Fact-checked by Grok 2 weeks ago

GRIMMS

GRIMMS were an English pop rock, comedy, and poetry group active from 1972 to 1976. Formed as a supergroup merging members of The Scaffold, the Bonzo Dog Doo-Dah Band, and the Liverpool Scene, the name GRIMMS is an acronym derived from the surnames of its original lineup: Gorman, Roberts, Innes, McGough, McGear, and Stanshall.^[1] The group blended music, sketches, and spoken-word performances, emerging from the 1970s British alternative comedy scene at the suggestion of drummer John Gorman.^[2] Initially assembled for a 1971 tour under the name "Freaks," GRIMMS solidified in 1972 and gained a cult following through live shows and three albums: Grimms (1973), Rockin' Duck (1973), and Sleepers (1976).^[1] Their work featured contributions from up to 11 members at various points, including guitarists Neil Innes and Andy Roberts, poet Roger McGough, and vocalist Mike McGear. Internal tensions led to the group's disbandment after a 1976 tour, though their innovative fusion of humor, poetry, and rock influenced subsequent acts in experimental music and comedy.^[3]

Formation

Pre-Formation Influences

The roots of GRIMMS trace back to the vibrant 1960s Liverpool music and poetry scene, where experimental blends of humor, verse, and performance art flourished amid the Merseybeat era's cultural ferment. This environment fostered groups that merged cabaret traditions with avant-garde elements, setting the stage for later collaborations among key figures.^[4] The Scaffold emerged in 1964 from the revue troupe known as The Liverpool One Fat Lady All Electric Show, with poet Roger McGough, musician Mike McGear (born Peter Michael McCartney), and comedian John Gorman forming a pop cabaret act that combined music, comedy, and spoken word. Their style emphasized witty, accessible performances that captured Liverpool's working-class spirit, leading to mainstream success including the 1968 hit single "Lily the Pink," which reached number one on the UK charts.^[5]^[6]^[7] Parallel to The Scaffold, the Bonzo Dog Doo-Dah Band formed in London around 1962-1965 by art students Vivian Stanshall and Rodney Slater, drawing from 1920s jazz, vaudeville, and Dadaist influences to create surreal comedy rock. Neil Innes contributed key songwriting, notably penning "I'm the Urban Spaceman" in 1968, a novelty track produced by Paul McCartney (under pseudonym Apollo C. Vermouth) that peaked at number five in the UK. Stanshall's eccentric, theatrical performances added a layer of absurdist flair, defining the band's late-1960s output.^[8]^[9]^[10] The Liverpool Scene, active from 1967 to 1970, represented a poetry-rock collective led by poet Adrian Henri alongside musicians like Andy Roberts, Mike Hart, Mike Evans, Percy Jones, and Brian Dodson. Originating from the 1967 poetry anthology The Mersey Sound, the group integrated live readings with rock instrumentation, performing works that reflected urban Liverpool life and countercultural themes.^[11]^[12]^[13] Individually, these artists built foundational creative elements: McGough's poetry debuted in The Mersey Sound in 1967, establishing him as a leading voice in Liverpool's literary scene; Innes honed his satirical songcraft through Bonzo recordings; and Stanshall's larger-than-life persona influenced experimental performance styles. Shared Liverpool ties—through McGough, McGear, Gorman, and connections via Roberts—fostered informal overlaps. In 1971, members from The Scaffold, Bonzo Dog Doo-Dah Band, and Liverpool Scene participated in joint concerts, such as proto-GRIMMS shows billed as the Bonzo Dog Freaks, highlighting their mutual interests in avant-garde humor and multimedia presentation.^[13]^[9]^[14]

Official Establishment

GRIMMS was formally established in early 1972 as a supergroup merging members from The Scaffold, the Bonzo Dog Doo-Dah Band, and the Liverpool Scene, following successful one-off collaborations in 1971 suggested by John Gorman. This unification brought together the comedic cabaret style of The Scaffold with the eccentric humor of the Bonzo Dog Doo-Dah Band and the poetic folk elements of the Liverpool Scene, creating a collective focused on multimedia performances. The formation marked a shift from individual group activities to a collaborative ensemble, with Gorman playing a key role in initiating the merger after joint appearances proved popular.^[15] The initial lineup consisted of Mike McGear on vocals, Roger McGough on poetry and vocals, John Gorman on percussion and vocals, Neil Innes on guitar and vocals, Vivian Stanshall as a vocals and multi-instrumentalist, and Andy Roberts on guitar and vocals. This six-member configuration reflected the diverse talents of its participants, emphasizing spoken word, satire, and musical improvisation over conventional rock structures. The group's name, GRIMMS, served as an acronym derived from the surnames of these founding members: Gorman, Roberts, Innes, McGear, McGough, and Stanshall.^[3] In 1972, GRIMMS secured a deal with Island Records, prioritizing live theater-style shows that integrated poetry recitals, comedic sketches, and musical segments, distinct from typical band touring circuits. Early organizational decisions centered on developing material through collaborative sessions that highlighted the improvisational backgrounds of the members, such as The Scaffold's cabaret influences. Rehearsals occurred in Liverpool and London, allowing the group to refine their blend of storytelling and performance arts before embarking on their first full tour.^[1]

Members

Original Lineup

The original lineup of GRIMMS debuted in 1972 as a collaborative ensemble merging comedic, poetic, and musical talents from Liverpool's avant-garde scene. The group's name served as an acronym derived from the surnames of its six core members: Gorman, Roberts, Innes, McGough, McGear, and Stanshall.^[1] Mike McGear, whose real name was Peter Michael McCartney, handled vocals and bass, infusing the band with pop sensibilities honed during his tenure with Scaffold; as the younger brother of Paul McCartney, he bridged mainstream appeal with the group's experimental edge.^[16]^[17] Roger McGough contributed poetry recitation and vocals, leveraging his status as a renowned Liverpool poet whose published works, including contributions to The Mersey Sound, lent narrative structure and lyrical depth to GRIMMS' performances.^[18] John Gorman, a co-founder of Scaffold, provided percussion, vocals, and comedy sketches, overseeing rhythmic foundations and humorous interludes that energized the collective's stage dynamic.^[19] Neil Innes, a former member of the Bonzo Dog Doo-Dah Band, played guitar, keyboards, and sang, crafting original songs in early demos that fused rock instrumentation with satirical wit.^[20] Vivian Stanshall, the charismatic frontman of the Bonzo Dog Doo-Dah Band, delivered vocals, trumpet, and sound effects, incorporating surreal spoken-word pieces that amplified the band's eccentric flair.^[21] Andy Roberts, originating from the Liverpool Scene, supplied guitar and vocals, incorporating folk-rock guitar elements and rich harmonies to enhance the ensemble's sonic texture.^[22] These members' pre-GRIMMS affiliations with Scaffold, the Bonzo Dog Doo-Dah Band, and the Liverpool Scene directly influenced the group's eclectic fusion of comedy, poetry, and music. GRIMMS operated with fluid group dynamics, featuring rotating lead roles across performances and no designated frontman to foster a sense of shared creativity and improvisation.^[16]

Lineup Evolution

Following the initial stability provided by the original members, GRIMMS experienced notable roster shifts starting in 1973, as the group expanded beyond its core comedic and musical framework. Vivian Stanshall departed that year prior to the recording of the second album, Rockin' Duck, amid the band's growing size and internal strains from incorporating additional poets and performers, which diluted the surreal humor he contributed.^[23]^[17] In 1974, to bolster their musical capabilities, GRIMMS added guitarist Ollie Halsall, formerly of Patto, known for his exceptional technical skill, and drummer John Halsey, also from Patto, who provided a reliable rhythm foundation; these inclusions helped refocus the group on stronger instrumental support during live shows and recordings.^[17]^[1] Mike McGear's involvement became intermittent around the same time, as he pursued solo projects, including his 1974 album McGear; his absence notably impacted releases on the Island label, prompting GRIMMS to transition to DJM Records for subsequent work without him, allowing the group to adapt its sound and direction independently.^[23]^[17] During 1975 and 1976, the band incorporated guest contributors such as drummer Gerry Conway on select tracks and sound effects specialist Brian Hodgson for atmospheric elements, enhancing production without committing to full membership.^[24] These modifications stemmed from broader internal tensions, including disputes over songwriting credits and divergent performance styles as the ensemble grew unwieldy, resulting in a fluid membership; throughout, the core trio of Roger McGough, John Gorman, and Neil Innes served as anchors, maintaining the group's poetic and satirical essence.^[17] By 1976, for their final album Sleepers, the configuration centered on Neil Innes, Andy Roberts, Ollie Halsall, John Halsey, Roger McGough, and John Gorman, reflecting a more streamlined ensemble that emphasized musical cohesion over expansive collaboration.^[25]

Career

Early Activities

GRIMMS launched their stage career with a series of multimedia theater performances in 1972 across the UK, blending poetry readings, comedy skits, and songs in a cabaret-inspired format. These shows were captured live for the group's debut album, Grimms, released in 1973 by Island Records and produced by Neil Innes and Roger McGough.^[26] Recorded at venues including St. George’s Hall in Liverpool and Central Polytechnic in London, the album showcased the ensemble's dynamic energy with highlights such as Neil Innes's "Humanoid Boogie" and Roger McGough's spoken-word pieces like "Newly Pressed Suit."^[26] Vivian Stanshall had departed the group prior to these initial recordings. Building on their initial momentum, GRIMMS released their second album, Rockin' Duck, later in 1973 on Island Records, shifting toward more structured studio ensemble playing at Strawberry Studios in Stockport.^[24] Tracks like "Rockin' Duck" and Brian Patten's "The Prophet" exemplified the troupe's witty integration of rock, poetry, and humor.^[24] Throughout 1973, GRIMMS toured the UK theater circuit, performing their innovative shows that combined scripted sketches with improvised musical segments, solidifying their reputation as a boundary-pushing live act. A conflict during this tour led to Mike McGear's departure in late 1973. The original lineup provided stability during this formative phase, enabling the group to refine their collaborative approach.

Mid-Period Developments

Following the initial momentum from their early albums on Island Records and McGear's departure in late 1973, GRIMMS underwent significant changes in 1974, including a hiatus prompted by a Scaffold reunion tour featuring several alumni members to promote the hit single "Liverpool Lou."^[3]) The band transitioned to DJM Records in conjunction with this lineup flux, enabling a fresh creative direction. Their first release under the new label was the July 1975 single "Backbreaker" b/w "The Masked Poet," a driving rock track that spotlighted guitarist Ollie Halsall's virtuosic playing and marked a departure toward harder-edged material blended with the group's signature humor.^[27] Performances evolved during this period to emphasize rock-infused sets interwoven with comedic elements, as GRIMMS reconvened for a 1975 tour supporting the single and filmed a BBC television special, Grimms on Women.^[3] These shows highlighted adaptive collaborations, such as incorporating live sound effects and direct audience engagement to enhance the theatricality of their multimedia routines.^[28] Amid these developments, the group faced internal hurdles, including financial pressures from high-cost theater-style productions and diverging member interests in solo endeavors.^[29]

Final Phase

In 1976, GRIMMS released their third and final studio album, Sleepers, on DJM Records.^[30] The album featured a lineup including Neil Innes, Roger McGough, and John Gorman, after earlier departures of key members like Viv Stanshall and Mike McGear.^[31] Tracks such as "The Womble Bashers of Walthamstow" exemplified the group's satirical take on pop culture phenomena, parodying the children's TV characters The Wombles through humorous lyrics and exaggerated musical mimicry.^[21] The single "The Womble Bashers of Walthamstow," also released that year on DJM, served as a standalone novelty track drawn from the album, highlighting GRIMMS' blend of comedy and music in a lighthearted jab at mainstream fads.^[32] This release marked the culmination of the mid-period shift to DJM, which facilitated their last major output.^[25] GRIMMS undertook concluding UK tours in 1976, characterized by growing fatigue among members amid the demands of live performance.^[21] Their final show took place in late 1976, signaling the effective end of the group's active phase.^[21] The disbandment stemmed from exhaustion due to frequent lineup changes, ongoing financial losses, and individual members seeking separate paths, such as Stanshall's pursuit of a solo career.^[21] Without a formal announcement, GRIMMS transitioned informally into legacy status by year's end.^[21]

Artistic Style

Comedy and Poetry Fusion

GRIMMS' integration of spoken-word poetry served as a core narrative element in their performances, with Roger McGough delivering recitations that bridged segments and drew heavily from the Liverpool Scene's traditions of blending verse with live music and theater. McGough's contributions often featured surreal poems exploring everyday life, such as mundane urban encounters infused with whimsical absurdity, reflecting the accessible yet innovative style honed in earlier groups like The Scaffold. These recitations provided emotional and thematic continuity, grounding the group's chaotic energy in poetic introspection.^[33]^[34] The comedy structure relied on skits and character-driven acts by John Gorman and, in early live shows, Viv Stanshall, who incorporated absurd dialogues and visual gags to heighten the theatricality of performances. Gorman's pieces, like the short satirical monologue "The Masked Poet" from their 1973 album Rockin' Duck, exemplified this through exaggerated personas mocking pretentious artistry, while Stanshall's early live contributions echoed his Bonzo Dog Doo-Dah Band roots with nonsensical banter and props that disrupted expectations. These elements created interactive chaos, with non-performing members often sitting among the audience to encourage participation.^[33]^[35]^[34] This fusion manifested in hybrid pieces where McGough's verses were layered over subtle musical backings, often composed by Neil Innes, to form cohesive spoken-sung narratives that amplified the humor without overshadowing the words. Thematically, GRIMMS targeted satire on British society, urban existence, and the absurdities of fame, as seen in pieces like "Italian Job," which juxtaposed paradoxical nonsense with critiques of everyday Liverpool life, blending joy and social commentary in a cabaret-style format.^[33]^[34] Over time, GRIMMS' approach evolved from an early whimsical, unpredictable style in the early 1970s—following Stanshall's departure in early 1973—to a sharper, more refined wit by the mid-decade, with increased input from poets like Brian Patten and Adrian Henri tightening the integration of poetry and comedy, though the group disbanded in the late 1970s amid shifting careers.^[33]^[34]

Musical Composition

GRIMMS' core genre was pop rock, incorporating folk and psychedelic influences drawn from the members' roots in the Bonzo Dog Doo-Dah Band and Scaffold.^[36] Songwriting was primarily handled by Neil Innes and Andy Roberts, who emphasized catchy hooks and layered harmonies in their compositions, as seen in tracks like "Humanoid Boogie," a satirical take on rock conventions.^[26]^[37] Instrumentation centered on guitars from Roberts and later additions like Brian Halsall, supported by percussion from John Gorman and John Halsey, with occasional brass from Vivian Stanshall in early live performances, fostering an ensemble-focused sound rather than spotlighting individual solos.^[36] Production in early releases captured a raw, lo-fi aesthetic to convey live energy, transitioning to more refined mixes by their 1976 album on DJM Records.^[3] The group's harmonic structure often relied on major-key progressions for upbeat numbers, combining standard verse-chorus formats with elements of improvisational jamming.^[36]

Discography

Albums

GRIMMS released three studio albums during their active period in the 1970s, each showcasing their unique blend of rock, comedy sketches, and poetry. The debut album, Grimms, was issued in 1973 by Island Records (HELP 11) in the UK as a vinyl LP featuring 17 tracks. Produced by Neil Innes and Roger McGough, it captured the group's initial lineup, including Mike McGear, and highlighted their collaborative spirit through spoken-word pieces and musical numbers such as "Humanoid Boogie" by Innes and "Italian Job" by Gorman and McGear.^[26] The album's production emphasized a raw, ensemble feel, reflecting the merger of The Scaffold, Bonzo Dog Band, and Liverpool Scene influences.^[38] The follow-up, Rockin' Duck, arrived later that same year on Island Records (ILPS 9248), comprising 14 tracks on vinyl LP and self-produced by the band to preserve a lively, performance-oriented energy. This release continued to feature McGear and spotlighted contributions like Innes's title track "Rockin' Duck," Roberts's "Songs of the Stars," and Stanshall's "Back from the Dead," alongside comedic elements such as Roberts and McGough's "Gruesome."^[24] The self-production approach allowed GRIMMS greater creative control, resulting in a more spontaneous sound that echoed their stage antics.^[39] By 1976, with lineup changes including McGear's departure, GRIMMS issued their final studio album, Sleepers, on DJM Records (DJLPS 470) as a 14-track vinyl LP produced by the band alongside Peter Jenner. This release adopted a more subdued tone, incorporating reflective and satirical tracks like "The Womble Bashers of Walthamstow" and covers such as "House of the Rising Sun," with pieces by Roberts and McGough emphasizing introspection amid the group's evolving dynamics.^[30] The shift to DJM reflected post-departure adjustments, contributing to a distinct, less commercial phase.^[40] Overall, these three LPs formed the core of GRIMMS' recorded output, with official CD reissues starting in the 1990s, including a 1993 compilation of the first two albums (Edsel EDCD 370) and a 2006 expanded edition of Sleepers (Hux HUX 079).^[1]

Singles

GRIMMS issued only two official singles during their active years, both on the DJM label, as part of a targeted strategy to secure radio airplay and drive sales of their albums during a period of waning public interest in their experimental style. These releases highlighted the group's signature fusion of rock energy, comedic satire, and poetic elements in short-form tracks designed for broader accessibility. The debut single, "Backbreaker" b/w "The Masked Poet" (DJM DJS 393), appeared in July 1975. The A-side is a high-energy rock track co-written by core members including Neil Innes and performed with contributions from drummer John Halsey, capturing the band's lively stage dynamic. The B-side features a spoken-word poetry sketch, aligning with their performance art roots. This release coincided with mid-period tours, serving as a promotional tool to energize live audiences and introduce non-album material.^[41]^[42] Their final single, "The Womble Bashers of Walthamstow" b/w "The Worst Is Yet to Come" and "Wiggle Waggle" (DJM DJS 679), followed in June 1976. The A-side delivers a novelty rock parody mocking the popular children's TV series The Wombles, complete with exaggerated humor and rhythmic drive. The B-sides include a melancholic ballad-style piece and a whimsical closer, providing contrast to the lead track's satire. As the group's last recording, it encapsulated their playful critique of pop culture amid their disbandment.^[43]^[44] Both singles were primarily distributed in 7-inch vinyl format, with standard sleeves that occasionally incorporated the band's quirky artwork to tie into their theatrical identity.^[45]^[46] Commercially, these efforts yielded modest results, underscoring GRIMMS' niche appeal within the 1970s British music scene; neither achieved major chart breakthroughs, limiting their reach beyond dedicated fans despite the intent to broaden exposure.^[1]

Legacy

Critical Reception

The debut album Grimms (1973) received mixed reviews for its blend of humor, rock, and poetry, with some contemporary critics noting a disjointed structure; live performances were often described as chaotic but entertaining.^[47] In the mid-1970s, the single "Backbreaker" (1975) represented a commercial attempt but did not achieve significant chart success. The album Sleepers (1976) marked the band's final studio release, later reissued on CD by Hux Records in the 2000s.^[14] Overall, press coverage appreciated GRIMMS for bridging comedy rock and poetry but noted the group's lack of major hits.^[48]

Cultural Impact

GRIMMS' innovative fusion of rock, poetry, and comedy significantly influenced subsequent developments in comedy rock and alternative performance genres during the 1980s and beyond. Through members like Neil Innes, the group laid groundwork for satirical musical projects such as The Rutles, a Beatles parody band formed in 1978 that blended humor with meticulous musical imitation, extending GRIMMS' tradition of absurdist entertainment into mainstream parody.^[49] Similarly, the ensemble's emphasis on spoken-word integration with music inspired later acts in alternative cabaret and punk poetry scenes, where performers combined rapid-fire verse with live instrumentation to challenge conventional stage formats. In Liverpool's cultural landscape, GRIMMS solidified the 1970s revival of Mersey arts by bridging the city's earlier poetic and musical movements, exemplified by Roger McGough's enduring contributions to educational poetry anthologies and public readings that popularized accessible, rhythmic verse among younger audiences. McGough's work, rooted in the Liverpool poets' ethos, continued to shape school curricula and literary festivals, preserving the region's reputation for innovative word-music hybrids.^[50] Post-1976, individual member trajectories highlighted GRIMMS' dispersed yet persistent legacy without any full band reunions. Neil Innes collaborated extensively with Monty Python, contributing songs and sketches from the mid-1970s through the 1980s, including the iconic "Bruces' Philosophers Song" for their television and stage productions; he continued musical projects until his death on December 29, 2019.^[51]^[52] Vivian Stanshall pursued eclectic BBC radio projects, such as the surreal "Rawlinson End" series, broadcasting until his death in 1995 and embodying British avant-garde audio experimentation.^[53] Andy Roberts advanced a prolific folk-rock career, co-founding Plainsong in 1972 and releasing solo albums that emphasized acoustic storytelling, while performing in folk clubs across the UK.^[37] Archival efforts in the 2000s sustained interest through CD reissues by labels like Hux Records, which remastered albums such as Sleepers (originally 1976) for wider accessibility, and fan-maintained sites that catalog rare live tapes and memorabilia from the group's tours.^[54] GRIMMS' eccentric style has also appeared in BBC documentaries exploring British cultural oddities, underscoring their role in the nation's tradition of whimsical performance art.

References

[1]
Grimm Brothers' Home Page - University of Pittsburgh
Brothers Grimm from Wikipedia, the Free Encyclopedia. National Geographic's Grimms' Fairy Tales: From Folklore to Forever. German-language sites. Brüder Grimm ...
[2]
The Brothers Grimm - Yale University Press
The first English-language biography in over fifty years to tell the full, vibrant story of Jacob and Wilhelm Grimm, known to history as the Brothers Grimm.
[3]
How the Grimm Brothers Saved the Fairy Tale
The stories the Brothers Grimm first collected are brusque, blunt, absurd, comical, and tragic, and are not, strictly speaking, “fairy tales.”
[4]
Understanding the Brothers Grimm beyond princesses and magic
Apr 7, 2024 · The Brothers Grimm are best known for the German folk tales they collected and preserved in writing: classic stories about Cinderella, Hansel ...
[5]
The Brothers Grimm and the Making of German Nationalism
Jan 21, 2024 · Jacob and Wilhelm Grimm are probably history's most famous folklorists. Their collection of folk tales – the Children's and Household Tales ...<|separator|>
[6]
Prof focuses on the brothers behind the fairy tales
Aug 25, 2025 · The Brothers Grimm: A Biography by CU Boulder Professor Ann Schmiesing is the first English-language biography in more than five decades on ...
[7]
Liverpool, poetry, music and working-class revolt - Culture Matters
Jun 25, 2025 · The Mersey Sound anthology which brought the Liverpool poets to a wider audience was first published in 1967, by which point the Merseybeat ...Missing: group | Show results with:group
[8]
Where are they now? Sixties band The Scaffold | Express.co.uk
Sep 1, 2018 · “We started in 1964 and called ourselves The Liverpool, One Fat Lady, All Electric Show. ... The Scaffold has performed at several music festivals ...
[9]
Mersey Beat - The Scaffold - thefootballvoice
Feb 11, 2020 · They formed as a musical group when poet Roger McGough, musician Mike McGear and comic entertainer John Gorman broke away from the 'One Fat Lady ...
[10]
50 years of 'Lily the Pink' - Livertours Liverpool
Dec 20, 2018 · The band eventually merged with other bands, the Bonzo Dog Band and the Liverpool Scene and became known as 'Grimms' for two final concerts in ...
[11]
The Bonzo Dog Doo-Dah Band - a History
The Bonzo Dog Dada Band was formed in the period 1962-1965, named after George Studdy's famous 1920s/30s postcard puppy Bonzo Dog and the Dada anti-art ...
[12]
The 5 classics from the songwriting of Neil Innes - Goldmine Magazine
Dec 9, 2024 · (And yes, that's where the Pacific Northwest indie band got its name.) “I'm the Urban Spaceman” by the Bonzo Dog Doo-Dah Band (single, 1968).<|control11|><|separator|>
[13]
The comedy revolution of the Bonzo Dog Doo Dah Band
Apr 5, 2024 · ... 1960s was the Bonzo Dog Doo Dah Band, formed by students Vivian Stanshall and Rodney Slater in the early part of the decade. The band's name ...Missing: history | Show results with:history
[14]
The Liverpool Scene - Mekons
Key members were: Adrian Henry, Andy Roberts, Mike Hart and Mike Evans. The Liverpool Scene was the title of a poetry book in 1967, published in London and ...Missing: history | Show results with:history
[15]
https://peel.fandom.com/wiki/Grimms
[16]
Roger McGough Collection - Special Collections & Archives
Oct 30, 2025 · McGough's poetry was first published, with work by Adrian Henri and Brian Patten in The Mersey Sound (1967). McGough has published many poetry ...Missing: publications | Show results with:publications
[17]
The Man Who Played with Everyone - Record Collector Magazine
Oct 18, 2007 · With much of the Liverpool Scene, GRIMMS and solo recordings now reverting back to the musicians, possibilities include a Liverpool Scene ...Missing: origins | Show results with:origins
[18]
Grimms | John Peel Wiki | Fandom
... Scaffold with two members of the Bonzo Dog Doo-Dah Band and the Liverpool Scene for two concerts in 1971 at the suggestion of John Gorman. The band's name ...
[19]
Grimms Albums: songs, discography, biography ... - Rate Your Music
The original lineup consisted of founding John Gorman, Andy Roberts, Neil Innes, Roger McGough, Mike McGear, and Vivian Stanshall - whose initials formed the ...
[20]
Grimms
### Summary of Grimms' Original Lineup (1972)
[21]
Mike McGear - Record Collector Magazine
Dec 23, 2019 · Mike McGear is on the phone from his home on the Wirral. ... Now, a million years later, I'm talking to the ex-Scaffold, ex-GRIMMS, ex-hairdresser ...
[22]
Mike McGear McCartney - The Strange Brew
As well as being one third of comedy-poets The Scaffold he was co-founder of super-group GRIMMS and successful solo artist.
[23]
Said And Done - Penguin Books
Oct 5, 2006 · Roger McGough was a member of the group Scaffold in the 1960s when he contributed poems to the Penguin title The Mersey Sound, which has since ...
[24]
Grimms - Clowns on the Road (Softcover) - AbeBooks
Grimms are itinerant poets, musicians and clowns. They have been on the road periodically since a first collaboration five years ago.
[25]
Neil Innes, 'Monty Python' Songwriter, Rutles Co-Founder, Dead at 75
Dec 30, 2019 · Around the same time, Innes began working with another musical comedy group, Grimms, while he also linked up with Monty Python. Innes toured ...
[26]
Grimms – Neil Innes
Following his stint with the legendary Bonzo Dog Band, Neil Innes played a pivotal role in forming GRIMMS, a rather eclectic supergroup that emerged from ...Missing: origins pre- Liverpool
[27]
Andy Roberts Music: The Scaffold, GRIMMS & Bonzos
Following us in for the third week of the Festival was this funny theatre team from Liverpool called The Scaffold. I didn't know anything about them. Somebody ...Missing: origins pre- formation
[28]
fall2006 - Richie Unterberger
Grimms, Sleepers (Hux). Grimms' third and final album was done without some of the founding members, Mike McGear and Vivian Stanshall having departed ...
[29]
Grimms - Rockin' Duck
### Summary of Grimms – Rockin' Duck (1973)
[30]
https://www.discogs.com/release/4190200-Grimms-Sleepers
[31]
Grimms - Grimms
### Summary of Grimms (1973) Album
[32]
Andy Roberts Music: Biography
After I got back to London I accepted a place at Liverpool University and ... I did my first Grimms tour in March 1973, and it must have been soon ...
[33]
By Mike McCartney / McGear • - Official album
Jul 24, 2024 · McGear is the second solo album by English singer Mike McGear ... At the time, McGear had just left his group Grimms, and McCartney was waiting ...
[34]
https://www.cambridge.org/core/services/aop-cambridge-core/content/view/BD32421814C7D4FD5964379FB14A7705/9781846312496c8_p96-128_CBO.pdf/seventies.pdf
[35]
Complete Discography - Neil Innes
Grimms – Island Records HELP 11- 1973. Rocking Duck – Island Records ILPS 9248- 1973. Sleeper – DJM Records DJLPS 470- 1976 ... Backbreaker / The Masked Poet – ...
[36]
Get Ready to ROCK! Interview with Mike Green who managed blues ...
Betsy Green interviews her father Mike Green on his experiences with estranged guitarist, PAUL KOSSOFF. Mike managed Paul in 1975 and tour managed his band ...
[37]
Grimms - Sleepers
### Summary of Credits Section
[38]
Sleepers - Grimms | Album - AllMusic
Rating 5/10 (2) Sleepers by Grimms released in 1976. Find album reviews, track lists, credits, awards and more at AllMusic.Missing: polished | Show results with:polished
[39]
https://rateyourmusic.com/release/album/grimms/rockin-duck/
[40]
Gladsongs and gatherings: poetry and its social context in Liverpool ...
The shows with comedy, poetry and guests continued, and the group Grimms, a combination of Scaffold and Bonzo personnel, was formed. The acronym was for Gorman, ...
[41]
https://www.discogs.com/release/3156796-Grimms-Backbreaker
[42]
https://rateyourmusic.com/release/single/grimms/backbreaker-the-masked-poet/
[43]
Do I have to spell it out? Neil Innes own right - Comedy Chronicles
Nov 17, 2024 · Neil's next big adventure would be a kind of counter-cultural super group by the name of GRIMMS. An acronym of the founding members - the ex ...
[44]
Andy Roberts Music: Biography
... GRIMMS time in early 1973. Viv Stanshall and Neil had been friends of mine increasingly since I played with Bonzo Dog Freaks in 1970-1. David was my ...Missing: departure | Show results with:departure
[45]
Grimms by Grimms (Album, Rock): Reviews, Ratings, Credits, Song list
Rating 2.7 (21) · 30-day returnsThere are no reviews for this issue. You can write a review by pressing the "review" button above. Votes are used to help determine the most interesting ...Missing: early Maker<|control11|><|separator|>
[46]
Rockin' Duck by Grimms (Album, Rock) - Rate Your Music
Rating 2.8 (26) · 30-day returnsTrack listing · A1 Rockin' Duck 1:50. Neil Innes. writer · A2 Songs of the Stars 3:15. Andy Roberts. writer · A3 The Right Mask 1:40. Brian Patten. writer · A4 ...
[47]
Sleepers by Grimms (Album, Comedy Rock) - Rate Your Music
Rating 3.2 (21) · 30-day returnsIt's a fun album. But it's a parody album so what to make of it. As with some of the Ween albums: Well done, nice to listen to for a couple ...Missing: band polished
[48]
Grimms - Backbreaker
### Summary of GRIMMS Single "Backbreaker"
[49]
Backbreaker / The Masked Poet by Grimms (Single, Rock & Roll ...
Backbreaker / The Masked Poet, a Single by Grimms. Released in 1975 on DJM (catalog no. DJUS-1001; Vinyl 7"). Genres: Rock & Roll, Novelty.
[50]
https://poetryarchive.org/poet/roger-mcgough/
[51]
Grimms - The Womble Bashers Of Walthamstow / The Worst ... - 45cat
Full track listing and details of the 7" vinyl record Grimms - The Womble Bashers Of Walthamstow / The Worst Is Yet To Come - DJM - UK (1976), on 45cat.
[52]
https://www.npr.org/2019/12/30/792379969/neil-innes-monty-python-collaborator-and-rutles-member-dead-at-75
[53]
https://www.bbc.co.uk/programmes/b00pcklz
[54]
Grimms by Grimms (Album; Island; HELP 11): Reviews, Ratings ...
1973 · 2.72 / 5.00.5 from 21 ratings · Rock · Comedy Rock · Island Records / HELP 11 / United Kingdom.
[55]
NME Magazine 19 July 1975 Bob Marley Frank Zappa Captain ...
Jul 19, 1975 · Half Page Adverts: David Bowie/Sunday Times advert, Grimms Backbreaker single, Daevid Allen Banana Moon. Record Reviews: Singles; Dr Feelood, ZZ ...
[56]
Grimms Songs, Albums, Reviews, Bio & More | Al... - AllMusic
An acronym for its founding members, Grimms initially featured Roger Gorman, Andy Roberts (b. 12 June 1946, Hatch End, Middlesex, England), Neil Innes (b.Missing: band | Show results with:band
[57]
One More Time Before We Die - Record Collector Magazine
Oct 8, 2007 · GRIMMS (1971-72) “Pretty much the first thing after the Bonzos, though by then I was also working with the Pythons. The name came from (John) ...
[58]
The Rutles - Neil Innes
Although the Rutles were a parody, Neil's dedication to writing genuine-sounding pastiches made the music stand on its own. It was Neil's ability to both ...
[59]
Roger McGough - Poetry Archive
Roger McGough (b. 1937) is one of Britain's best-loved poets. Top-selling The Mersey Sound: Penguin Modern Poets 10 with Liverpool poets Brian Patten and ...
[60]
Celebrating Neil Innes: From the Bonzos and Monty Python to ...
May 6, 2025 · Celebrating Neil Innes: From the freewheeling Bonzos and Monty Python to "Prefab Four" the Rutles. Yvonne Innes reflects on life with her ...
[61]
Great Lives, Vivian Stanshall - BBC Radio 4
Musician and performer Neil Innes chooses the life of his Bonzo Dog Doo Dah Band colleague, and friend, Vivian Stanshall. Neil tells Matthew Parris about the ...Missing: GRIMMS | Show results with:GRIMMS
[62]
CD Album - Grimms - Sleepers - Hux Records
GRIMMS was a kind of super group - an amalgamation of various members of the Scaffold, Bonzo Dog Band and Liverpool Scene. The idea had been dreamt up by ...Missing: formed 1972<|separator|>