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CD
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MINOR 275CD
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Two-fer of the only 2 albums by this IK based group. Features: Featuring The Human Host And The Heavy Metal Kids (1967) & Western Flier (1969). Human Host was their classic first album freak out from the UK, originally released in 1967. Not far from the disassociational ecstasy being created in NYC by the Godz, this is perfectly tranced lysergic blather, and an underrated document of its time. "A band like this, incorporating flower power, love and peace, acid and psychedelic rock lifestyle, tainted with freak out, drop out, hippy and underground trends, could not have existed in any other era than the late '60ss ('67/68). Before that time, this phenomenon was labeled amateurism or hype and dismissed as musical nonsense. The first extremely freaky LP the group launched was an LSD trip opera." Western Flier, was the 2nd album from 1969. The talents of Groundhogs guitarist T.S. McPhee and songwriter Mike Batt can be heard on this 'strange' LP, the second and final release from Hapshash. The ultra rare 'Colinda' single is included amongst the 10 featured tracks. Contrary to the first album, which mainly consisted of free music, lyric poetry, Gregorian chants and Andalusian/oriental folk music, Western Flier was a crazy, high-spirited collection of old, well known folk-rock and blues material, spiced with all such currently used, individually distorted studio effects such as fuzz, feedback, phasing, etc."
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CD
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MINOR 271CD
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Reissue of this controversial conept album from 1969. "There are some albums out there that completely defy genre categorization. But every once in a blue moon, an album comes along that manages to completely defy all rational explanation. This would be one of those albums. Spooky Tooth was one of the heavier hard rock acts of its day, driven by Gary Wright (later of 'Dream Weaver' fame) and Mike Harrison's dual, bluesy wails set against Luther Grosvenor's searing guitar leads. One day, they were approached in the studio by avant-garde composer Pierre Henry for what they thought would be session work, involving a concept album setting the text of the Catholic liturgy to music. Their record label, however, decided to market this as Spooky Three. And thus endeth the ballgame. What music lies behind an album cover that would have made Barry Godber proud? Well, imagine Jesus Christ Superstar, with its performers straining to hold together ill-fitting text with music. Now, mix over this foundation, with complete disregard, something like Frank Zappa's 'The Chrome Plated Megaphone of Destiny' and you have yourself a fair approximation. Like Ed Wood or The Shaggs, Ceremony is a failure, but one of those spectacular failures that continues to compel by virtue of its sincerity and sheer incongruity."
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