Header

HAPSHASH AND THE COLOURED COAT

Proto-Prog • United Kingdom


From Progarchives.com, the ultimate progressive rock music website

Hapshash and the Coloured Coat picture
Hapshash and the Coloured Coat biography
HAPSHASH AND THE COLOURED COAT was the third and final name of the British creative partners Michael English and Nigel Waymouth. The two made a name for themselves producing colorful surreal posters in the mid-sixties, primarily for psychedelic and underground bands like PINK FLOYD, SPOOKY TOOTH, SOFT MACHINE, JIMI HENDRIX and many others. In 1967 the pair released an album under the name Hapshash and the Coloured Coat and subtitled 'Featuring the Human Host and the Heavy Metal Kids'. The 'Heavy Metal Kids' were in fact the fledgling group ART, members of which would become the short-lived group SPOOKY TOOTH (Mike Harrison, Greg Ridley, Mike Kellie and Luther Grosvenor). The album is marked by wild psychedelic jams punctuated with unpredictable vocal outbursts, manic piano and rhythms sometimes bordering on both a very early funk sound, and some aspects of world music.

English reportedly became disillusioned with the music scene shortly after the album released and left to resume his art career. Waymouth would go on to release a second and final album under the Hapshash name with GROUNDHOGS guitarist T.S. McPhee and BIG JOE WILLIAMS manager Mike Batt. This album is heavily infused with spoken-word recordings, electronic effects and psychedalia/blues sound enhanced by violin and acoustic bass.

HAPSHASH AND THE COLOURED COAT were a brief but colorful example of proto-psychedelic folk whose discography to be in ProgArchives for their musical innovation.

Hapshash and the Coloured Coat official website

HAPSHASH AND THE COLOURED COAT MP3, Free Download (music stream)


Open extended player in a new pop-up window | Random Playlist (50) | How to submit new MP3s
  • Aoum Featuring the Human Host and the Heavy Metal Kids, 1967

HAPSHASH AND THE COLOURED COAT forum topics / tours, shows & news


HAPSHASH AND THE COLOURED COAT forum topics
No topics found for : "hapshash and the coloured coat"
Create a topic now
HAPSHASH AND THE COLOURED COAT tours, shows & news
No topics found for : "hapshash and the coloured coat"
Post an entries now

HAPSHASH AND THE COLOURED COAT Videos (YouTube and more)


Showing only random 3 | Search and add more videos to HAPSHASH AND THE COLOURED COAT

Buy HAPSHASH AND THE COLOURED COAT Music



More places to buy HAPSHASH AND THE COLOURED COAT music online Buy HAPSHASH AND THE COLOURED COAT & Prog Rock Digital Music online:
  • AmazonMP3: Search for HAPSHASH AND THE COLOURED COAT DRM-Free MP3 Downloads @ AmazonMP3 (USA Only) | AmazonMP3 (UK Only)

HAPSHASH AND THE COLOURED COAT shows & tickets


HAPSHASH AND THE COLOURED COAT has no upcoming shows, according to LAST.FM syndicated events and shows feed

HAPSHASH AND THE COLOURED COAT discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

HAPSHASH AND THE COLOURED COAT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.73 | 9 ratings
Featuring the Human Host and the Heavy Metal Kids
1967
2.93 | 4 ratings
Western Flier
1969

HAPSHASH AND THE COLOURED COAT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

HAPSHASH AND THE COLOURED COAT Videos (DVD, Blu-ray, VHS etc)

HAPSHASH AND THE COLOURED COAT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

HAPSHASH AND THE COLOURED COAT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

HAPSHASH AND THE COLOURED COAT Reviews


Showing last 10 reviews only
 Featuring the Human Host and the Heavy Metal Kids by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1967
2.73 | 9 ratings

BUY
Featuring the Human Host and the Heavy Metal Kids
Hapshash and the Coloured Coat Proto-Prog

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

1 stars Very nice album cover of course

This is without doubt the most bizarre entry in our ever growing database. Hapshad and the Coloured Coat are not in fact a band, but a couple of talented artists/designers called Michael English (sadly no longer with us) and Nigel Waymouth. Their posters and album covers are now collectors items, with examples of the former being displayed in the Victoria and Albert museum in London and the latter including Cream's "Disraeli Gears".

When they turned their attention to recording an album, they brought in Guy Stevens (Procol Harum) and several members of Island records band Art, credited in the album title as the Heavy Metal Kids, but not the later glam band of that name, who would later mutate into Spooky Tooth (listed on this site). The album was released in 1967, hence its proto prog categorisation, during the evolution of the psychedelic era but well before the arrival of prog. The original LP release is now a highly prized rarity, but Repertoire records have re- released the album on CD and LP for the 21st century masses.

Given the background to the album, it should be obvious that we should not come to it expecting a masterpiece of compositional excellent, and such an approach is fully justified. This is too all intents and purposes a collection of 5 improvisations which are not intended to be taken too seriously.

The opening "H-O-P-P-Why?" has an eastern style repeating rhythm with occasional harmonica bursts, lead guitar intrusions and an incessant chanting of the title. It conjures up a picture of a party which has lasted over long, with people sitting around in a semi- conscious state while one long haired freak suddenly finds a last burst of energy and dances around in a mad frenzy. And so it goes on on subsequent tracks for the full 36 minutes or so of the album.

Very much of the 60's then, this is one of those albums to listen to and wonder how it ever saw the light of day. It's not that it is bad, with the performers clearly having so much fun who could deny them their 40 minutes or so on vinyl. This is though one of those projects all us non-musicians have indulged in at some stage, when we found it was so easy to lay down a basic rhythm and lay random instruments on top of it. In fairness, some of the material here is well up to the standard of some of the avant-garde artists who took themselves far more seriously in the 1970's, but whose output was equally devoid of genuine music.

Call me old fashioned, but while this album may be fun and it may pre-date most of the music on this site, it is not by any means part of the foundations on which prog was built.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Featuring the Human Host and the Heavy Metal Kids by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1967
2.73 | 9 ratings

BUY
Featuring the Human Host and the Heavy Metal Kids
Hapshash and the Coloured Coat Proto-Prog

Review by Certif1ed
Special Collaborator Honorary Collaborator

4 stars Spooky

Possibly the earliest use of the term Heavy Metal in reference to rock music, predating Steppenwolf by a good year, this album contains little that resembles Metal music - although it does contain musicians who went on to form Spooky Tooth, one of the earliest Heavy bands, and a notable influence on bands such as Deep Purple, Led Zeppelin, Black Sabbath and Judas Priest - so there is a link.

Musically, the most interesting thing about this album, apart from the name, the so-called band (who were (in)famous poster designers by trade that corrobrated with one of the best heavy underground bands of the time, namely Art) and the Heavy Metal reference is the somewhat naive and enticing vibe they manage to create.

The opening track, H.O.P.P.Why seems to predict the more minimal Kosmiche acts - Can spring to mind immediately, and it's not just because this is a simple jam around one chord, as there are lost of little bits floating around in here above the solid, growly bass.

A Mind Blown is a Mind Shown seems to predict Amon Duul in its many incarnations - it may be a jam, but it's organised chaos with a distincly lysergic overtone or three.

This really builds the picture for the rest of the album - a cosmic freakout session that's actually more cohesive than some of the more meandering Kosmiche releases available, and also has a friendly Englishness all of its own - most of this, presumably, due to the distinctive musicianship of the band Art, who more than keep control of the proceedings.

The New Messiah Coming 1985 features enthusiastic shouts of Higher!!!, as bongos are beaten and various other deep percussion instruments make for a quite heavy freakout session with plenty of banged gongs, chiming xylophones and general chaos threatening to overtake and crumble the whole edifice - but never quite managing it. An enjoyable sonic soundscape, even if it doesn't quite warrant the full 7 minutes.

Aoum was the buzzword of many of the hippy communities getting into transcendental meditation - and it's probably Alan Watts fault, among others. This, again, is not the complete chaos it could have been, and puts me in mind of some Gong moments - while, of course, predating that illustrious band. This is a really fun and sensual track.

To round things off, we have the 16-minute superjam, Empires of the Sun, which begins a bit of a rocker (with gongs and soft chanting, naturally!). A wonderful groove emerges before a minute is even up - but due to the freeform nature of the album, this soon gives way to meandering and general acidic silliness - as you would hope, really. Maybe 16 minutes is pushing it a bit - depends on your state of mind, I guess...

As a stepping stone from the underground scene to truly progressive music, this is an intriguing document that proves that not all hippy music is boring meandering nonsense - this is actually very enjoyable (and silly) meandering nonsense, and all good because of it.

Unlike many of the obscure albums from this time (and some of the less obscure albums in following years), this one really is a true gem - when taken for what it is.

Because of the time of its release and the vital link it provides, I'm going to say that this is an Excellent addition to any Prog Music collection - not quite essential, as it'll hardly have you excercising the intellectual muscles - but it does predate and form the foundation of an entire Teutonic genre of Progressive Rock, and you'd be well advised to follow up a listen of this by checking out Supernatural Fairytales by Art, and Spooky Tooth's first 4 or 5 LPs to see how this all ties into heavy metal music.

Hence 3.5 stars, erring on 4.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Western Flier by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1969
2.93 | 4 ratings

BUY
Western Flier
Hapshash and the Coloured Coat Proto-Prog

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars This is one of the stranger progressive albums to come out of the sixties, and that’s saying something considering there was some awfully weird stuff put out back then. This one isn’t one of those really whacked-out American psych albums like Joe Byrd’s American Metaphysical Circus or Fresh Blueberry Pancake, although there were clearly some psychedelic stimulants involved in the artistic process. Instead, the Brits seem to have trolled through some traditional American folk numbers and either adapted them for the times, or used them as inspiration. The result is something that is not only nearly unclassifiable; it also lacks much of a point of reference in anything of its day or since.

The album was the follow-up to British artists Michael English and Nigel Waymouth’s first attempt at translating their poster and design art to music. By this second album Michael English had abandoned the band though, and Waymouth only played a nominal role. Instead Waymouth recruited a young Mike Batt (the Wombles, Steeleye Span) on piano and accordion, Michael Mayhew on guitar, guitarist Tony McPhee of the Groundhogs, Michael Ramsden (the Silkie) on vocals, drummer Andy Renton (another Wombles alumnus) and session musician Eddie Tripp along with the Heavy Metal Kids and violinist Freddie Ballerini. This eclectic and rather unrelated crew put together nine of the ten tracks that make the album, combined with a strange recorded-voice intro that sounds like some mid- twentieth century southern American politician’s stump speech.

The best description I can think of for the music here is something akin to a blend of Buckwheat Zydeco’s musical style combined with Joe Byrd’s Americana psych and a little dose of Reverend Glasseye & His Wooden Legs’ off-kilter folk showmanship. It’s a real mixed bag.

The traditional folk tune “Colinda” is the most accessible track on the album, if you can imagine that tune sung as a Cajun love song. The Woody Guthrie standard “Riding In My Car” (titled “Car..Car” here) is recognizable but has a piano line that sounds like one of those nineteenth-century player- pianos and a tinny vocal track from someone trying really hard to sound like a bijou hayseed. The spoon & washboard percussion combined with ball-horns completes the strange arrangement. It’s inconceivable that this rendition of Guthrie’s classic was meant to be taken seriously.

The other ‘cover’ (so-to-speak) is “Fare Thee Well”, a fleshed-out and psyched-up version of an old American Negro spiritual that is set to a decent blues guitar riff and stark piano. Even this one dips into psych territory on the instrumental passages, with some feedback and vocal echoing to make it sound both creepy and more intense.

The rest of the tracks were apparently written by Waymouth with some help from Mayhew and Batt, and they vacillate between more Cajun-sounding music, blues and psych. None of them really stands out much.

I really have no idea how to assess this album. It has no parallels except for some other irreverent acts of that period (Joe Byrd) and now (Reverend Glasseye), but both of them are American. I’m not sure what Waymouth was trying to accomplish here, but the album faded almost immediately when it was released in 1969 and can only be found today as Repertoire’s CD or Imperial’s vinyl reissue. I’m going to go with three stars simply because this thing is like watching a train wreck – you know it’s no good but you can’t turn away. I’ve found myself playing this CD numerous times over the past couple of months and that’s more than I can say for a lot of my collection, so it deserves at least that much acknowledgement.

peace

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Featuring the Human Host and the Heavy Metal Kids by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1967
2.73 | 9 ratings

BUY
Featuring the Human Host and the Heavy Metal Kids
Hapshash and the Coloured Coat Proto-Prog

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars If nothing else one can at least get a sense of how far music has progressed in the forty years since a couple of psychedelically-bent poster artists decided to pretend they could play music and put together this weird thing. Needless to say this isn’t what you’d consider very high-brow music, but at least the ‘high’ part applies. Fortunately the studio backing band (referred to on the album as “The Heavy Metal Kids”) were a fledging band of journeymen who for the most part were the same guys who would end up becoming the more legitimate rock band known as Spooky Tooth. One of them (Luther Grosvenor) would also end up for a time in Mott the Hoople while Greg Ridley would land a gig with Humble Pie. One of the fun things about proto-prog bands is playing the ‘Six Degrees’ game with the various musicians. The connections are just remarkable sometimes.

As for the music here, like I said it’s not exactly memorable stuff, but that doesn’t mean this isn’t kind of a fun album in a novelty kind of way. Neither Michael English nor Nigel Waymouth had a musical background before they decided to undertake this project, and as far as I know neither of them did much musically after Hapshash. This is basically a forty-minute freak-out of the psych variety that is supposedly vaguely centered on a concept of an acid-trip operetta. That’s not what it ended up sounding like, but the players clearly had some fun in the process regardless.

Most of the rhythms are repetitive and fairly basic, particularly on the opening track and the way-too- long and rather catatonic “Empire of the Sun”. “Aoum” on the other hand is a weird Spock’s Beard’s “June”-meets-Gregorian chanting a capella only with some wraith-like female chanting in the background. Totally self-amusing indulgence, and completely sixties. I’m not panning it, but you should know what you’re getting in to if you pick this one up.

The Nostradamus-like prophecy in “The New Messiah Coming 1985” clearly missed the mark, unless it turns out Corey Hart was the messiah. More ad nausea chanting and tribal-like rhythms on this one too, by the way.

Probably the most creative and interesting track here is the two-minute “A Mind Blown is a Mind Shown”, a brief bongo-driven ditty that gets points more for a cool title than anything else.

So this isn’t a classic for sure, and not even particularly good. But if you’re reading this review and got this far then it’s safe to assume you’re the kind of person who’s a bit of a musical anthropologist, and if so then you may actually find this record mildly interesting. I’ve also had the privilege of hearing the second and final recording under the ‘Hapshash’ name and it isn’t as amusing as this one, so if you have to pick go with this one. Just don’t expect to be blown away – take it for what it is and you’ll have some fun. Three stars, although only recommended if you get off on old bands whose biography has outlived their music.

peace

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Western Flier by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1969
2.93 | 4 ratings

BUY
Western Flier
Hapshash and the Coloured Coat Proto-Prog

Review by Sean Trane
Special Collaborator Prog Folk

3 stars Two years after their freak out album, Waymouth reformed H&TCC, with only him as an original member, but he got the help of The Groundhog's Tony McPhee. Filled with a brand new line-up, it appears that Waymouth wouldn't have even played on this album, even if he wrote all but one of the original songs and arranged two of the three covers.

The album sounds nothing like its predecessor, more than doubling the tracks, with some mega weird Budreaux phone dialogue, than some whacked-out Acadian/Cajun country folk (Callinda), some weird blues (Chicken Run) mixed with strange choirs from the RnR Women and wild percussion works from the Heavy Metal Kids (I imagine not the future Glam rock group), some pure RnR (Big Po Peep) with a country-esque violin, Car Car and Milk Shake Knock are pure country music. The Wall returns with some interesting female celestial choirs, and its high-flying vocals make it the album's highlight, coupled with You And Ophelia. But the closing 9-mins blues Fare You Well is overstaying its welcome by well over its half distance.

Personally this writer's hate for country music (and its successor country rock) is too strong to give any credits to artists that regularly plunge into progressive forms of their crafts, but this album's flipside helps forgetting the catastrophic side A with the last two second last tracks, showing that the Hapshash had some kind of possibilities.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Featuring the Human Host and the Heavy Metal Kids by HAPSHASH AND THE COLOURED COAT album cover Studio Album, 1967
2.73 | 9 ratings

BUY
Featuring the Human Host and the Heavy Metal Kids
Hapshash and the Coloured Coat Proto-Prog

Review by Sean Trane
Special Collaborator Prog Folk

3 stars Strange team that managed to release this very whacked out debut album that was quite ahead of its time, musically speaking. This group was a trio, and by hearing the album and its out-of-this-world psych, you'd guess they'd be at least a quintet. These guys were first and foremost counterculture multi-talented artistes, creating clothes and poster and album artworks in the heydays of the counter culture. Of the three "musicians", only one had any prior experience before recording this record, Guy Stevens, an Island record producer; the other two being just shop owners, returning to their shop activities after this freak out. Self-produced (by Guy Stevens) and "self-artworked" (meaning the decorated their sleeves themselves), this album is one of the stranger psychedelic albums of the British Isles, and given the un-experience of two of its members, this album is worthy of inclusion for that fact alone.

If you can picture Captain Beefheart's long musical delirium and add some of Can's lengthy groovy lunacy, you got a good idea of what this band's like. There is an acoustic side to the band that may induce into thinking of folk, but I tend to think of blues or even slightly country music (Dylan had released his John Wesley Harding album). The idea was to create an LSD trip opera (well it was certainly not higher culture results) including female orgasmic jolts on the 16-mins Empire Of The Sun.

Some claim the album has not aged well, as it seems like it was only hippy-dippy mumbo-jumbo, but inn regards with future albums to come this album has some prophetic qualities, announcing Can. While not exactly essential, this is the type of album that was extremely constructive to the scene, even if most music critics discarded it as junk, back then as they still do nowadays. I beg to differ, but it still won't make this album essential.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Thanks to ClemofNazareth for the artist addition.

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | GeoIP Services by MaxMind | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 1.22 seconds