early on. They stood somewhere between classic rockabilly tradition and the more unhinged, rebellious sound that psychobilly would become known for. 

The original lineup featured Steve “Bongo” on vocals and drums, Captain Pat Marvel on guitar, and Little John on double bass. Over time, the band went through a few lineup changes and expansions. One notable member was Boz Boorer, who later became well known for his work with The Polecats and Morrissey. Despite changes, the band’s sound stayed fierce and unmistakable. 

Their debut album, 'Boogie Disease', released in 1981 on Nervous Records, perfectly captured their early energy and is often considered a classic of the British rockabilly revival. Later releases like 'Mad For It', 'Tuffer Than Tuff', and 'Live and Rockin’' showed the band stretching further into blues and rough rock ’n’ roll territory while keeping their manic edge intact. They also appeared on several important psychobilly and rockabilly compilations of the era, which helped spread their reputation across Europe. 

The Deltas were especially famous for their live shows, which were chaotic, sweaty, and completely over the top. They built a reputation as one of the wildest bands on the scene, often sharing stages with groups like The Meteors, Restless, and The Polecats. Even years after their peak, they’ve remained a cult favorite, respected for helping bridge the gap between traditional rockabilly and the darker, faster psychobilly sound that followed. Today, The Deltas are remembered as a key band of the early 1980s UK rockabilly and psychobilly crossover scene -never polished, never tame, but always loud, fast, and full of attitude.

 

The Highliners

The Highliners are a British rock and roll/psychobilly band. They are known for dressing in pink Dr. Martens boots, and black capes. They drive a pink van with a skeleton surfing on the roof. The Highliners were formed in London in 1984 by Luke Morgan and Chris Finch, who met while studying at the Central School of Art and Design. The band’s name was inspired by the Mk2 Ford Consuls and Zephyrs owned by its members. In 1985, Morgan, Finch, Kev “Stretch” Feeney, and drummer Tim Potter travelled to France in a pink split-screen Volkswagen bus for a three-month tour of the Riviera.

 
Before 1986, The Highliners went through several drummers. That year, Roy Williams of Nervous Records introduced Ginger Meadham, formerly of The Meteors, The Ricochets, and Guana Batz to the band. By 1987, the four-piece had secured a television residency on the Channel 4 programme "Comedy Wavelength", alongside Paul Merton and Josie Lawrence. They were later joined by Ben Blakeman, formerly of the The Cocteau Twins, on lead guitar, and frequently headlined John Curd’s psychobilly club, the Klub Foot in Hammersmith, where their pink van became a familiar landmark. The band were recorded live there on 16 January 1988 for the album 'Stomping at the Klub Foot 5', which was released two months later, in March 1988. 

 
Their final headline performance at the Klub Foot on 26 June 1988 was part of the 13-night farewell series, known as The Final Curtain, held before the demolition of the The Clarendon Hotel, Hammersmith. The Highliners achieved modest UK singles chart success with the single “Henry The Wasp”, which reached number 79 on the UK Singles Chart, and “Tell Me Things”, which peaked at number 96 in October 1988. Their debut album, 'Bound for Glory', was released in 1989 on Razor Records.

 
Rick Buckler of The Jam later replaced Ginger Meadham on drums, having previously worked with Mike Spencer on the final mix and production of the album. Buckler toured the UK and Europe with the band in 1990. Fanzines from that period featured artwork by Luke Morgan, Chris Finch, and Vaun Richards of the "Funday Times". 

 
In 2010, Ginger Meadham returned for his first performance with the band in more than 20 years at the Pineda de Mar Psychobilly Meeting in Spain. Lead vocalist Luke Morgan and Meadham, on drums, were joined by Mad Andy Kandil on guitar and Ricky Lee Sardi on bass as the band continued to tour and record. In 2019, Mark Bending, who had been part of the psychobilly scene since 1983, joined as lead guitarist. In 2024, the band’s original saxophonist, Chris Finch, rejoined, completing the current lineup. [SOURCE: WIKIPEDIA] 

 

Frantic Flintstones

Frantic Flintstones are one of the long-standing names in the UK psychobilly scene. The band was formed in 1986 in Didcot, Oxfordshire, and quickly became part of the second wave of psychobilly that followed the early influence of bands like The Meteors. Their sound blends fast, aggressive rockabilly with punk energy, slap bass, and a sense of humour that’s often weird, surreal, or slightly unhinged -very much in keeping with the genre’s spirit.

 
The band was started by vocalist Chuck Harvey, who has remained the driving force and only constant member throughout their long history. Early line-ups included guitarist Ric, bassist Clive, and drummer Toby “Jug” Griffin. They made their first real mark with the 'Bedrock!' EP in the late 1980s, which helped them gain attention on the UK underground circuit. This momentum carried into their debut album, 'A Nightmare on Nervous' (1988), released on Nervous Records, a key label for psychobilly at the time. That album is often cited as one of their classics and helped establish them as a serious presence in the scene. 

Over the years, Frantic Flintstones became known not just for their recordings but for relentless touring, especially across Europe, where psychobilly found a particularly devoted audience. Germany, in particular, became a second home for the band. Their live shows were energetic, chaotic, and loud, helping them build a loyal following that stuck with them even as musical trends changed. The band’s line-up shifted frequently, with many well-known figures from the wider psychobilly and rockabilly world passing through, including Johnny Bowler of Guana Batz and Captain Drugbuster from Demented Are Go. Bassist Gary Day, who later played with Morrissey, also spent time in the band. 

Musically, Frantic Flintstones never stuck to a single formula. While rooted in psychobilly, they experimented with different tempos, influences, and even lighter or more melodic moments, without losing their edge. This flexibility helped them stay productive for decades. By the 1990s and 2000s, they had built up a huge discography, releasing a steady stream of albums, EPs, and compilations. Records like 'Schlachthof Boogie Woogie', 'Cuttin’ a Fine Line', 'Speed Kills', and 'Champagne 4 All!' show different sides of the band while still sounding unmistakably like Frantic Flintstones. 

Even into the 2010s, the band continued releasing new material, including albums such as 'Freaked Out & Psyched Out' and the 'Lost Highway' EP. Although their live appearances became less frequent over time, their influence remained strong. A tribute album released in 2008, featuring bands from around the world covering Frantic Flintstones songs, showed just how far their impact had spread beyond the UK.

 
Today, Frantic Flintstones are widely regarded as one of the most prolific and respected psychobilly bands to come out of Britain. With decades of releases behind them and a reputation built on energy, attitude, and commitment to the scene, they’re often mentioned alongside the genre’s essential acts. If you’re digging into psychobilly history, it’s hard to avoid them -and just as hard to stop once you start listening.

 

Demented Are Go

Demented Are Go are a legendary psychobilly band from Wales who’ve been causing chaos since the early 1980s. They formed in 1982 in Penarth, near Cardiff, and quickly became one of the key bands in the second wave of psychobilly. Their sound mixes fast, aggressive punk energy with rockabilly rhythms and a heavy dose of horror, dark humor, and B-movie madness. They’re loud, messy in the best way, and completely unapologetic about it. 

The band is best known for their wild live shows and their larger-than-life frontman, Mark “Sparky” Phillips. Sparky’s intense, unhinged stage presence became a huge part of the band’s identity and helped build their cult reputation. Demented Are Go gigs were never just concerts -they were unpredictable events where anything could happen, which only added to their appeal in underground punk and psychobilly scenes across Europe and beyond. 

They made a strong impact in the mid-to-late ’80s with albums like 'In Sickness & In Health' and 'Kicked Out of Hell', which helped define what psychobilly would become after the genre’s early pioneers. Their music kept evolving but always stayed raw and frantic, driven by slapped upright bass lines, fast drums, and gritty guitars. Lyrically, they leaned into horror themes, insanity, violence, and dark comedy, often sounding both creepy and tongue-in-cheek at the same time. 

Over the years, the band went through plenty of lineup changes, personal issues, and general rock-and-roll chaos, but they never really disappeared. They kept touring, especially in Europe, and continued putting out records through the ’90s, 2000s, and 2010s. Albums like 'Orgasmic Nightmare', 'Tangenital Madness on a Pleasant Side of Hell', 'Hellucifernation', and 'Welcome Back to Insanity Hall' showed that they could age without losing their edge. 

Demented Are Go are now seen as one of the most influential and respected names in psychobilly. Tons of bands that came after them took inspiration from their sound, attitude, and complete disregard for playing it safe. Even decades later, they’re still remembered -and loved- for being loud, twisted, and totally demented in exactly the way their fans want. If you’re into psychobilly, punk, or anything with a darker, crazier vibe, they’re pretty much essential listening. 

MG 15

MG-15 were one of the earliest and most extreme hardcore punk bands to come out of southern Spain. They formed around 1982 in Nerja, near Málaga, at a time when Spanish punk was still raw, scattered, and mostly undocumented. What made MG-15 stand out immediately was how early they embraced a Discharge-influenced D-beat sound. In fact, they’re often cited as one of the first bands in Spain to fully push that style, which later fed directly into crust punk and heavier forms of hardcore.

 
Musically, MG-15 were loud, primitive, and aggressive from the start. Their early material was pure D-beat hardcore: fast, noisy, and unapologetically ugly in the best possible way. As the years went on, their sound evolved and picked up darker tones and metal influences, especially by the late 80s and early 90s, drifting into crossover and thrash territory without ever losing their punk backbone. Lyrically and visually, they leaned into bleak, confrontational themes that fit perfectly with the global hardcore underground of the time. 

Before MG-15 existed, some of the members played in a punk band called Slips Y Sperma, which already hinted at the abrasive direction they’d later take. The name MG-15 itself comes from “Mortal Gas XV,” a reference to a deadly chemical weapon, which pretty much sums up the band’s obsession with destruction, chaos, and grim imagery. Nothing about MG-15 was meant to be pretty or commercial.

 
Their earliest recordings, like the 1983 demo often referred to as 'Caos Final', are now considered landmarks of Spanish hardcore for how raw and unfiltered they were. In 1984 they released the 7” 'Derecho a la Vida' on the Italian label Attack Punk Records, a release that helped spread their name beyond Spain and into the wider European punk underground. That record, in particular, is frequently mentioned as one of the first Spanish releases to really sound like Discharge rather than just being influenced by punk in a broader sense.

 
Later releases showed how much the band was changing and experimenting. 'Holy Earth', released in 1987, leaned into a darker and heavier sound, while the 1994 LP 'Clon' pushed further into crossover and thrash metal. Even so, MG-15 never fully disappeared; they resurfaced in different forms over the years, and in 2015 a compilation called 'Los Singles 1983–2005' pulled together material from across their long, uneven history.

 
MG-15 also appeared on the influential 'Spanish HC' compilation tape in 1984, which helped introduce them to international listeners and cemented their place in hardcore history. Over time, they earned a reputation outside Spain as well, especially among collectors and fans of early D-beat and crust. Today, MG-15 are remembered less as a polished band and more as true pioneers -one of those groups that showed how extreme punk in Spain could get, long before there was any real infrastructure or scene to support it.

 

O.X. Pow

OX Pow were a Spanish rock band from Madrid active mainly between 1982 and 1987. They came out of the early 80s underground scene and are usually linked to punk, although the band themselves didn’t really like being boxed into that label. They preferred to say they played strong, fast rock, which honestly fits pretty well. Their early stuff leaned heavily toward punk and hardcore, while later recordings showed a bit more new wave influence.

 
The band was formed by a group of friends who were mostly around 18 years old when they started. The lineup was Paul on vocals and guitar, Pedro on guitar and backing vocals, Andrés on bass, and Geli on drums. Geli later became notable as one of the women who were actively involved in the Spanish punk scene, which wasn’t very common at the time.

 
OX Pow played all sorts of underground and sometimes strange venues around Madrid, fully embracing that DIY punk attitude. Musically, they were often compared to bands like Ramones, The Clash, The Damned, or Lords of the New Church, thanks to their fast tempos, sharp guitars, and raw energy. Even though they were around during the Movida Madrileña years, they were much closer to the harder punk underground than to the pop side of that movement.

 
Their recorded output was small but memorable. Early on they released a flexi-disc shared with Derribos Arias and later put out their first EP in 1983, which became their most well-known release. In the mid-80s they released another EP and a mini-LP that showed some evolution in their sound. There were also live recordings circulating among fans, mostly as bootlegs, capturing how intense they were on stage.

 
OX Pow broke up quietly in 1987 without ever becoming a mainstream band. Over time, their early records turned into collector’s items, and later reissues helped introduce them to new listeners. Today they’re remembered as an underrated band from Spain’s early punk scene, especially appreciated by people digging into the less obvious, more underground side of 80s Spanish rock.