Western Flier ($5 Blowout Price!)

"ESOTERIC RECORDINGS are pleased to announce a newly remastered edition of the classic Psychedelic album "Western Flier” by HAPSHASH and the COLOURED COAT, Psychedelic graphic designers and darlings of London’s Underground scene Michael English and Nigel Waymouth. Being responsible for a series of legendary posters for artists such as the Jimi Hendrix Experience, Cream, The Crazy World of Arthur Brown, Traffic, Tomorrow, Soft Machine, Pink Floyd, The Who et al, Waymouth and English ventured into music after being persuaded to do so by friend, DJ and manager Guy Stevens. The first Hapshash album, "Featuring Human Host and the Heavy Metal Kids” featured the musicians from the band Art, later to become Spooky Tooth, and appeared on the Liberty’s Minit label in 1967 and was a combination of electronic madness and improvised psychedelic freeform freak-out. By the end of 1968, the diversion from graphic art into music led to the end of the Waymouth / English partnership. Waymouth retained the name Hapshash and the Coloured Coat and signed a contract for a new album with Liberty Records. Entering the studio with Liberty staff producer Mike Batt and session musicians such as Tony McPhee (of the Groundhogs), drummer Andy Renton, guitarist Michael Mayhew, bass player Eddie Tripp and violinist Freddie Ballerini, the album "Western Flier” was the result.

This Esoteric Recordings edition has been remastered from the original master tapes and includes a booklet that restores the original album artwork and a new essay."

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Christian Vander has been opening up the tape vaults releasing some prime (and some not so prime) Magma material. Mekanik Kommandoh is the previously unreleased original version of Mekanik Destruktiw Kommandoh which was rejected by their record label.
    $18.00
  • Its been almost 4 years since the band's phenomenal debut.  Since that time the duo of Mariusz Boniecki and Marcin Kledzik have expanded into a live gigging quartet.  I'm pleased to say that in terms of their music the band has not lost any momentum.  The same influences are still present - you will hear the imprint of Porcupine Tree and King Crimson.  The title of the album is a bit of a giveaway - this is not uplifting music.  It is filled with noir-ish, melancholy atmosphere.  Emotion filled vocals ride on top of Crafty guitarwork.  The technicality is there but you have to listen for it.  Think of a head on collision between In Absentia and Discipline and then take it one step beyond.  Clearly Pinkroom does it again.  BUY OR DIE!
    $13.00
  • New edition of one of the most gorgeous psychedelic folk albums of all time. Comes with detailed liner notes. Fans of Trees and Fairport Convention must own this. Actually everyone must own this.
    $17.00
  • Alphataurus was one of the great one and done Italian prog bands of the 70s. Who can forget that amazing triple fold out cover with the dove dropping bombs?This is a live reunion gig recorded at Bloom in Mazzago Italy during the ProgVention Festval on November 6, 2010. This live recording finds the band in astonishingly superb form. The CD edition is the band's complete performance. In addition to the entire self-titled album the band runs through some unreleased material from back in the day. Sound quality of the recording is completely professional. If you are fan of Alphataurus or Rock Progressivo Italiano in general this is a must own. If you are planning on seeing the band at Farfest it's a great way to become familiar with their material.
    $16.00
  • Legit reissue with 5 bonus tracks from this 1970 monster UK rarity.  Red Dirt were a raw blues based quartet  but their music had progressive and psychedelic overtones.  Rippin' guitarwork through out.  Recommended to fans of Incredible Hog, Human Beast, and Groundhogs."Red Dirt were a blues band formed in East Yorkshire around 1968 comprised of Dave Richardson (vocals), Steve Howden (guitar), Kenny Giles (bass) and Steve Jackson (drums) who built up an impressive live reputation in clubs and venues in the North of England. They were subsequently signed to Morgan Bluetown, When released in 1970, on the Fontana label, their self-titled debut album sunk without trace and legend - or rumour - has it sold something like 100 copies. In the last forty years Red Dirt has become a rare and expensive album with more people having heard about it than actually seen an original copy. Although valued in the 2010 edition of the Record Collector Rare Record Price Guide at E650 copies have sold for over £800 on eBay.But what was the story behind Red Dirt? Amazingly, when Record Collector announced the first vinyl reissue of the album in late 2009 the article was read by an aspiring American journalist Betsy Green who was in touch with original guitarist Steve Howden, now working as a delivery driver in Hollywood. Green interviewed Howden and four decades later we finally found out that the band came together after drummer Steve Jackson approached Howden in a pub in Bridlington in their native East Yorkshire. Howden was keen and Jackson's friends Kenny Giles and Dave Richardson were drafted in on bass guitar and lead vocals. Richardson had worked with future Hull legend Mick Ronson as well as Michael Chapman.The band attracted the interest of Morgan Bluetown who signed them. Red Dirt were put into the studio with producer Geoff Gill. "We recorded the album in Morgan studios London," recalls Howden, "McCartney finished his album in there which was a big buzz for us. They booked us in from midnight onwards, to six in the morning and the album didn't take that long, around twelve hours I think. They managed overdubs for the vocals to get them right but I don't think they ever put them on. It was all very rushed and was only ever released in England" In fact the album was licensed by Morgan to the Fontana label who released Red Dirt in 1970 and it literally vanished without trace.There has been much speculation in recent years as to whether legendary record sleeve designer Barney Bubbles was responsible for the eye-catching sleeve image of a red Indian with 4 bullet holes in his forehead dripping blood. The rear sleeve credits the design to Teenburger, Bubbles Notting Hill based company. As a number of people worked for Teenburger it is impossible to confirm if Bubbles had a hand in the, sleeve design.As for the music, Red Dirt is a lost classic. There is an element of the Doors Morrison Hotel period and a whiff of Captain Beefheart and The Magic Band in the rocking driving blues of tracks like Death Letter and Problems. Song For Pauline on the other hand harks back to the Delta of Robert Johnston comprising of only slide guitar and vocals. Memories and In The Morning were probably considered as songs fit for release as singles as both have a compelling commercial edge and benefit from more extensive arrangements which the band augmented by what sounds like a mellotron and an organ that gives their powerful music more texture and depth.That Red Dirt's natural musical chemistry was honed on the live circuit is demonstrated on the riff and harmonica prowl of Ten Seconds To Go and the driving locomotive engine of Maybe I'm Right. There is also the acid smoke-folk of Summer Madness Laced With Newbald Gold which opens with Richardson groaning and laughing against a dirty guitar riff and the song is then propelled forward by drum pattern straight out of Safe As Milk. "It seems as if the red dirt is blowing into my eyes," sings Richardson on this outstanding track which sadly reflected the critical and commercial indifference that greeted the release of the album. It appears that the band later returned to the studio to record additional material earmarked for a second album that was, according to one press report when the band were supporting Mott The Hoople on a tour in January 1971 "nearing completion and should be available shortly".Sadly, the young Red Dirt dudes never did issue that second LP but this CD features five bonus tracks featuring Ron Hales on guitar who had replaced Steve Howden. So, as well as enjoying their debut you can also get down in the dirt and wrap your ears around From End To End, Yesterday And Today, The Circle Song, I'd Rather Go Back 15 Years and Tolly Cobbold. Thanks to Secret Records you don't have to pay an arm and a leg to do so!by Ian Shirley, Record Collector magazine" - Rockasteria
    $6.00
  • Budget priced 2 disc set includes both albums in a slip case.  Merlin is one of the best albums.
    $15.00
  • Exit one guitarist - enter one female singer resulting in a new avant garde direction. While the first album had a quiet classical side this is far more experimental. One can hear an influence from minimalist composers creeping in."Three years passed before Pierrot Lunaire recorded and released the follow-up to their debut album. They returned as a totally refurbished act, with guitarist Caporaletti out and mezzo-soprano extraordinaire Jacqueline Darby in. "Gudrun" is an album that drifts apart from the realms of bucolic melodic prog with a slight dissonant twist; now, the repertoire is design to defy structure and convention, in order to create a sonic journey led by the volatile ruling hands of surprise, radical experimentation, and free form. The link between all tracks is marked by the clicking of a photographic camera, as if each number of the repertoire was some kind of scenario immortalized by the machine and turned into a permanent reminder. If Pierrot Lunaire's previous album was some a catalogue of reflections about the inner world, now Stalteri, Chiocchio and Darby turn their eyes and look at the world in its splendorous chaos and multicolored facets. The 11-minute long title track kicks off the album with a great deal of synth layers and sequenced ornaments, over which Darby's singing, piano lines, stormy guitar leads, and some other occasional stuff lays its print in a daring amalgam. If you can mentally picture a mixture of Klaus Schulze, drumless RIO and Brecht's operettas, then you may have an idea about what I'm trying to describe here (perhaps not too successfully). In sharp contrast, now comes a subtle piano nocturne titled 'Dietro il Silenzio', which sounds quite Satie-inspired to me: a really beautiful piece where the silent voids are as important as the actual piano sounds. The following number is a two part chanting displayed upon disturbing guitar and synth soundscapes: in the middle, a piano and conga drums revisit Darby's line with an air of simplicity that seems to portray some sort of high-spirited joy. 'Gallia' is a Darby-penned number, mostly a showcase for her well crafted dissonant operatic stuff, while her fellow men once again indulge themselves in a background of random dissonances on electric guitar and synthesizer. 'Giovane Madre' is the most symphonic (or should I say the least anti-symphonic) number. It basically consists of a recurring attractive motif on organ and synth, solidly founded on a 6/8 pattern laid by Chiocchio's bass and guest drummer Massimo Buzzi; somewhere in the middle, a gentle, joyful Renaissance-like motif enters abruptly, creating a weird tension that directly defies its own delicate beauty. Simultaneously, you can hear Darby whispering or laughing in some places. Many times I've found myself listening to this particular track three or four times in a row only to take pleasure in the challenging effect that the structure of this track causes in me as a listener. The weirdness never ends. 'Sonde in Profonditá' starts with the sound of an old radio speech, accompanied by a tenuous, evocative organ theme, with sitar, synth and acoustic guitar providing some additional colours until it all disappears under crashing waves. 'Morellia' begins with a Baroque-inspired piano solo, alternating with a Renaissance-like zither melodic line: then comes Darby, together with the piano, string synth, bass and drums (once again, guest Buzzi makes an appearance), delivering the most moving passage in the album. This same structure is reiterated, until a Cabaret-piano motif accompanies Darby's dramatic laughter. This piece is inscrutable, yet it manages to move the listener's heart in a way that they can't fully understand. Finally, 'Mein Armer Italiener' closes down the album with a successive combination of parody military march, psychedelic rock, pastoral stuff, slogan chanting - all comprised in an ambience of radical dadaist humour that may somehow remind us of Zappa's most theatrical pieces. An excellent but not recommendable prog recording due to its massively cryptic nature: anyway, "Gudrun" deserves to be regarded as a classic of the most experimental side of 70s progressive rock." - ProgArchives
    $15.00
  • Album number 14 from the premier American symphonic rock band.  Steve Babb and Fred Shendel mix up the deck a bit with different cast of characters but the core sound remains intact.  If you are unfamiliar with Glass Hammer what you need to know is that Steve and Fred have assimilated the best elements of 70s US and Euro prog and melded it into something fresh.  Vocalist Jon Davison sounds so much like Jon Anderson that he was actually poached by Yes!  This is lush symphonic rock with killer keys.  Think in terms of Yes, Kansas, ELP, and Gentle Giant and toss 'em in a blender.  That's the Glass Hammer sound.  Lots of interesting guests this time around.  Old GH alumni Walter Moore and Michelle Young make and appearance.  Higher profile guests include Randy Jackson (Zebra - not American Idol!), David Ragsdale (Kansas), and Rob Reed (Magenta).  Another triumph from the good old southern boys of prog.  Highly recommended.
    $12.00
  • Although their international success was only short-lived, Alquin was an eclectic band filled with inspiration.Over the course of six years, they made four critically acclaimed studio albums. Marks (1972) was a promising kick-off to Alquin’s recording career and showed a band searching for a definitive style.As several tapes from the original sessions were unearthed earlier this year, The Marks Sessions contains a fascinating one-hour journey through the making of the album, featuring demo-versions of I Wish I Could, Oriental Journey and Marc's Occasional Showers, among many others.In addition, this 2cd-set features a recording of the concert Alquin performed at the Circustheater in Scheveningen on July 2nd, 1972. This gig represents the band in their first line-up, just before the recording of Marks and already pointing musically of what was to come on its follow-up The Mountain Queen.The recordings have been exclusively remastered from the original master-tapes. In addition, The Marks Sessions contains an informative booklet with the complete Alquin story and rare memorabilia.Track listingCDP-1109  2CD ALQUIN – The Marks Sessions – Expanded EditionCHAPTER 1 – The Marks Sessions1. Oriental Journey 4:45 – demo 12. Oriental Journey 3:28 – demo 23. Soft Royce 9:12 – demo 14. Soft Royce 7:05 – demo 25. I Wish I Could 11:52 – demo 16. I Wish I Could 3:13 – demo 27. You Always Can Change 3:08 – demo 18. You Always Can Change 3:01 – demo 29. Marc's Occasional Showers 8:47 – demo 110. Marc's Occasional Showers 4:04 – demo 211. Catherine’s Wig 2:38 – demo 1Tracks 1 – 11 previously unreleased sessions 1972TOTAL PLAYING TIME: 61:28CHAPTER 2 – Live At The Circustheater1. Overture / The Least You Could Do Is Send Me Some Flowers 9:042. Hard Royce 2:443. Soft Royce 9:484. Marc’s Occasional Showers 9:175. I Wish I Could 10:026. Mr. Barnum Jr.’s Magnificent And Fabulous City 10:05Tracks 1 – 6 previously unreleased live concert 1972TOTAL PLAYING TIME: 51:02
    $20.00
  • One of the great ones finally sees the light of day. Speed Limit was a Zeuhl influenced jazz rock ensemble put together by drummer George Jinda. The initial album was released on the Chant Du Monde label and is quite a rarity. Members of Speed Limit included Jeff "Yochko" Seffer (sax), his Zao co-member Joel Dugrenot (bass), JL Bucchi (electric piano), Gerard Curbillon (guitar), and Shiroc (percussion). The ensemble's music is clearly rooted in jazz with strong rock rhythms. At times the music is a touch free but never gets out of control. Electric-period Miles Davis would be a good comparison but with more of a rock element. The music has a real dark intensity - this isn't airy and light.
    $24.00
  • We've had a hell of a time getting our hands on this album but its finally here and more than worthy of your attention.  In fact this is an album that is going to ride high on many 2014 top 10 album lists.This is the first full length release from this six piece band based out of Bergen, Norway.  The core sound of the band is rooted in classic progressive rock.  Think in terms of the aggressive side of Van Der Graaf Generator and King Crimson.  But there is more at play here.  A strong jazz element is at play as well.  I'm reminded of Jaga Jazzist and perhaps a bit of Frank Zappa and Mr. Bungle.  There is no doubt we are going to hear quite a bit from this band in the future.  BUY OR DIE!"An impressive album of refreshingly unique music that crosses many sub genres, including space-psychedelia, symphonic, heavy prog, avant-jazz and experimental/post metal. Wonderful vocals, very tight interplay among all band members with no one member or instrument really standing above any other--though the presence and performance of the saxophone is highly notable. This is complex music played so tightly. And the astonishing 14- minute epic, "God Left Us for A Black Dressed Woman," must be heard to be believed.1. "Oh My Gravity" (9:49) starts as a jazzy stop-and-start piece that picks up in intensity in the second minute before shifting to a melodic ballad in the vein of the heavier side of FROGG CAFÉ. The male vocalist sounds to me like something between RADIOHEAD's THOM YORKE and TODD RUNDGREN. Around the six minute mark the spiraling, swooning music sounds a lot like some of the louder stuff from MOTORPSYCHO's The Death Defying Unicorn. This feel continues into the seventh minute when organ and horns take turns embellishing the staccato music. The bare-bones, bluesy final 45 seconds is bizarre but so cool! A powerful and surprising opener to this unusual album. Very high marks for compositional prowess and instrumental performance. (9/10)2. "Wind Shears" (6:32) opens in a very psychedelia/spacey 1960s way. Then at the one minute mark it settles into a jazz groove with first sax and then jazzy guitar and Hammond organ filling the lanes over the rhythm section. Clavinet is added for a GentleGiant-like bridge before a polyrhythmic KING CRIMSON "Discipline"-like weave appears to support a brief ghost-like vocal. At 3:20 the sound gets much heavier over the same arpeggiated weave, nearly drowning out the still-soloing sax and organ. This is just like TOBY DRIVER (Kayo Dot/Maudlin of the Well)! At 4:05 things get quiet and sparse again, with the music vacillating from soft and delicate to heavy and abrasive. A very melodic kind of psychedelic big band section plays out for the final minute. Again, bizarre but so cool! (9/10)3. "Eschaton Hero" (8:29) opens with some guitar, keys & sax riffs repeated over latin percussion. At 1:00 everything settles down into another quiet section with a delicate vocal in Stian Økland's upper register. Beautiful chorus/bridge at 1:47 gives way to an unpretentious bass solo before settling back into the delicate vocal music. Same awesome bridge at 2:49 leads into a heavy section into jazzy chaos--all performed over the most simple, calm drum play. At 4:52 it gets even heavier as it plods along for a minute in support of a fuzz guitar solo. Finally the drums start to play--to match the frenzy of the rest of the band--then everything stops so the band can yell "Yay!" Then a variation on the previous frenzy picks back up until 7:05 when everything settles back down into the soft groove of the initial vocal section for a dirty sax solo before letting Stian finish the song out in his high voice. Well conceived and performed, just not my favorite. (7/10)4. "Extraction" (6:34) begins with another odd intro of two or three parts before settling into the vocal support section--which begins heavily before falling into another RADIOHEAD-like bluesy section. At 2:20 a neat Hammond section leads back into the heavy full band section that opened the vocals, then, again, drops off for the beautiful support of a multi-voice- supported section. At 3:45 a very smooth, stripped down electric guitar solos, until there is a full return to explosiveness at 4:20. A bouncy "O Yo Como Va"-like Hammond section at 4:40 gives way to a kind of Latin weave before falling back into the heavier rock weave from the first vocal section to end. (8/10)5. "God Left Us for A Black Dressed Woman" (14:12) opens with another KC "Discipline"-like weave that morphs and flows, polymorphs and grooves for two and a half minutes before decaying into a simplified form for a bluesy ROBERT PLANT-like vocal section. This song's amazing vocal performance could also be compared to some of the finest MATTHEW PARMENTER/DISCIPLINE works. Some incredibly powerful sections in this song--especially the multi-voice vocals in the eleventh minute and the following heavy full-band part. A very DISCIPLINE-like soft section then ensues with a slow build to an awesome crescendo and frizzed finish. The song evolves, shifts, twists and turns and surprises throughout. Again there are several parts that remind me of MOTORPSYCHO's Unicorn. Without question this is one of the best prog "epics" of the year! (10/10)Aside from the above references to Motorpsycho, King Crimson, Radiohead, Toby Driver, Matthew Parmenter/Discipline, the overall impression this album leaves me with is similar to that of DIAGONAL's eponymously titled debut album from 2008. SEVEN IMPALE's City of the Sun is a wonderful collection of masterfully composed, executed and recorded songs.A 4.5 star album that I can't see giving anything less than five in that it is a treasure for the ages!" - Prog Archives
    $14.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $13.00
  • Founded in 1974 and derived from the legendary group Q65, Finch is still regarded as one of the most leading Dutch ‘second generation’ bands. Complex and harmonic orientated long compositions with lots of space for guitar and synthesizers fill up three albums and one seven inch. Their debut album Glory Of The Inner Force was also released in the United States.Especially Finch’ live reputation is often remembered as legendary. ‘Nuff said for the ones who were eyewitnesses. Others can now enjoy Vita Dominica, an album that not only relaunches their Colossus-7”, but also presents three recently unearthed pieces that were recorded by Dutch radio station VPRO. Paradoxical Moods, Pisces and Register Magister capture Finch on stage shortly after the release of their debut, featuring the first definitive line up of Joop van Nimwegen (guitar), Peter Vink (bass), Cleem Determeijer (keyboards) and Beer Klaasse (drums). The recordings were made in December 1975 in De Tagrijn in Hilversum. A demo version of Remembering The Future, recorded in 1977, is included as a bonus track.This 180 gram vinyl LP is housed in a deluxe fold out cover full of rare memorabilia. The recordings have been exclusively remastered from the original mastertapes.Side A1. Paradoxical Moods 11:01 – live2. Pisces 10:27 – liveSide B1. Register Magister 9:28 – live2. Colossus – part I 3:263. Colossus – part II 3:354. Remembering The Future 5:01 – demoTracks A 1 – 2 & B 1 previously unreleased, live at Tagrijn, Hilversum, December 21, 1975Track B 2 - 3 from the 1975 single Colossus NEGRAM NG2024Track B 4 previously unreleased 1977 demoFINCHJOOP VAN NIMWEGEN – Electric Guitar (Gibson Les Paul-Custom, Gibson RS Artist), Electro Harmonix Guitar Synthesizer, Acoustic Guitar (Martin D35)CLEEM DETERMEIJER – Organ (Hammond L100), Mellotron, Grand Piano (Steinway), Electric Piano (Wurlitzer), Synthesizer (ARP Axxe), Solina String-Ensemble, Honky Tonk PianoAD WAMMES – Synthesizer (ARP Axxe), Minimoog, Electric Piano (Wurlitzer), Electric Harpsichord, Organ (Hammond L100), Solina String-Ensemble on Chapter B track 4PETER VINK – Bass Guitar (Rickenbacker 4001 De-Luxe), Pedal Bass (Moog Taurus)HANS BOSBOOM – Drums (Slingerland), Percussion on Chapter B track 4BEER KLAASSE – Drums (Gretsch) 
    $28.00
  • Steve Hillage's early Canterbury gem featuring Dave Stewart on keyboards, Nicholas Greenwood on bass and Eric Peachey on drums. Although it's not as psychedelic as his later work with Gong the album gives Hillage plenty of room to strut his stuff. Later on Greenwood made the great "Cold Cuts' disc with Peachey in tow. Remastered edition featuring two previously unreleased bonus tracks and extensive liner notes.
    $15.00