The Bevis Frond 

Formed London, some time between 1968 and 1987.
If you imagined psychedelia turned up its toes at the close of the 70s, then you are almost certainly unacquainted with The Bevis Frond. The creation of one Nick Salomon, who writes all the material, plays just about all the instruments, and handles the recording and production, to boot, The Frond have been standard bearers of the genre for the past decade. Quintessentially
English and endearingly eccentric, they are worth their place in any rock book worth the name. 

The Frond emerged in its present imago around 1986, but its chrysalis appeared around twenty years previously, when Saloman formed a band with two London schoolmates. The name 'Bevis Frond' dates from this early stage, though early incarnations appeared as the Oddsocks, and then, in a late-7Os psychedelic punk manifestation as the Von Trapp Family and Room 13
(each of whom released a single on Saloman's own Woroznow label).
A serious motorbike accident in 1982 forced Saloman into a period of recuperation and introspection, during which he recorded at home, abandoned all ideas of fame, and set himself the task of making a record to his own satisfaction. The result, created on his own, and issued in a printing of 250, was miasma (1987), his first release as The Bevis Frond. To Saloman's surprise its power-
pop melodies, virtuoso guitar solos, folk touches and a fluid psychedelic background gained a cult following, and more copies were demanded. Thus encouraged, Saloman followed up with inner marshland, another solo effort in a similar vein, whose flashes of whimsy included Harry Corbett introducing Sooty and Sweep.
From the third album (triptych) on, Saloman has used other occasional musicians, particularly drummers Martin Crowley and recently Andy Ward. Albums have come thick and fast, including magic eye, made as Bevis And Twink (with the legendary Pink Fairies drummer), and bevis through the looking glass (1988), with its Hendrix-style freakout jamming. The output has been patchy, and at times could be accused of losing the plot slightly, but Saloman's lyrics - with his surrealist stoned humour, sharp social comment, and personal observation ~ can usually rescue the day, while the music, at its best, has enough hooks to reel in a school of barracudas.
As the 1990s have unfurled, Saloman has upgraded his production, creating a crisper, more contemporary sound on albums like new river head (1991), a masterpiece of folk-punk sounds, with a flowing, quirky guitar sound that could have come from Mountain's Leslie West, and superseeder (1995), a sharp blend of his electric and acoustic muse. The decade has also seen sporadic live forays for The Frond with Adrian Shaw on bass, Martin Crowley, Ric Gunther or Andy Ward on drums, and some incendiary guitar duelling with Hendrix-influenced Bari Watts of the Outskirts Of Infinity.