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Wednesday, June 22, 2022

Thunderduk - Selftitled (Good Hardrock US 1974)



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Bit rate: 256
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A highly uncommercial Cleveland, Ohio rock group. Their recordings are rather hit and miss affairs. All nine cuts on the Rockadelic album are originals. The finer moments include the driving guitar on opener Why Don't You Love Me?, the fine jamming guitar work on Time And Again and, by contrast, the mellow slow-paced Something To Look At with its dominant percussion work. 

The recordings on the Rockadelic album span the 1972 - 74 period when their desire to play original music and their on stage antics made them one of the top draws on the Cleveland Club scene. Bob Turchek was later replaced on drums by ex-Catscradle drummer Rick Fischer. Most of the material on the Rockadelic album was played by the band on two Agency Studio live broadcasts carried by local station WNCR.


Band photos and raw opening track may tempt one to file this among the typical Rockadelic teenage basement hardrock blowouts, but in actuality this is a local prog/jazzrock affair that's a bit left field both for the label and my hi-fi. The uptempo, energetic excursions suffer from so-so songwriting and a dry, clinical soundscape that cries out for keyboards, fuzz and feedback, and jars with the distorted vocals. Liner notes claim they were a big draw live but it doesn't really sound like it, and there's an odd atonal and out of synch feel to the recording as a whole -- but maybe that's right for the genre. Couple of OK tracks, but too little guitar, and neither psych, folk nor hardrock; may appeal to fans of the UK hard prog scene. 1972-1974 recordings.

01 - Why Don´t You Love Me
02 - Mountain By The Moon
03 - Something to Look At
04 - Time And Again
05 - The Collector
06 - Keep On Comin´
07 - Number One
08 - Once Again Darkness
09 - Jake 26 

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Howling Black Soul - Selftitled (Old School Hardrock UK 2014) Sounds like a band from the early 70's



Size: 81.6 MB
Bit rate: 320
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Ripped by: ChrisGoesRock
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"Howling Black Soul are a powerhouse trio like they used to do. Free meets Black Sabbath with a 1972 valve amp thrown in for good measure.....turn this up loud." The band - described as "Free meets Black Sabbath with a 1972 valve amp thrown in for good measure" - have a sound steeped in blues with a retro groove of the late 1960s and early 1970s.


Support will come from teen brothers Ben and Toby Jordan who go by the name Bavard, described as "the youngest song-slingers in town" by their hosts, Howling Black Soul.

Bavard will be playing an electric set, helped by 13-year-old Herbie Buckley-Robinson on full drum kit. On this weeks show I was joined by Essex band `Howling Black Soul` the 3 peice, consisting of Dario on vocals and lead guitar, Simon W on Bass, and Simon C on Drums.


We established that the their music genre was  `Blues Rock`.  this is the band description in their own words;

“Howling Black Soul” Initially sprang from a shared obsession for bands such as `Led Zepplin, `Free`,`Cream, `Jimi Hendrix, and other late 6o`s/early 70`s dirt and the dark art of blues specialists!! Their sound is steeped in blues; however, they have developed a modern spin on the classic genre and build on contemporary influences such as; kasabian`White Strpes`, `The Black keys` ect to create a unique Rock experience…………..

01. Soul to lay 03:24
02. Full of Desire 03:54
03. Myself 03:16
04. Darlin' You 04:45
05. See the Light 03:13
06. Shoot You Down 04:02
07. Brand New Soul 03:26
08. Another Dawn 02:52
09. Roll Out Your Head 04:19

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Thursday, June 02, 2022

Grateful Dead - Selftitled (1st Classic Album US 1967 and a Lot of Bonus Tracks)



Size: 366 MB
Bitrate: 320
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Source: Japan SHM-CD Remaster

The Grateful Dead is the debut album of the Grateful Dead. It was recorded by Warner Bros. Records, and was released in March 1967. According to bassist Phil Lesh in his autobiography Searching for the Sound: My Life with the Grateful Dead, the album was released as San Francisco's Grateful Dead.


The album was recorded primarily at Studio A in Los Angeles in only four days. The band had wanted to record the album in their hometown of San Francisco, but no good recording studios existed in the area at the time. The group picked David Hassinger to produce because he had worked as an engineer on the Rolling Stones' "(I Can't Get No) Satisfaction" and Jefferson Airplane's Surrealistic Pillow album (on the latter of which Jerry Garcia had guested as well having suggested the album's title). Demands by Warner Bros. resulted in four of the tracks, originally longer, being cut short. Phil Lesh comments in his autobiography that "to my ear, the only track that sounds at all like we did at the time is Viola Lee Blues. ... None of us had any experience with performing for recording ... although the whole process felt a bit rushed."

The album was seen as "a big deal in San Francisco." Even though this was true, it did not see much air play on AM radio stations outside San Francisco. It would be a couple of months before free-form FM radio stations began to take shape.[4] Warner Bros. threw the band a release party at the Fugazi Hall in North Beach. Joe Smith is noted for saying he is "proud that Warner Bros. is introducing the Grateful Dead to the world."

A remastered version with the full versions of five album tracks, plus six bonus tracks, was released by Rhino in as part of the box set The Golden Road (1965-1973) in 2001, and as a separate album in 2003.
The song "Alice D. Millionaire" was inspired by an autumn 1966 newspaper headline "LSD Millionaire", about the Dead's benefactor and sound engineer Owsley Stanley.

In the original design for the album cover, the cryptic writing at the top read, "In the land of the dark, the ship of the sun is driven by the Grateful Dead", with the phrase "Grateful Dead" in large letters. At the band's request, the writing, except for "Grateful Dead", was changed by artist Stanley Mouse to be unreadable. According to fan legend, the saying is from Egyptian Book of the Dead.


The band used the collected pseudonym McGannahan Skjellyfetti for their group-written originals and arrangements. The name derived from a corruption of a character name in the Kenneth Patchen work The Memoirs of a Shy Pornographer.

The entire LP was remixed in the early 1970s by the Grateful Dead themselves—the original mix is found on LPs bearing the Gold (1967 stereo/mono) Warner Brothers label or W7/WB dark green Warner Brothers label (1968-1971). The remix (palm trees Burbank label) differs significantly from the original 1967 release.


The album was reissued for Record Store Day 2011 on 180g vinyl cut from the original analog/mono masters from 1967. This is the first time in 40+ years it has been released in this form.

The 2013 high definition digital remastered release features the edited versions, as released in 1967, of the four tracks which were extended in the 2003 Rhino release.

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The Grateful Dead's eponymously titled debut long-player was issued in mid-March of 1967. This gave rise to one immediate impediment -- the difficulty in attempting to encapsulate/recreate the Dead's often improvised musical magic onto a single LP. Unfortunately, the sterile environs of the recording studio disregards the subtle and often not-so-subtle ebbs and zeniths that are so evident within a live experience. So, while this studio recording ultimately fails in accurately exhibiting The Grateful Dead's tremendous range, it's a valiant attempt to corral the group's hydra-headed psychedelic jug-band music on vinyl. Under the technical direction of Dave Hassinger -- who had produced the Rolling Stones as well as the Jefferson Airplane -- the Dead recorded the album in Los Angeles during a Ritalin-fuelled "long weekend" in early 1967. 

Rather than prepare all new material for the recording sessions, a vast majority of the disc is comprised of titles that the band had worked into their concurrent performance repertoire. This accounts for the unusually high ratio (seven:two) of folk and blues standards to original compositions. The entire group took credit for the slightly saccharine "Golden Road (To Unlimited Devotion)," while Jerry Garcia (guitar/vocals) is credited for the noir garage-flavored raver "Cream Puff War." Interestingly, both tracks were featured as the respective A- and B-sides of the only 45 rpm single derived from this album. The curious aggregate of cover tunes featured on the Dead's initial outing also demonstrates the band's wide-ranging musical roots and influences. 

These include Pigpen's greasy harp-fuelled take on Sonny Boy Williamson's "Good Morning Little School Girl" and the minstrel one-man-band folk of Jessie "the Lone Cat" Fuller's "Beat It On Down the Line." The apocalyptic Cold War folk anthem "Morning Dew" (aka "[Walk Me Out in The] Morning Dew") is likewise given a full-bodied electric workout as is the obscure jug-band stomper "Viola Lee Blues." 

Fittingly, the Dead would continue to play well over half of these tracks in concert for the next 27 years. [Due to the time limitations inherent within the medium, the original release included severely edited performances of "Good Morning Little School Girl," "Sitting on Top of the World," "Cream Puff War," "Morning Dew," and "New, New Minglewood Blues." These tracks were restored in 2001, when the Dead's Warner Brothers catalog was reassessed for the Golden Road (1965-1973) box set.] [Wikipedia + AMG]
 
Personnel
♫♪♪♫♪ Jerry Garcia – lead guitar, vocals, arrangement
♫♪♪♫♪ Bill Kreutzmann – drums
♫♪♪♫♪ Phil Lesh – bass guitar, vocals
♫♪♪♫♪ Ron "Pigpen" McKernan – keyboards, harmonica, vocals
♫♪♪♫♪ Bob Weir – guitar, vocals

01. "The Golden Road (To Unlimited Devotion)" (Grateful Dead) – 02:12
02. "Beat It on Down the Line" (Jesse Fuller) – 2:33
03. "Good Morning Little School Girl" (Sonny Boy Williamson) – 05:50
04. "Cold Rain and Snow" (Obray Ramsey) – 02:31
05. "Sitting on Top of the World" (Lonnie Chatmon and Walter Vinson) – 02:08
06. "Cream Puff War" (Jerry Garcia) – 02:31
07. "Morning Dew" (Bonnie Dobson and Tim Rose) – 05:09
08. "New, New Minglewood Blues" (Noah Lewis) – 02:37
09. "Viola Lee Blues" (Lewis) – 10:17

Bonus tracks: Live July 29, 1966
10. Standing on the Corner (Live at P.N.E. Garden Auditorium)  03:22
11. I Know You Rider (Live at P.N.E. Garden Auditorium)  03:14
12. Next Time You See Me (Live at P.N.E. Garden Auditorium)  03:36
13. Sittin' on Top of the World (Live at P.N.E. Garden Auditorium) 03:46
14. You Don't Have to Ask (Live at P.N.E. Garden Auditorium)  05:14
15. Big Boss Man (Live at P.N.E. Garden Auditorium)  04:15
16. Stealin' (Live at P.N.E. Garden Auditorium)  03.37
17. Cardboard Cowboy (Live at P.N.E. Garden Auditorium)  02:56
18. It's All over Now, Baby Blue (Live at P.N.E. Garden Auditorium)  05:22
19. Cream Puff War (Live at P.N.E. Garden Auditorium)  07:52
20. Viola Lee Blues (Live at P.N.E. Garden Auditorium) 10:02
21. Beat It on down the Line (Live at P.N.E. Garden Auditorium)  02:46
22. Good Mornin' Little Schoolgirl (Live at P.N.E. Garden Auditorium)  05:47

July 30, 1966
23. Cold Rain and Snow (Live at P.N.E. Garden Auditorium)  03:14
24. One Kind Favor (Live at P.N.E. Garden Auditorium)  04:23
25. Hey Little One (Live at P.N.E. Garden Auditorium)  05:39
26. New, New Minglewood Blues (Live at P.N.E. Garden Auditorium)  03:22

Extra Bonus
27. "Alice D. Millionaire" (Grateful Dead) – 2:22
28. "Overseas Stomp (The Lindy)" (Jab Jones and Will Shade) – 2:24
29. "Tastebud" (Ron McKernan) – 4:18
30. "Death Don't Have No Mercy" (Reverend Gary Davis) – 5:20
31. "Viola Lee Blues" (edited version) (Lewis) – 3:00
32. "Viola Lee Blues" (live at Dance Hall, Rio Nido, CA 9/3/67) (Lewis) – 23:13

• The Japan CD reissue contains the full-length versions of "Good Morning Little Schoolgirl", "Sitting on Top of the World", "Cream Puff War", "Morning Dew", and "New, New Minglewood Blues"

• Tracks 27-30 recorded at RCA Victor Studio A, Hollywood, CA on February 2, 1967
• Track 31 is an edited version of track 09.
• Track 32 recorded live at Dance Hall, Rio Nido, CA on September 3, 1967; the master analog reels of "Viola Lee Blues" are said to exclude the beginning of the song.

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Thursday, May 12, 2022

Sly & The Family Stone - The Woodstock Experience (US 1969)



Size: 102 MB
Bit-rate: 256
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Source: Japan 24-Bit Remaster

In late 1968, Sly and the Family Stone released the single "Everyday People", which became the band's first number-one hit. "Everyday People" was a protest against prejudices of all kinds, and popularized the catchphrase "different strokes for different folks." With its b-side "Sing a Simple Song", it served as the lead single for the band's fourth album, Stand!, which was released on May 3, 1969. The Stand! album eventually sold more than three million copies; its title track peaked at number 22 in the U.S. Stand! is considered one of the artistic high points of the band's career; it contained the above three tracks as well as the songs "I Want to Take You Higher", which also appeared on the b-side of the "Stand!" single, "Don't Call Me Nigger, Whitey", "Sex Machine", and "You Can Make It If You Try".


The success of Stand! secured Sly and the Family Stone a performance slot at the landmark Woodstock Music and Art Festival. The band performed their set during the early-morning hours of August 17, 1969; their performance was said to be one of the best shows of the festival. A new non-album single, "Hot Fun in the Summertime", was released the same month and went to number two on the U.S. pop charts (peaking in October, after the summer of 1969 had already ended). In 1970, following the release of the Woodstock documentary, the single of "Stand!" and "I Want to Take You Higher" was reissued with the latter song now the a-side; it reached the Top 40. 


Sony/BMG's Legacy imprint decided to commemorate the 40th anniversary of Woodstock by issuing a slew of double-disc deluxe packages by catalog artists who played the festival. Each slipcase contains the featured artist's entire performance at Woodstock and, as a bonus, an LP sleeve reproduction of a classic album issued near the time the festival occurred, as well as fine, individually designed 16" X 24" double-sided posters. Sly & the Family Stone were riding the chart success of Stand!, their fifth album in three years(!), that had been released the previous May for Epic when they played the Woodstock Festival. Going on at 3:30 in the morning of Sunday, August 17, 1969, they brought their West Coast meld of soul, R&B, gospel, positive vibes, and the newly emerging funk to the tired masses and turned them into a stomping, screaming, joyous, army of believers. Hearing this set reconstructed in its original context is a gift. 

The band came storming out of the gate with "M'Lady," and didn't stop for 50 minutes. The music that had previously been heard on the Woodstock albums -- "Dance to the Music," as well as the medley of "Music Lover/"Higher," and "I Want to Take You Higher" -- actually took place in the middle of the band's concert. Before and after are six other performances that have never been issued before. The gig was comprised mainly of tracks from the then-current album: the title track, "Everyday People," "Sing a Simple Song," "I Want to Take You Higher," and "You Can Make It If You Try." 

"Love City," a little known jam from the M'Lady LP is also here. "Stand" closes the album on a somewhat mellower groove than they'd started with at its 100-miles-an-hour pace, but it's presented with the ease and flawless execution of a group of master show men and women who can take a crowd to the outer edges of excitement and bring them back seamlessly. The funk groove at the end of the track assures concertgoers that what they'd just heard was real. Sonically, it fares a little better than some of the volumes in this bunch: Eddie Kramer did a fantastic job of mixing. This is a surprise and one of the best titles in the series hands down.

Growing up in a bastion of white Protestant wealth, opportunities to hear really good funk or soul music were severely limited. The radio stations in the 1970s were either awash with disco, pseudo-intellectual rock, or vacuous pop music. Everybody was either listening to that stuff, or just as bad, strutting white boys trying to make as much noise as possible while still calling it music. So it wasn't until one fateful night in a second run movie theatre which showed a battered print of Woodstock on alternating nights with The Rocky Horror Picture Show that I received my first real dose of funk.

Okay reading that back I know it sounds bad, but I can't think of any other way of describing what happened when Sly & The Family Stone invaded the movie screen that night. By the time they show up on screen in the movie you've already been sitting for a couple hours and for any number of reasons you've descended into a bit of a stupor. In those days you didn't even have to bring your own dope to get high at the movies as sooner or later one of the clouds drifting through the theatre would land on you head and you'd be gone. Then all of a sudden the screen explodes in a burst of sound and colour as Sly and company burst onto stage bedecked in a bedazzling array of colours and material.

After a few moments of preening the bass starts churning, horns start blaring, and the guitar and keyboard are pounding out a rhythm that wakes up your blood – and that's only the intro. That first time watching "The Family" was a blur of horns and vocal pyrotechnics as Sly reached out and grabbed those hundreds of thousands of people in the dark beyond the stage by the throat and shook them awake (They went on stage at three in the morning). On the original soundtrack and in the movie all you get is a taste of what they performed that early Sun

day morning, and even just the medley of "Music Lover/Higher" was enough to rouse even the most stoned of us sitting in that run down theatre. Now that I've heard their entire set as part of the Legacy Recordings' release Sly And The Family Stone: The Woodstock Experience, I'm trying to imagine what it must have like for those in the audience at Woodstock to have that thrust in front of their eyes at 3:00 am.

As well as the disc containing the live recording of their set at Woodstock, also included in this package is a reissued version of the studio recording the band had released earlier that year, Stand!. Like all of their music, it contained a mixture of high stepping funk music that would knock your socks off and political messages like the song "Don't Call Me Nigger Whitey". While they didn't play that particular track at the Woodstock festival, the majority of their set was drawn from that album, including their hit "Everyday People", as well as "Stand", "Sing A Simple Song", "You Can Make It If You Try", and "I Want To Take You Higher".


It was that last song that had made such an impression on me during the movie, but now I was just listening to their performance without the visual stimulation, or any other kind for that matter, of seeing the band. So I was a little concerned that the music on the disc wouldn't stand up well in comparison to my memories of that first time watching them on screen. Well I needn't have worried because the live CD is a great experience. The sound quality is wonderful as you're able to hear everything from the great harmonies on "Everyday People" to the power of the horns on "Dance To The Music".

In fact upon comparing the live recording with the studio versions of the same songs I found the latter to be less impressive. Oh sure the sound quality is better in the studio, but this band seems to big for a studio, and it felt like they were held in check. It was like the difference between seeing a horse trotting around in a paddock and watching it gallop full speed across a range towards the horizon. In part that's because of the way Sly And The Family Stone include the audiences in their shows, as you can hear on the call and response sing alongs that they instigate during the "Music Lover/Higher" medley, but mainly it's because when they hit their stride they generate enough energy to power a small city.

It's true that on the studio album one is more aware of the social/political nature of their material because you're able to focus on their lyrics a little easier. On the other hand Sly does make sure to literally spell out part of the band's message during the live show by enticing the audience to spell out a four letter word. As they had participated in the "Fish Cheer" led by Joe McDonald of Country Joe And The Fish earlier in the weekend, you can be forgiven for not guessing that the word he had in mind was Love. However in the church of Sly And The Family Stone, peace, love and harmony were the message.

Aside from the two discs that are part of the Sly And The Family Stone: The Woodstock Experience package, there's also a poster of Sly from the concert included. The photo captures him from the chest up and shows the beginnings of his arms reaching for the sky with the fringes of his jacket spreading like feathers from the sleeves. His mouth is open in what appears to be an ecstatic shout of exultation and all in all he seems to be about to take flight. That picture captures something of the energy you feel from the music performed on the live disc and gives you some small indication of how the band must have looked to their audience that early morning in August.

It's not often that a live recording is able to recreate the energy of a concert. However, in this instance, you really feel like you're carried back forty years to when Sly And The Family Stone took the stage at Woodstock. It's an experience not to be missed. 

Personnel
Sly Stone – vocals, Keyboards
Freddie Stone – guitar, vocals
Larry Graham – bass, vocals
Rose Stone – keyboards, vocals
Cynthia Robinson – trumpet, vocals
Jerry Martini – saxophone
Greg Errico – drums

01. "M'Lady" – 7:46
02. "Sing a Simple Song" – 5:13
03. "You Can Make It If You Try" – 5:36
04. "Everyday People" – 3:15
05. "Dance to the Music" – 4:28
06. "Music Lover" / "Higher" – 7:50
07. "I Want to Take You Higher" – 6:43
08. "Love City" – 6:04
09. "Stand!" – 3:20

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Friday, April 15, 2022

Night Beats - Levitation Sessions (FULL SET)


The Reverberation Appreciation SocietyAustin, Texas




Night Beats - Levitation Sessions (FULL SET) "For our Levitation Session we recorded on reel-to-reel 1/2 inch tape in the middle of the Mojave Desert in Antelope Valley. Due to my natural tendencies to explore the layers of my ancestry and being forever inspired by the beautiful sounds coming out of the Saharan desert, I wanted to challenge myself to produce a recording that doesn't filter but fully embraces a similar environment. A search for symbiosis between the music and the ground it’s made on. Thanks to a place I love and respect, a welcomed challenge, and some of my closest friends, what you are hearing is Night Beats in one of its truest and rarest forms. Thank you for listening and thank you to those who lived on and cherished this land before us" - Night Beats



Reverberation Appreciation : 60 Tracks Label Compilation for free from: 

The Reverberation Appreciation Society




Monday, April 11, 2022

Kahvas Jute - Wide Open + a Lot of Bonus (Australian Psychedelic Rock 1971)



Size: 430 MB
Bitrate: 256
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This superb progressive rock band is one of the hidden treasures of early '70s Australian rock. They were one of the first bands signed to Festival's new progressive imprint Infinity and they produced just one single and one brilliant gem of an album, Wide Open. It earned rave reviews at the time, and it's been justly praised by rock historian Ian McFarlane as "a progressive rock milestone".

Alongside their comtemporaries Spectrum, Tamam Shud, Blackfeather and The Aztecs, Kahvas Jute spearheaded a new direction and indentity for Australian music. Their album, and the single from it ("Free") are still regarded as among the best Australian 'prog' releases of the period. The LP has long been a prized collectors item both here and overseas, and happily it has been reissued twice on CD, once by Festival in the late 1990s, and more recently in expanded and remastered form by Aztec Music. It's a must-have for any serious fan of Australian music.

Kahvas Jute formed in June 1970, bringing together members of two leading Sydney bands. Singer-guitarist Dennis Wilson was a seasoned player; he worked as a session guitarist for Festival in the mid-60s, and had been a member of beat-pop groups The Riddles, Kevin Bible & The Book (1966), The 9th Circle (1968) and Barrington Davis & Powerpact (1966-68), where he teamed up with bassist Bob Daisley, drummer Brain Boness and singer Barrington Davis. The Powerpact track "Raining Teardrops" is included on Raven's seminal Aussie garage/punk collection Ugly Things. Powerpact gradually developed a harder style, and with the departure of Davis in late 1968, it evolved into the well-regarded hard-rock group Mecca (1968-70), which initially comprised Wilson, Daisley and drummer Robin Lewis. In early 1970 they added vocalist Clive Coulson, who had previously worked as road manager for The Yardbirds, The Pretty Things and Led Zeppelin.


Mecca released a single, "Black Sally" / "Side Street Man" on the Festival label in March 1970; the A-side was included on Festival's So You Wanna Be a Rock'n'roll Star? 3CD compilation, and was one of many classic cuts recorded at Festival's legendary Studio A in Pyrmont. Mecca toured New Zealand during the year, but Coulson left soon after the tour ended, having been invited back to work for Led Zeppelin on a European tour.

After Mecca dissolved in June, Wilson and Daisley formed a new band. By this time Wilson was one of Australia's rising new guitar heroes and it's a measure of his stature that he was able to poach both guitarist Tim Gaze and drummer Dannie Davidson from top Sydney band Tamam Shud. Tim, who had started off with the Sydney band Stonehenge, was something of a child prodigy, having joined Shud at the end of 1969 (aged only 16!), where he replaced original guitarist Alex 'Zac' Zytnic. Tim had been with Shud for about six months, and was fresh from the recording of Shud's classic second LP Goolutionites and the Real People when he quit to join Kahvas Jute. Dannie Davidson had been with Shud from the beginning, having also been a member of Shud's predecessors The Sunsets and The Four Strangers.


The lineup was chock-a-block with talent -- the deft psychedelic/blues guitar interplay and soaring vocals of Wilson and Gaze, Daisley and Davidson's singularly powerful and skilful rhythm section (Daisley's bass playing is superb and has been frequently and favourably compared to that of Jack Bruce). To top it off they were armed with a full quiver of strong original songs, written or co-written by the band members. Not suprisingly, this embarrassment of musical riches immediately established Kahvas Jute as one of the top live acts of the day, and they were snapped up for Festival's new progressive rock subsidiary 
Infinity.

They recorded the Wide Open LP at Festival Studios in Sydney with renowned house producer Pat Aulton. According to Dennis Wilson, the entire album was recorded and mixed in just three days, which is rather ironic, because Dennis also revealed that one of the 'sweeteners' offered to the band when they signed was unlimited studio time! The album was one of Infinity's inaugural releases when the label was launched in January 1971. 

Influences from bands like Cream are evident (and there is a similarity between the voices of Jack Bruce and Dennis Wilson), but Wide Open is a powerful set, and there's a genuine Australian identity to the work, whatever the influences might have been. It's a real pity that they didn't last longer, since the album displays a truly impressive breadth and depth in material and performance — especially from the 17-year-old Tim — and certainly leaves you wondering what might have been had the band been able to develop further. Unfortunately it seems Tim Gaze was in a restless mood at the time (ye olde "musical differences" no doubt), and by the time the LP was released he had left Khavas Jute band to return to Tamam Shud.

Kahvas Jute continued as a three-piece and after after a successful farewell performance in June 1971 at the Arts Factory in Sydney, Wilson and Davidson left to try their luck in the UK, hoping to capitalise on the very positive UK reviews of the album. Bob Daisley didn't follow until July, so his place was temporarily filled by Scott Maxey (ex-Nutwood Rug Band). They played dates in London, but (typically) were unable to make any impression and broke up within a short time. According to Who's Who of Australian Rock, David O'List, former guitarist in The Nice, was a member, presumably at this time, although no details are given.

Bob Daisley stayed on in the UK and went on to work with many notable British acts including Chicken Shack (1972-73), Mungo Jerry (1973), Rainbow (1977-78), Uriah Heep (1982), Black Sabbath (1987-88) and Gary Moore (1985, 1989-90).


In 1973 Dennis Wilson was invited to front the classic Blow By Blow era rhythm section from the Jeff Beck Group (Max Middleton, Bobby Tench and Clive Chapman) but the project never eventuated, so he came back to Australia and reformed Kahvas Jute in May that year with with Davidson and Maxey. The group continued about a year, during which time they supported Bo Diddley on his second Australian tour. Peter Roberts (ex-
La De DasBand Of Light, Band Of Tabalene) replaced Maxey in March 1974, but in May '74 Kahvas Jute split for good, and Wilson and Roberts (who switched to guitar) formed a new outfit called Chariot.

Dannie Davidson joined Band Of Light (1974) and featured on their second LP The Archer, followed by stints in Sky Pilot (1975), Huntress (1976), Steve Russell Blues Band and Peter Walls Showband (1990).

Dennis Wilson spent three years with Chariot, and worked and/or recorded with many prominent Australian acts including Swanee, The Deltoids, Electric Pandas, Jump Back Jack, Screaming Tribesmen and Olivia Newton-John.

Tim Gaze rejoined Tamam Shud, where he stayed until they broke up in 1972. Tim and Nigel Macara (his former bandmate from Stonehenge and the later lineups of Tamam Shud) formed the shortlived Miss Universe, and then shifted to Melbourne, where they worked briefly with Ross Wilson and Ross Hannaford on their post-Daddy Cool project (which eventually became Mighty Kong. Next came another short-term project, a power trio with bassist Steve Hogg, from Bakery) before Gaze and Macara joined the first lineup of Ariel. Tim remains one of Australia's most respected and sought-after guitarists, and has worked in a succession of fine bands, including the Tim Gaze Band and Rose Tattoo. Tim continues to write, record and produce from his Sydney studio. He took part in the warmly-recieved Tamam Shud reunion in 1993-4 and contributed two excellent originals to their reunion album Permanent Culture. He contributed to the solo album by singer Greg Page (The Wiggles). in the late 1990s watchful Sydney-siders could catch Tim playing the occasional gig live with his great band Tim Gaze and The Blues Doctors, which included bassist Chris Bailey (The Angels, GangGajang) and Australia's patron saint of harmonica Jim Conway (Captain Matchbox, Backsliders).


On 17 July 2005, Kahvas Jute -- with drummer Mark Marriott, an experienced session player -- reformed for a special performance gig at Sydney's The Basement. The concert was recorded and filmed for a DVD release. The set list that night featured six tracks from Wide Open, seven new songs, a cover of Cream’s "Politician" plus an impromptu jam on the old Yardbirds number "The Nazz are Blue" featuring guest vocalist Jimmy Barnes. In 2006 Aztec Music reissued Wide Open in a special 6 panel digi-pak, with rare photos and liner notes by Ian McFarlane, and five of the songs from the 2005 Basement concert included as bonus tracks.

From Aztec Records:

As far as Australian progressive blue-rock touchstones go, they don't come any better, and – well – more stoned than Kahvas Jute's only album, 'Wide Open' (Infinity Records 1971) available previously only in original form (to rich collectors), as iffy bootlegs on various European labels (Little Wing of Refugees and the opportunistic Akarma among the offenders) or on a badly mastered official reissue on the Festival label in 1993. Now for the first time since release this great record can be enjoyed in a version supervised by band front man Dennis Wilson. In fact, the sonics here are probably an improvement on the original record, having more oomph and a warmer sound than the LP. 1971 in Australia was a cusp year for Australian musicians, with flower-power giving way to harder progressive rock, in many cases bands taking the progressive blues coming out of the UK and USA as a reference point. Guitarist and vocalist Dennis Wilson and bassist Bob Daisley (one of God's bass players, who went on to international career with Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep, Chicken Shack and many others) had cut their teeth in the Cream and Hendrix influenced Mecca. They teamed up with ex-Tamam Shud members Dannie Davidson (drums) and 16 year old guitar wunderkind Tim Gaze to form Kahvas Jute (Kahvas a variant of kavvas – apparently Turkish police, and Jute fairly obviously from the hemp-related plant).

At its heart, 'Wide Open' is about social and artistic freedom. This is evident from the gloriously structured melody and twin guitar gestalt of 'Free'. Instead of the more clichéd route of trading licks, Wilson and Gaze were technically skilled to the extent that genuine twin guitar parts could be composed and played, both live and in the studio. Daisley's fat Jack Bruce influenced basslines can now be heard at the correct Richter scale reading, and they are perfectly complemented by Davidson's expansive drumming, forming a rhythm section that rolls like thunder. With Wilson's Clapton-esque vocal, 'Odyssey' scratches their Cream itch nicely, but with the added dimension of complex solos played in perfect unison. 'Up There' is one of two Gaze compositions, and he makes the most of it with complex and jazzy structures that hark back to Tamam Shud. 

'She's So Hard to Shake' is full-tilt hard rock, but with oblique chord changes taking it out of the ordinary, as well as some totally gone bass from Daisley giving it enough propulsion to easily reach escape velocity. 'Vikings' dials things back to a ballad which traverses the road from delicate acoustic work to fine electric soloing, but it seems a little dated now. Probably a case of it being too close to its influences. Davidson contributes the surprisingly great 'Steps of Time' - it's a fine slice of Australian progressive folk-rock and not just a token drummer's contribution. The more you play the album, the more this track becomes a favourite. Gaze's 'Twenty Three' is typically classy, and Daisley's elegant 'Ascend' forms a fine on-ramp to the album's blazing apotheosis, the 10 minute 'Parade of Fools' on which all the guitar stops are pulled out for a full band workout that is clearly born of the live Jute experience but is nonetheless a fine document even in this constrained studio version.

There are five bonus tracks from a blazing reunion gig live at Sydney's Basement club in 2005 that is now available in full as a DVD/CD set. Suffice to say that the band has lost none of its potency, and you are back in the day if you close you eyes. A cover of Cream's 'Politician' joins key tracks from the album 'She's So Hard to Shake', 'Ascend/Ascension' and 'Parade of Fools'. New compositions are saved for the subsequent DVD release (and they're every bit as good as the tracks on 'Wide Open').  As always from Aztec, nothing is spared on the packaging and liner notes. (Tony Dale)

Members:
◉ Bob Daisley (bass) 1970-71
◉ Dannie Davidson (drums) 1970-71, 1973-74
◉ Tim Gaze (guitar/vocals) 1970-71
◉ Scott Maxey (bass) 1971, 1973-74
◉ David O'List (guitar) 1971 *UK only
◉ Peter Roberts (bass) 1974
◉ Dennis Wilson (guitar/vocals) 1970-71, 1973-74

Wide Open (Infinity SINL-934030) 1971
01. "Free" (Wilson)
02. "Odyssey"
03. "Up There" (Gaze-Davidson)
04. "She's So Hard to Shake" (Wilson)
05. "Vikings" (Wilson)
06. "Steps of Time" (Davidson)
07. "Twenty Three" (Gaze)
08. "Ascend" (Daisley)
09. "Parade of Fools" (Wilson)

Bonus 2005 live tracks on Aztec reissue:
10. "Politician" (Bruce-Brown)
11. "She’s So Hard To Shake"
12. "Ascend"
13. "Ascension"
14. "Parade Of Fools"

Kahvas Jute - Live at The Basement (Live & Studio) 2005
The Quickening - Live & Studio 2005
01. Somebody Do Something - 5.20
02. Could Be Anyone - 3.08
03. The Quickening - 4.44
04. What Have I Done To Deserve This - 3.41
05. The Blues Just Got Sadder - 4.09
06. Ain´t No Pleasing You - 3.55
07. Somebody Do Something (Live) - 5.58
08. Could Be Anyone (Live) - 3.29
09. The Quickening (Live) - 5.10
10. What Have I Done To Deserve This (Live) - 3.48
11. The Blues Just Got Sadder (Live) - 4.51
12. Ain´t No Pleasing You (Live) - 4.01

Then Again - Live at The Basement 2005
01. Intro
02. Free
03. Ain´t No Pleasing You
04. Somebody Do Something
05. She´s So Hard to Shake
06. What Have I Done to Deserve This
07. Ascend
08. Ascension
09. The Quickening
10. Vikings
11. Could Be Anyone
12. The Blues Just Got Sadder
13. Parade of Fools
14. Politician
15. End Credits
16. The Nazz Are Blue (Bonus)

Part 1: Kahvas
Part 2: Kahvas
Part 3: Kahvas
or
Part 1: Kahvas
Part 2: Kahvas
Part 3: Kahvas
or
Part 1: Kahvas
Part 2: Kahvas
Part 3: Kahvas