Hapshash and the Coloured Coat
Western Flier
VG++/VG+
US 1969
Imperial Records - LP-12430
Nigel Waymouth and Michael English had both attended art schools in London, England, and were versed in graphic designs and painting. Both were in the heart of Canterbury and the blossoming psych scene. Nigel and his wife purchased a clothing boutique they called Granny Takes a Trip that had all the wild colorful and outlandish clothing required for swinging London at the time.
He met Michael English at the UFO club and Joe Boyd, a co-owner of the club, asked them if they could make some concert posters for the bands who were coming to play there. They agreed and although it seems they were inspired by LSD trips, they were never on the drug during the silk-screening process.
The posters had strange flowing wild colors and they were presented to the club for bands like Pink Floyd, The Soft Machine, The Move and The Incredible String Band. Other clubs asked to be involved so it was decided to call themselves Hapshash and the Coloured Coat as a business moniker.
Guy Stevens, who produced The Who at the time, wanted them to make a conceptual record, so they went to Pye Studios with a bunch of friends who all wanted to be involved. There were maybe 50 people, including Brain Jones, with flutes and drums and kazoos. Nigel said he recited comic books during all the mayhem hoping for it to sound like poetry. It was all uninspired inspiration, the result of which was complete cacophony. A second album was recorded that was a follow up LP with real songs and musicians.
Musically the first LP included The V.I.P.s. They were a band that was under Guys wing at the time, so he brought them aboard. (They later became Art and then Spooky Tooth) Through them, a beat was provided with lots of yelps and grunts and moans, but the album is noted as an inspiration for conceptual art in music. The second LP is much more musical and blues sounding.
This was the second LP. A US Imperial label original. Nigel was the only one left with completely different players. He wrote some of the songs but wasn't a participant, musically. T.S. McPhee was between works with his Groundhogs and was part of the sessions here on guitar.
Cover has some bubbling on the back side with some noticeable foxing and a couple corner dings. Record has a couple visual marks and minor scratches but they DNAP. Record plays clean throughout with NO unusual noises or ticks. Generic inner sleeve.
I was Ina-Gadda-Da-Records.
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Auctions are listed for 7 days.
All records are Graded to the best of my ability and are rated VINYL FIRST / THEN COVER. For Double LPs Vinyl / Vinyl / Cover.
GRADING DETAILS – Everything I list will be at least VG+ or better, both visually and audibly, unless I state otherwise. 95% of what is offered and up for bid is very clean with maybe 1 or 2 minor flaws. If it’s very rare, it may be offered with obvious visual marks, scratches, warps and might make some low-level noise. But this would be a rare instance. I’ll describe any flaws as best I can. I ASK THAT YOU READ THE FULL DETAILS AS DESCRIBED BY ME ABOUT THE LOOKS AND SOUND OF THE RECORD. Don’t base everything on a simple grading rate M, EX, VG++, etc. I’m not that good at it.
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COVERS - I'm a 72-year-old guy with Strabismus (an eye disorder). I try to visually describe every flaw that I can see, but sometimes I miss a small tear or a tiny seam split.
SHELF WEAR generally means that the cellophane was removed when the LP was new and it sat on a shelf or in a box without a plastic sleeve, before they were available, for several years, so there can be some rub blemishes, sticker residue if it was purchased used, tiny tears, slight seam splits and other defects.
EDGE WEAR usually means the picture wrap around the edge has been worn, sometimes into the cardboard itself. This usually happens on the top or bottom edge.
CORNER WEAR is the same as edge wear but sometimes there will be a dent or ding at the corner. All 4 sides are suspect for this occurrence.
RING WEAR occurs when a record was not stored in a protective sleeve for a very long time. Back in the day, plastic sleeves were not easily available. Most of us as teenagers, ripped off the cellophane and didn’t consider how the record cover was being stored. Most of the record covers laid on the floor or were stored in the closet or on a shelf for easy access. If they sat for a long time, earth movement, that nobody feels, causes vibration and the record sleeves would rub together and wear on the cover picture or illustration causing the ring wear and other flaws.
THE VINYL RECORD ITSELF - I will try to visually grade both sides of the vinyl record. There might be some sleeve rubs or marks on some of these. All of my records were played more than once, unless they are sealed. If I mention ticks and or clicks in the description, that means that you can visually see and sometimes hear the imperfection. Most of these Do Not Affect the Play (DNAP). I try my best to see any flaws but understand I don’t Inspect these LPs with a High Lumens Tactical Light and a Magnifying Glass. If the visual flaws are obvious or severe, I try and describe these as best as I can. If there are a lot of visual scratches, it won’t be listed. The exception is if the LP is very rare. I will list a rare record that looks bad but plays pretty good.
INNER SLEEVES - Most of the inner sleeves are simple paper sleeves and have slight splits, bends and tears on older LPs. If they’re really bad or split in half, I replace them with a newer paper or plastic sleeve. GENERIC means a blank paper sleeve.
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