The year 1966 was shaping up to be one of the most exciting in British music history. After an incredible start in January and February, March brought an even bolder wave of singles — from legal disputes and studio experimentation to early sparks of psychedelia and raw, fuzz-toned garage rock.
Let’s drop the needle on March 1966, when The Who were causing courtroom chaos, freakbeat was finding its sound, and the next generation of rock legends were learning their craft.
The Who – “Substitute” (Reaction)
Few singles capture the spirit of mid-60s British pop like The Who’s “Substitute.”
Released in March 1966, it should have been a straightforward triumph — instead, it became the centre of one of the decade’s great record industry battles.
Earlier that month, Melody Maker reported that The Who had two singles on sale at once: “Substitute” on Polydor’s Reaction label, and “A Legal Matter” on Decca — both vying for attention. Producer Shel Talmy, who had worked on the band’s early hits, was furious. He claimed he still had a valid contract and sought an injunction to block Polydor’s release of “Instant Party”, the B-side of “Substitute.”
Polydor was forced to withdraw and re-release the single — this time with a mysterious new flip side, “Waltz for a Pig.”
Credited to “The Who Orchestra,” it was actually performed by the Graham Bond Organisation, featuring future Cream members Jack Bruce and Ginger Baker.
Despite the turmoil, “Substitute” became a Top 5 hit in the UK and cracked the Top 20 across Europe — proof that The Who’s mix of wit, aggression, and swagger was unstoppable.
Les Fleur de Lys – “Circles” (Immediate)
Meanwhile, Immediate Records — founded by Rolling Stones manager Andrew Loog Oldham — seized the moment by issuing a cover of “Circles” (the original title of “Instant Party”) by Les Fleur de Lys.
Though not a hit at the time, “Circles” is now regarded as a definitive freakbeat anthem — the sound of British pop on the brink of psychedelia.
Drummer Keith Guster later recalled how the band had just returned from a month in German clubs when they cut the track:
“We’d only been back a week when we recorded Circles, with Phil Sawyer playing one of the best guitar solos of 1966. We drove up to London, played our guts out for producer Glyn Johns — and we did think it was special. And I still bloody well do.”
Some claim Jimmy Page played guitar on the session; whoever it was, the playing remains electrifying.
Several members later found fame:
- Pete Sears went on to Rod Stewart’s band and co-founded Jefferson Starship.
- Gordon Haskell joined King Crimson.
- Phil Sawyer replaced Steve Winwood in The Spencer Davis Group.
- Bryn Haworth became a respected figure in Christian rock.
Not bad for a band whose masterpiece never charted.
The Answers – “It’s Just a Fear”
One of March 1966’s most underrated gems came from The Answers.
Their single, driven by raga-like guitar lines and a minimalist, almost psychedelic drone, was far ahead of its time — released six months before Revolver and two months before “Paint It Black.”
While Record Mirror gave it only a passing mention, hindsight reveals “It’s Just a Fear” as one of the earliest examples of British psychedelia, alongside The Yardbirds’ “Shapes of Things.”
Guitarist Tony Hill wrote the song and later joined The Misunderstood, managed by John Peel, before forming the heavy prog outfit High Tide.
Lead singer J. Vincent Edwards went on to appear in Hair and found success as a songwriter and producer.
The Rockin’ Vickers – “It’s Alright”
Another March 1966 single tied to The Who’s orbit came from The Rockin’ Vickers, a Manchester group best remembered for featuring a young Lemmy Kilmister — years before Motörhead.
Produced by Glyn Johns and managed by Shel Talmy, the single was a cover of The Who’s “The Kids Are Alright” — though with noticeable lyric and structure differences.
It’s likely the band had access to an early demo version, possibly supplied by Talmy himself amid his legal feud with The Who.
Lemmy was still on guitar at the time, and the fierce solo break sounds unmistakably like his handiwork.
Record Mirror praised the single:
“Manchester group wailing up a lively storm. A Pete Townshend song. Could do well.”
It didn’t chart — but it remains a vital piece of pre-psychedelic British rock history.
The Spencer Davis Group – “Somebody Help Me”
By spring 1966, the Spencer Davis Group were riding high on the success of “Keep On Running.”
Their follow-up, “Somebody Help Me,” penned by Jackie Edwards and produced by Chris Blackwell, was another slice of soulful, fuzz-driven beat brilliance.
Melody Maker raved:
“A marvellous swinging sound from the Spencer Davis Group… tailor-made for Stevie Winwood’s voice. Expect this to be a giant smash.”
It was. The song became their second consecutive UK Number One, cementing 17-year-old Stevie Winwood as one of Britain’s brightest new stars.
The Others – “Oh Yeah”
Garage rock energy was thriving across the UK, and The Others’ gritty cover of Jimmy Reed’s “Oh Yeah” proved it.
Recorded at Abbey Road, the song captured the fuzz-pedal mania sweeping through Britain after The Rolling Stones’ “(I Can’t Get No) Satisfaction.”
Despite strong TV exposure on Ready Steady Go! and Thank Your Lucky Stars, The Others never broke into the charts.
Shortly after, keyboardist Pete Sears — yes, the same one later in Les Fleur de Lys — moved on, closing another chapter in the tangled web of 1966 British rock.
Them – “Call My Name”
Belfast’s finest, Them, led by Van Morrison, had already stormed the charts with “Baby Please Don’t Go” and “Here Comes the Night.”
But by 1966, their fortunes had cooled. “Call My Name,” written by Tommy Scott, earned glowing press reviews:
“Slow, rather tortuous guitar introduction… a roaring burn-up for lead voice in agitated mood… good ideas and worth a place in the charts.” (Record Mirror)
Despite the praise, it failed to chart — though Morrison’s impassioned vocal hinted at the soul and fire he’d soon channel into his solo career.
Simon Raven – “I Wonder If She Remembers Me”
Every beat group of 1966 had a story, and the Simon Raven Cult’s tale is one of near-miss legend.
Fronted by veteran rocker Buddy Britten and featuring future Deep Purple bassist Nick Simper, the band even recruited Keith Moon — for two days, before he was whisked away by The Who.
Their lone single, “I Wonder If She Remembers Me,” was a sharp slice of mod-garage attitude. But, like so many others of its kind, it failed to chart.
Still, it captures the restless energy of a scene in full flight — one where every club was electric with fuzz boxes, parkas, and possibility.
The Dave Clark Five – “Try Too Hard”
Rounding out the month were the Dave Clark Five, who remained more popular in America than at home by 1966.
Their March single “Try Too Hard” found the group experimenting with a more mature sound.
Record Mirror praised its “thumping great beat,” infectious vocals, and dynamic tempo changes, predicting chart success.
The song reached No.12 in the U.S., but surprisingly failed to chart in Britain — proof that the British Invasion was already evolving beyond its early pioneers.
The Sound of Change
March 1966 was more than just another chapter in pop history — it was a turning point.
From Substitute’s label wars and Les Fleur de Lys’ freakbeat fire to the fuzz-fuelled experiments of The Answers and Simon Raven, British pop was transforming fast.
The Merseybeat innocence of 1963 and 1964 had given way to something edgier, heavier, and unmistakably modern.
The revolution was already underway — and the summer of psychedelia was just around the corner.
