Despite a relatively limited output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain.
Receiving positive support for these innovations, and anxious to perform his own material exclusively, Noy split from the group in 1968 to pursue his own musical direction based more extensively on the emerging underground sound of the day (characterized by bands like Cream, Pink Floyd, and Jethro Tull).
[3][4] The much longer track-lengths provided the band the opportunity to expand their more improvisational sound and to develop complex progressive themes in a wild and manic manner often favorably compared to Comus' First Utterance[2] Sales of Mice and Rats in the Loft were again tepid and the recording costs advanced by Transatlantic meant that savings had to be made in advertising and the album received little press.
Jan Dukes de Grey carried on performing local shows for the next several years, briefly adding former Buster Summers keyboard- and saxophone-player Eddy Spence in late 1970.
This new incarnation of Jan Dukes de Grey would consist primarily of Noy, with Dellar, McElroy, and the newly added keyboardist Peter Lemer providing backup.
The Jan Dukes de Grey sound diverged from Buster Summers considerably, however, beginning with the influences of Cream, Pink Floyd, and Jethro Tull.
Later in the lifespan of Jan Dukes de Grey, a heavier and more progressive sound was adopted such that Strange Terrain was described as demonstrating influence from Arthur Brown, David Bowie, and mid-70s Pink Floyd.