Biography
Emerging as a defining presence on the mod circuit alongside the Action, Reg King subsequently shifted toward a singer-songwriter role rooted in the earthy, stripped-down aesthetic that appealed to many musicians once psychedelia faded in the early 1970s. Within the Action, his urgent, imploring delivery anchored performances ranging from the strutting energy of “Land of a Thousand Dances” to the vulnerable balladry of “In My Lonely Room.” Co-written numbers such as “Never Ever” and “Come On, Come with Me” demonstrated how thoroughly the group absorbed lessons from their extensive cover repertoire, while their later psychedelic experiments yielded unreleased demos—eventually issued decades afterward as Rolled Gold—that stand among the decade’s overlooked gems. The 1971 solo album issued under his own name centered on original material and placed him comfortably alongside the organic explorations then being pursued by Traffic. Although his performing years proved brief, the impression left by his voice and compositions endured.
King launched his recording activities in 1963 as a member of the Boys, alongside guitarist Alan “Bam” King and bassist Mike Evans. The teenage ensemble served as backing unit for vocalist Sandra Barry on a 1964 single before issuing their own Pye release “It Isn’t Fair.” Adopting the name the Action, they redirected their set lists toward Motown and soul selections, quickly establishing themselves as a premier live draw and a leading attraction within the expanding mod community. Beatles producer George Martin placed the group under his AIR production banner and secured a Parlophone contract, resulting in five singles cut at Abbey Road between 1966 and 1967 that showcased King’s deepening soul inflections. Despite the evident caliber of those sides, commercial breakthrough remained elusive, leading to their eventual release from both Martin’s company and the label. By then the musicians had begun incorporating psychedelic textures and extended improvisations into their performances, a direction that left King feeling increasingly sidelined. In late 1967 and early 1968 they committed a largely King-composed batch of songs to tape that bridged their taut mod attack with a more reflective psych-pop sensibility; no label expressed interest, and King, dissatisfied with the live repertoire and lack of a deal, exited in mid-1968, retaining the tapes that later surfaced in bootleg form as Brain: The Lost Recordings 1967/1968 and Rolled Gold before receiving official release in 2002.
Maintaining cordial ties with his former colleagues after departing, King enlisted them as backing musicians on a series of 1969 demos. That same year he produced singer Gary Farr’s album Take Something with You, again featuring the Action as accompanists. When United Artists offered him a solo project, he recruited the same musicians—now operating as Mighty Baby—along with guitarist Brian Godding and bassist Brian Belshaw from B.B. Blunder, the offshoot of Blossom Toes. The resulting sessions blended the melodic strengths of King’s Action-era writing with expansive jamming and a relaxed overall feel. Esteem among peers was reflected in the guest roster: Steve Winwood contributed organ to one track, Brian Auger likewise played organ, Doris Troy supplied backing vocals, and Mick Taylor added guitar. Issued by United Artists in 1971, the self-titled album failed to chart. With minimal promotional support from the label, King managed only a handful of live appearances before joining B.B. Blunder.
A head injury ultimately curtailed his musical activities, prompting retirement from the industry. Interest in the Action resurfaced during the 1980s mod revival, aided by Paul Weller of the Jam’s involvement in the 1980 compilation The Ultimate Action. King returned to the stage for a handful of Action reunions beginning in 1998, including a performance at the Isle of Wight Festival, and in 2005 he recorded vocals for two songs on Andy Lewis’s Billion Pound Project album—his final musical undertaking before his death in 2010. His catalog continued to reach new audiences through the comprehensive 2018 reissue Shadows and Reflections: The Complete Recordings 1964-1968, followed in 2023 by a Strawberry Records edition of the solo album together with additional discs of previously scattered rarities.
King launched his recording activities in 1963 as a member of the Boys, alongside guitarist Alan “Bam” King and bassist Mike Evans. The teenage ensemble served as backing unit for vocalist Sandra Barry on a 1964 single before issuing their own Pye release “It Isn’t Fair.” Adopting the name the Action, they redirected their set lists toward Motown and soul selections, quickly establishing themselves as a premier live draw and a leading attraction within the expanding mod community. Beatles producer George Martin placed the group under his AIR production banner and secured a Parlophone contract, resulting in five singles cut at Abbey Road between 1966 and 1967 that showcased King’s deepening soul inflections. Despite the evident caliber of those sides, commercial breakthrough remained elusive, leading to their eventual release from both Martin’s company and the label. By then the musicians had begun incorporating psychedelic textures and extended improvisations into their performances, a direction that left King feeling increasingly sidelined. In late 1967 and early 1968 they committed a largely King-composed batch of songs to tape that bridged their taut mod attack with a more reflective psych-pop sensibility; no label expressed interest, and King, dissatisfied with the live repertoire and lack of a deal, exited in mid-1968, retaining the tapes that later surfaced in bootleg form as Brain: The Lost Recordings 1967/1968 and Rolled Gold before receiving official release in 2002.
Maintaining cordial ties with his former colleagues after departing, King enlisted them as backing musicians on a series of 1969 demos. That same year he produced singer Gary Farr’s album Take Something with You, again featuring the Action as accompanists. When United Artists offered him a solo project, he recruited the same musicians—now operating as Mighty Baby—along with guitarist Brian Godding and bassist Brian Belshaw from B.B. Blunder, the offshoot of Blossom Toes. The resulting sessions blended the melodic strengths of King’s Action-era writing with expansive jamming and a relaxed overall feel. Esteem among peers was reflected in the guest roster: Steve Winwood contributed organ to one track, Brian Auger likewise played organ, Doris Troy supplied backing vocals, and Mick Taylor added guitar. Issued by United Artists in 1971, the self-titled album failed to chart. With minimal promotional support from the label, King managed only a handful of live appearances before joining B.B. Blunder.
A head injury ultimately curtailed his musical activities, prompting retirement from the industry. Interest in the Action resurfaced during the 1980s mod revival, aided by Paul Weller of the Jam’s involvement in the 1980 compilation The Ultimate Action. King returned to the stage for a handful of Action reunions beginning in 1998, including a performance at the Isle of Wight Festival, and in 2005 he recorded vocals for two songs on Andy Lewis’s Billion Pound Project album—his final musical undertaking before his death in 2010. His catalog continued to reach new audiences through the comprehensive 2018 reissue Shadows and Reflections: The Complete Recordings 1964-1968, followed in 2023 by a Strawberry Records edition of the solo album together with additional discs of previously scattered rarities.
Albums
