HAPSHASH & THE COLOURED COAT Feat The Human Host... IMPERIAL 1967 US orig+stereo

	£		29
	$		38

U.K.  BUYERS PLEASE IGNORE THE SHIPPING COSTS MARKED ON EBAY BECAUSE WE ARE ITALIAN SELLERS

 SO PLEASE DO NOT PAY IMMEDIATELY AFTER WINNING

BEFORE I SEND CORRECT INVOICE!

  BEFORE BIDDING, PLEASE

CAREFULLY READ BELOW THE CORRECT SHIPPING COST!

 THESE RATES ARE FOR BOXES UP TO 3 KG (1 to 5 LPs).

The shipping cost from Italy to UK and Europe from 1 up to 5 albums

[it is a question of weight, we have to stay under 3kg] is £13 with DHL courier

(NOT for Norway, Russia, Ukraine, Ireland, Switzerland, please ask for prices with registered letter),

 with a sturdy and well conceived box.

The shipping cost  also depends by the exchange euro/pounds. 

Still, starting from the 1st of December the Italian Post increased 

the price for the international & domestic shipment. 

We have done our best to absorb any handling fees in order 

to keep all international shipping rates as low as we can

 PLEASE ASK FOR ANY INFORMATION

The "Human Host" were, effectively, the band "Art" that became "Spooky Tooth"

Two art students/designers, Michael English and Nigel Weymouth, whose striking graphics were seen on many posters 

during the sixties, were the creative talent behind this band along with DJ and manager Guy Stevens. 

Their first album is something of an electric mayhem and freeform freakout which has not stood the test of time well. 

With the record completed, Weymouth and English continued to work as designers, while Stevens was 

by now a producer at Island Records with Art (later to become Spooky Tooth) among his credits. 

Nigel Weymouth retained the name Hapshash And The Coloured Coat for a second, less radical album 

on which he was joined by line-up above and received session assistance from Tony McPhee (of Groundhogs) 

and his early producer, Mike Batt. Mickey Finn, later of Tyrannosaurus Rex, was also a member 

at some point, but the group disintegrated late in 1969. Ken Kesey played bass on their 1969 45

"FEATURING THE HUMAN HOST AND THE HEAVY METAL KIDS"

 Produced by Guy Stevens

1967     LP     IMPERIAL RECORDS   STEREO  LP-12377

PRINTED IN U.S.A.    ORIGINAL PRESSING

THICK CARDBOARD COVER (AMERICAN STYLE)

WITH COMPANY INNER

Barcode and Other Identifiers

Barcode: none

LABEL: IMPERIAL -  BLACK/GREEN LABEL - SILVER TEXT

Catalog on cover: LP-12377

Catalog on labels: LP-12377-A / LP-12377-B

Matrix / Runout (Side A, Etched): LP-12377-1   B?A

Matrix / Runout (Side B, Etched): LP-12377-2

On labels: STEREO

IR IMPERIAL A Product Of Liberty Records

Composer: Stevens-Waymouth-English

Publisher: Metric Music Co. - BMI

rim text reads "A Division Of Liberty Records, Inc., Los Angeles, California"

On spine: ©Liberty Records, Inc. ? Printed in U.S.A. 

On back cover: Public performance clearance-BMI

Producer: Guy Stevens

from my records collection

tracklisting

Side 1: H-O-P-P- WHY?A MIND BLOWN IS A MIND SHOWN

THE NEW MESSIAH COMING 1985 - AOUM

Side 2: EMPIRES OF THE SUN

  grading

RECORD  NEAR EX but (please reas above description)

SLEEVE VG+ but (please, see pictures and read above description)

This album has acquired a bit of status as a minor legend over the moons, and it's not too hard 

on balance to hear why; besides the grandiose spirit-of-1967 group and album name, 

this brief but interesting record has a lot of descendants, though whether that was intentionally 

the case or not is up in the air. The English trio that made up Hapshash & the Coloured Coat 

for its original incarnation was composed of art designers and DJs by trade; this, their sole 

release together, is a classic situation of lightning in a bottle. The emphasis is on blunt but 

entrancing rhythm throughout -- pounding drums and bongos, rolling piano (sometimes practically 

barrelhouse), and chunky guitar parts that are proto-funk as much as steady, straightforward crunch. 

Combine that with vocals that appear then disappear as needed and an air of ragged partying, 

and it's not too off balance to consider this album as a fine equivalent to what the Velvet Underground 

were starting to cook up. Certainly it sounds like the original Amon Düül had this spinning 

when creating their own freak-outs a couple of years later, what with the chanting