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Saturday, 14 January 2017

Gert Thrue “Sound Painted Pictures Of Cosmic Love” 1977 Denmark Prog Electronic Space Rock





Gert Thrue “Sound Painted Pictures Of Cosmic Love”  1977 Denmark Prog Electronic Space Rock
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Definitely not disco not in the slightest. This music Komiche in the true sense its a little rock drumming and alot of organ drones and Minimoog noodles of the third kind. 
The second tracks is more in a major scale and upbeat lively almost soulful something you would not expect after an earful of that beautiful minor keyed opener. So there is a bit of deviation from the atypical “space” music highway. I guess it just shows if your going to make a one off release just do what you want to and to hell with critics! 
Easy going listening instrumental lp sort of reminiscent of early 1970s Pink Floyd drumming with a hint of Klaus Schulze’s early work pre-sequencer material. Other worldly, spacious, dreamy its all there but it aint jazz or dance pop!………..

Credits 
Drums – Jan Preus (tracks: A), Per Hoyer 
Organ [Hammond Orgel], Synthesizer [Moog, Roland], Electric Piano [Fender], Keyboards [Logan-Stringers], Composed By – Gert Thrue

Tracklist 
A Sound Painted Pictures Of Cosmic Love 18:38 
B1 Travellin’ By Thoughts 7:28 
B2 I Play The Body Electronic 9:15 
B3 Cepheus 4:50 

Midwinter “The Waters Of Sweet Sorrow” UK Prog Acid Folk Demo tape recorded in 1973 but the album was only released in 1993.










Midwinter “The Waters Of Sweet Sorrow” UK Prog Acid Folk Demo tape recorded in 1973 but the album was only released in 1993.
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A legendary collection of early '70s UK folk from the equally legendary pre-Stone Angel outfit MIDWINTER. Recorded in 1973, but unissued at the time, this title saw a number of editions through the years, and has by now become an in-demand classic.............

This small band existed during the years 1972-1974 as a separate project of musicians who were deeply involved with the folk music scene. This sole album representing their achievements was recorded in year 1973, but it wasn't released until 1994 as a CD. The sound of the recording is average but still pleasant, and there is some analog hiss audible and few softly muted parts detected, probably due the affections of entropy towards the original tapes. The material is similarly well produced and sincere sounding ancient romanticism. All of the musical possibilities and variations of a small acoustic ensemble are exploited here in professional manner. 
The opener "Sanctuary Stone" presents the pretty voice of Jill Child, and it is immediately clear that this is a quite purist medieval oriented folk record. Some light percussion accompanies the classical guitar chords, and the only modern instrument here is the amplified bass guitar. "To Find a Reason" has tender male vocals, an acoustic guitar, a pretty simplistic flute a totally wonderful descending melody, and is one of the brightest highlights of the album for me. "The Skater" has a Celtic sound on the guitar and vocal melodies. The voices have a slight echo on them creating a feeling of large space, and the droning rhythm is accompanied by a mouth harp, flute and tablas. The "Scarbrough Fair", which was made famous for the bigger audiences by the folk duo Simon & Garfunkel, is here arranged for several vocals in a rustic ancient style. "The Oak Tree Grove" is then a bit similar tune with the album opener, and "Dirge" sounds like an animistic ritual music, having a primitive guitar, tambourine and a flute. Though the basic melodies of "Maids And Gentleman" is also medieval styled, there's some soloing with electric guitar from the blues scales here, slightly breaking the dogmatic line of the record, but still being pleasant for the ear. "The Waters of Sweet Sorrow" is then another beautiful tune for several acoustic guitars, and as it's accompanied with the sweet singing and brilliantly composed verse, it's no wonder that this song's name was selected as the title of this album. "All Things are Quite Silent" is played with raw, ancient sounding mandolins, and when they unite with soft female voice, an interesting contrast is borne. This song brought me a visual association of a small medieval European village covered in wintertime snow. "The Two Sisters" has a nice conversation dialogue with the guitar and tender flute, and it also has both male and lady vocals. Later also distorted but silent solo guitar accompanies this religious themed composition. The album is closed with "Winter Song", which is a quite simple but has very beautiful arrangement for guitar and several voices, bringing up great choral harmonies at the end of it. 

My interest towards this record was caught by its cover, which is a painting named "The Lady of Shalott" from John William Waterhouse. This scene is from a poem by Arthur Hughes, and the basic principle of Pre-Raphaelite artistic movement was to look back in time when seeking inspiration and themes. The romantic folk music of Midwinter does the same, so the cover painting selection fits here better than wonderfully. This record is recommended sincerely to fans of both folk music, and to those who are interested of bands with a lady singer on lead vocals.....by Eetu Pellonpaa ......

This album is a chance oddity offered by Paul Corrick and Ken Saul who would later form the only slightly more modern Stone Angel. The other dynamic here is the almost angelic and medieval-sounding Jill Child. As the story goes Corrick and Saul recruited Child to lend a voice for a local show, which later turned into a couple years of sporadic live appearances before Child left to pursue an education. 
Too bad, because this is a charming bit of old Anglo-inspired folk music that would have yielded the group a modest career had they chosen to hang on. There’s no drums here and very little rhythm to speak of; instead, the trio employ mandolin, recorder, Jews harp, dulcimer, acoustic guitars and a banjo for an altogether timeless sound that should appeal to just about any fan of folk music. There’s an electric bass for some reason, but otherwise these songs would have been more at-home a hundred years or more prior to the seventies. 

The tempo is mellow throughout with old-English themes and no sense of urgency whatsoever. The guitars and mandolin set the pace on most tracks, with Child’s recorder and the occasional Jew’s harp for variety. 

Among the more interesting tracks are a rare three-part harmony rendition of the Anglo classic “Scarborough Fair”; a short string- picking ditty named “Dirge” that’s anything but; and an absolutely exquisite and vocal-heavy “The Two Sisters” that suffers only from a slightly muddled mix of Child’s voice midway through. 

These tracks were originally recorded as demos, and languished in Saul’s attic for more than two decades after Child’s left the group and Saul and Corrick moved on to Stone Angel. The sequence of events after that is a bit unclear, but when the Stone Angel albums were reissued by Kissing Spell in the mid-nineties this album managed to make an appearance as well. It has since been released by Si-Wan as well. Unfortunately the band’s later work was never captured on tape, so there’s little hope of any additional material from this little gem of a folk aberration from the early seventies. If you are a folk music fan of any sort, this one is worth seeking out. Four stars and well recommended.....by ClemofNazareth .....

A not much known progressive folk record, with a strong celtic/medieval vein. The songs are based around Jill Child's beautiful, crystalline voice and mostly acoustic entwined guitar, dulcimer, autoharp, mandolin and banjo arpeggios. Occasional flute, electric guitar and male vocals join in here and there, often giving an even more "fairy tale" feeling. 
Some tracks are truly impressive, very delicate but with these very strong medieval atmospheres and melodies which make them so charming and suggestive! ..............

Medieval mystic acid folk as its best. i like this one better than Stone Angel may be because it is less dark. The two guitarists are great composers and i find the musicality contained in this album mind- blowing. Need i speak about the enchanting and fragile voice of the girl singer. I assume the style of this album will not appeal to everyone's ears because it is faraway music..............

Line-up / Musicians 
- Jill Child / vocals, recorders, autoharp 
- Paul Corrick / guitars, recorders, mandolin, vocals 
- Ken Saul / vocals, guitar, banjo, dulcimer 

With: 
- Mick Burroughers / percussion, Jews harp 
- Dick Cadbury / bass

Songs / Tracks Listing 
1. Sanctuary Stone (4:17) 
2. To Find A Reason (3:50) 
3. The Skater (3:24) 
4. Scarbrough Fair (2:12) 
5. The Oak Tree Grove (2:23) 
6. Dirge (1:48) 
7. Maids And Gentleman (4:30) 
8. The Waters Of Sweet Sorrow (3:08) 
9. All Things Are Quite Silent (2:32) 
10. The Two Sisters (4:29) 
11. Winter Song (3:59)

Missouri Dirt ‎ "It’s For You" 1977 US Private Southern Blues Rock Rock





Missouri Dirt ‎  "It’s For You" 1977 US Private Southern Blues Rock Rock
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Credits
Drums – Darryl E. Prince, Esq.
Guitar – Scott Barnett.
Vocals, Bass – Terry Dee Zimmerman

Tracklist
1 It’s For You 5:58
2 Time To Get Loose 6:34
3 Rockin’ Southern Mothers 3:33
4 Nobody’s Fool 2:58
5 Christmas Blues 3:55
6 Me And Ezra Brooks 5:45
7 Gutter Drunk 3:11
8 Got To Do Something 4:30
9 Fellow Man 4:03
10 Missouri Dirt 3:57 

Mike Hanopol ‎ “Awiting Pilipino” 1977 Philippines Pinoy Rock




Mike Hanopol ‎ “Awiting Pilipino” 1977 Philippines Pinoy Rock

full album playlist

https://www.youtube.com/watch?v=HzfWSbvTkn8&list=PL-bbWB96kXmQSZ3IiApwq9R-hat1n811h



Tribu Kemistri, basically the work of one Mike Hanopol, is an Asian pop band with ties to rock but also various ethnic rhythms and new age atmospheres. Hanopol began playing the guitar in the late ‘60s, and he became well-known to Asians and Westerners alike as a frequent show-opener when acts such as Pink Floyd or Led Zeppelin played in the Orient. Tribu Kemistri’s debut album was released in early 1998, followed by a tour of the U.S., complete with multimedia installations. ~ John Bush…

Credits
Backing Vocals, Drums, Percussion – Edmund Fortuno
Electric Guitar – Vic Naldo
Keyboards – Lito Hanopol (tracks: B-4)
Lead Guitar, Backing Vocals – Vince Duran (2) (tracks: B-1)
Lead Vocals, Keyboards, Bass, Guitar – Mike Hanopol

Tracklist
A1 Awiting Pilipino 4:38
A2 Ano Kayang Mangyayari 3:56
A3 Idilat Ang Mata 4:37
A4 Kayabangan 2:54
A5 Anong Ganda 3:34
B1 Baguhin Ang Mundo 4:29
B2 Mr. Kengkoy 3:15
B3 Huwag Ka Sanang Magbago 3:12
B4 Laki Sa Layaw 2:57
B5 Magkaibigan Tayo 6:04 

Mike Hanopol ‎ “Buhay Musikero” 1977 Philippines Prog Psych, Pinoy Rock


Mike Hanopol ‎ “Buhay Musikero” 1977 Philippines Prog Psych, Pinoy Rock 

full album playlist

https://www.youtube.com/watch?v=wysiqaCnGCU&list=PL-bbWB96kXmRWnnN4b2PBSFlWCSRqCa3T


Extremely hard to find Solo-album of Ex Juan De La Cruz Member Mike Hanopol "Buhay Musikero", in absolut stunning condition. This mosnter LP has been issued by JEM Rec. Company in 1977. Band is including Wally Gonzalez and JOEY “PEPE” SMITH (on I’m Satisfied and Circuit Rider). Many people have never heard this LP but this is a fantastic album!! "Circuit Rider" and "I’m Satisfied" a truley Psych masterpieces! A real gem.... ~

When it comes to Pinoy Rock Music, only one male performer reigns supreme up to this day, Mike Hanopol - noted of his black beret and powerful raspy voice.
Long before today’s young showbands, like the Eraserheads, Rockstar, Introvoys, True Faith and Alamid, came to fore, there was already the Juan De La Cruz Band where Mike Hanopol started out in 1974. The group recorded such hits as “Balong Malalim”, “Karagatan”, and “Divisoria”.
In 1976, Mike Hanopol started on a solo career. His hit songs included, Buhay Musikero, with Willy Cruz and Danny Javier (of Apo) as his record producers.
n 1977, Mike Hanopol’s name soared higher as he released “Laki Sa Layaw”, which gives rise to the term “JEPROX”. Mike earned three albums for Blackgold and a reunion LP with the Juan de la Cruz Band.....~
Mike Hanopol is a Filipino rock music icon and legend, revolutionary singer, veteran musician, guitarist, pop artist, folk rock star, and recording artist. He was a former bass guitarist for the Juan Dela Cruz Band. He is a pioneer of rock music in the Philippines during the 1970’s, along with Pepe Smith and Wally Gonzales. In his career as a musician, Hanopol produced twenty albums, three of which became Gold prize awardees while another three received the Aliw Awards. Hanopol’s trademark is the beret, leather clothing, and his Steinberger guitar. Hanopol was the mentor and songwriter for the famous Filipino rock band known as HAGIBIS.
Despite being a rock-and-roll figure, Hanopol’s experience in the seminary influenced him to compose song lyrics based on Bible passages. Examples are the first two stanzas for Hanopol’s song Balong Malalim ("Deep Well") which were based on the Book of John, and the Laki sa Layaw song that conveys the biblical message of avoiding arrogance. Laki sa Layaw, also known as Laki sa Layaw Jeproks, is Hanopol’s trademark and favorite song. Some of the songs in Hanopol’s latest album Lagablab, under Warner Music Philippines, were based on the Book of Psalms (Psalm 75: 3-16 and Psalm 37: 1-6) and the Ten Commandments. Hanopol’s Lagablab is a "10-track guitar album" that features "inspiring and original compositions" aimed at imparting life’s lessons to the younger generation of Filipinos. Lagablab is an assortment of jazz, rock, hip-hop, rap, fusion, and ballad music. The rap song in the album was performed with Filipino rapper Francis Magalona......~



Tracklist 

A1 Buhay Musikero 4:02 
A2 Iron Gate 4:28 
A3 I'm Satisfied 5:27 
A4 Ganyan Ang Pag-Ibig 3:36 
A5 Circuit Rider 4:58 
A6 Araw 3:52
A7 Blind Dog 3:51 
A8 Rock Your Bones 3:02 

Materia Gris "Ohperra Vida De Beto" 1972 Argentina Prog Psych






Materia Gris  "Ohperra Vida De Beto" 1972 very rare Argentina Prog Psych
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Rock Opera with Progressive flavor and Hard Rock outbursts, which starts excellently, but as the tunes or parts go by, it becomes a bit weak, losing progressively its songwriting quality, in my opinion.
The story turns around a Mr. so-and-so Beto, his life, from his birth (even before his birth), passing by his school days, and finally reaching his adult age, apparently Beto is a bit strange, maybe bipolar or deformed, couldn't say since the lyrics tend to be elliptical and figurative, perhaps "Ohperra vida de Beto" tried to be some of those Anglo Rock Operas about disgraced beings, like "Tommy" for instance (Ohperra would be a pun on 'Opera' I guess, meaning as well 'Oh bitch life of Beto'), although Materia Gris don't reach the level, not because of the musical quality per se, but because of the rather ho-hum songwriting that inundates the core of the album.
Anyway "Tommy" is not precisely the most inspired work one can imagine, to be honest.
The end with "Luz en la vida / Conclusión" brings the energy and enthusiasm back, but it's a bit late, and "Ohperra vida de Beto" stays like a pariah drifter in the 70s' Argie Rock, by the anonymous Materia Gris, who a while later disappeared from the surface.
Very consistent, concept style prog, with mostly hard rock mat'l, featuring psych influences and all-Spanish lyrics. A wonderful album! Beautiful melodies and arrangments. ...........

Argentinina band MATERIA GRIS was formed in 1970, consisting of Julio Presas (guitars, bass, percussion, vocals), Eduardo Rapetti (guitars, vocals), Omar Constanzo (bass, vocals) and Carlos Riganti (drums, percussion). Their sole release, "Ohperra vida de Beto", was one of the first concept albums released in Argentina...............

 Materia Gris were formed in 1970 in Argentina, originally playing a rather Beatles-esque Psych Pop, featuring Julio Presas and Eduardo Rapetti on guitars, Omar Constanzo on bass and Carlos Riganti on drums.After a single on the Music Hall label, their style changed towards a more rockin' sound and in 1972 they released what was considered to be the first Rock Opera in Argentinian Rock, the title was ''Ohperra vida de Beto''.It came out on Harvest and features Litto Nebbia on piano, while all members contributed on vocals.
They had evolved actually into a Hard/Psychedelic Rock band at the time, but the choice of a concept work with multiple variations, as presented in the 16 tightly connected pieces, helped them spread a style with strong progressive leanings.The album works nicely even if it had been recorded with just a couple of titles, so consider it as two side-long tracks, where sharp guitars and acoustic parts combine along with some strings and piano.The most powerful parts are a bit reminiscent of the Italian school, bands like OSAGE TRIBE or CAPITOLO 6 for example, but there are also certain moments in here with discreet jazzy and Classical vibes.Of course the album is loaded with a heavy lyrical content, which makes the instrumental parts a bit of a desire, but the dual guitars displayed offer some excellent moments with mascular rhythms, tempo changes, melodic solos and frenetic twists, all showered with a psychedelic touch.Maybe some stronger doses of piano or keyboards could have made this sound less raw and more convincing, but the band manages to overcome any tendencies towards monotony with the presence of electroacoustic interplays and the endless variety on moods and climates.Some parts of the album sound a bit fragmented and others are too straightforward, but overall this was a pretty nice effort on extended and dynamic Rock music.

It was a shame that this effort went unnoticed back in early-70's and reputedly the band was working on a second album called ''Pandemonium'' at the time of its demise.Riganti went on to play with Alas and collaborated with several great Argentinian Rock musicians like Carlos Cutaia and Raul Porchetto, while in 1979 he moved to Spain.Costanzo joined Naranja Mecánica in mid-70's and Presas worked on his own album ''Amaneciendo en la cruz del sur'', released in 1978.

Tight Psychedelic Rock with hard deliveries on guitar and plenty of progressive elements, produced over a concept work.Rather overlooked, but certainly recommended.....by apps79 ........

Ohperra vida de Beto (a game of words between "Opera" and "oh, perra!" -how bitchin´!- "life of Beto"). This sort of rock opera dealt with the life of a guy named Beto from his birth to his adulthood in the style of S.F.Sorrow by The Pretty Things.It was a very good effort, with a progressive melodic soft-psycho sound and great guitar work. Omar Constanzo wrote the lyrics and Julio Presas composed the music. Side A -called Sweet Opera- was more calm, and side B -Bitter Opera- more intense, although the whole disc was rich in styles
Extremaly Hard to find on Harvest lbl !!!!!!!!!............

Biography
Julio Presas, a musician (guitarist), author and composer, began his professional life in 1968. As a sound technician and arranger, I did not take much time to become an artistic producer. He recorded for HARVEST EMI with his ensemble "Materia Gris" the album "Oh, Perro vida de Beto"; First Composed Rock Opera nationwide.
Throughout its trajectory Presas recorded in many Studies, among which by the years 74 began in "Oedipus", there it was able to work along with Charly Garci'a, Leon Gieco, L.A. Spinetta, David Lebón, Carlos Cutaia, Alejandro Lerner, Patricia Sosa, Sandro, among others.
Simultaneously, he recorded in the "Panda", "El Cielito", "El Pie", "ION", "Phonales" Studios and later in "Circo Beat" to different artists such as Gustavo Cerati, Miguel Botafogo, Pappo, Javier Martínez, Daniel Melero, La Torre, Black Amaya with the Robertones.
In 1977, he recorded the music of the documentary for the newspaper "The Capital of Rosario" whose main motive was to have similarity to the music composed by Georgio Moroder, for the film "The Midnight Express" that was known by the public at the end Of 1978. By which Presas initiates legal actions against this author.
Seven years later, he published in the CBS Company an LP with his group "La Ley".
Throughout his career, Presas was artistic producer of the CD "Tierra Bendita", "Not for all the gold of the World" of the Rancheros; Work done for Sony Music.
In 1990, it traveled to the United States to carry out a production together with David Lebon, titled "Nuevas Mañanas", in which participated Pedro Aznar.
He also made live recordings of "Memphis La Blusera", "Los Perros", "Human Color", "Javier Martínez" ...
He also composed curtains for TV, one of which corresponded to the automobile program "Car to the View", which remained for 10 years in the air.
In 1995, next to Rino Rafanelli formed a group called "The Shelter Warnes" that frequently made their presentations in the Roxy.
Later, with Antonio García López and Beto Topini, Presas formed a trio called "Ferrockina", which participated in the Festival of 30 years of National Rock.
Later came "Just for Faith" (2004) and "Misunderstandings" (2013).
For his authorial career, he recently received an award from the Argentine Society of Authors and Composers.
He currently provides comprehensive sound services in his own recording studio and in third-party studios to artists of various musical genres. He also faces a new project by Julio Presas Trio, with the solid base of Tony García López and Beto Topini.

Line-up / Musicians
- Julio Presas / guitars, bass, percussion, vocals
- Eduardo Rapetti / guitars, vocals
- Omar Constanzo / bass, vocals
- Carlos Riganti / drums, percussion

Songs / Tracks Listing
1. Precimiento (2:47)
2. Nacimiento (3:02)
3. Canción de Cuna (0:48)
4. Crecimiento (2:51)
5. ¡Es Alumno! (1:04)
6. Compañero de Banco (2:51)
7. Un Largo Tiempo (4:08)
8. ¡Alguien Llega! (0:44)
9. La Angustia (3:49)
10. El Te Ayudará (1:15)
11. ¿Forma o Esencia? (3:29)
12. La Teoría Positiva (3:50)
13. ¡Soy Tu Vida! (2:51)
14. Reflexión (4:51)
15. Luz en la Vida (0:18)
16. Conclusión (3:08)

Ladies W.C. “Ladies W.C.” 1969 mega rare Venezuela Psych Garage Rock in Souvenir Label one of the rarest albums on the world…!!!












Ladies W.C. “Ladies W.C.” 1969 mega rare Venezuela Psych Garage Rock in Souvenir Label one of the rarest albums on the world…!!!
full
Ladies W.C. Is one of the most important groupings of the psychedelic movement of the late sixties. Formed in 1968 by Adib Casta (guitar, organ, vocals), José María Arria "Chema" (bass, vocals), Wolfgang Vivas (lead vocals) and Frank Rojas (drums), soon undergoes a series of changes leaving only Adib Casta as an original member of the group along with the North American Stephen Scott (voice, harmonica and bass), Jaime Seijas (guitar) and Mario Seijas (drums, percussion); Its musical style swings between the blues, hard rock and flower power reigning at the time. They edit the album Ladies W.C. (1968). 
This album has become a valuable collector's piece for the limited number of copies and for being one of the first albums printed in multicolored vinyl. Recently it has been commercialized in LP format, keeping the multicolor of the original edition, in Germany, by the store psychedelicmusic. This German edition was limited to only 450 copies and quickly exhausted its existence. It has been re-released in CD format by the seals Essex (England) and Shadoks (Germany). People was included in a compilation titled Love, Peace & Poetry: Latin American Psychedelic Music. They also appear, with the same theme, in the compilation titled Juvenile Scenario (1969)..............

Credit to the band this much -- they actually went right ahead and started their album with a flushing toilet, living up to their name and album art (the latter provided by guitarist/organist Adib Casta, later to gain more fame for his paintings). That droll touch aside, Ladies WC's sole album, like that of many one-offs from the Latin American late-'60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. Reissued by the Shadoks label in 2004 as part of their continuing exhumation of various small-release rarities -- the original album only received a pressing of 4,000 in 1969 -- it's still one of the more enjoyable full-lengths to get a digital revival. In his liner notes, bassist Steve Scott, the one American member of the Venezuelan quartet and co-writer of most of the songs with Casta, speaks of their love of such acts as Paul Butterfield, early Steve Miller, Cream, and so forth. There's little question that if one has heard enough electric blues-rock of the period that there won't be many surprises with songs like "Heaven's Coming Up" and "Put That in Your Pipe and Smoke It." To their credit, though, the quartet created a slew of originals instead of simply energetically delivering covers, and that plus their own exuberance means an album that throws in a few curve balls along the way, making an enjoyable listen. The occasional ballads are particularly lovely in a soft, drifting psychedelic way -- "To Walk On Water" blends low-key harmonica, chimes, and an echoed vocal to striking effect. The signature touch on the album is a series of sound effects rather than silence separating each of the songs -- fire engines, applause, and so forth -- and while it wasn't an innovation on their part, it's still amusing enough.....by Ned Raggett.......

Ladies WC’s may be the most innovative 60s record made in Venezuela. A full blast of fuzz & wah-wah assault with backwards noise, screaming baby sounds used as a solo instrument, tons of effects, with English vocals…a real masterpiece.

Maybe this piece of psychedelic art deserves to be known as the most important record made in South America in 1968. Stephen Scott (a Venezuelan-born American) – vocals, bass, & harmonica & Mario Seijas – drums & percussion from the band Homer & The Don'ts, along with Mario’s brother Jaime – vocals, rhythm guitar, & organ & Adib Casta – vocals, lead guitar, & organ from the band Los Claneras came together to create this album for the Souvenier label. Casta did the artwork for the album cover.

Venezuelan band Ladies WC’s sole album, like that of many one-offs from the Latin American late-’60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. The original album only received a pressing of 4,000 in 1969 — it’s still one of the more enjoyable albums to get a digital revival.............

Read what Mason Jones wrote in Dusted Magazine: "This late-’60s Venezuelan band is another fine discovery from Shadoks, who seem to be unearthing an endless stream of worthy, neglected psychedelic albums. The liner notes leave many questions unanswered, but the story appears to begin with Venezuelan-born American Steve Scott. A bassist and singer, he found two Venezuelan brothers, Mario and Jaime Seijas, and they then completed a foursome with Adib Casta. Inspired by the times, they recorded one album and became quite popular, playing regularly to large crowds. There’s no information, though, about where the strange name came from, or what happened to the group. In any case, drummer Mario Seijas and Scott lay down a strong, solid rhythm section, with the bass more prominent than usual on records of this time. Jaime Seijas’ rhythm guitar generally lies low and lets lead guitarist Casta wah and wail his way around the songs. That turns out to be a good idea, because Casta can really shine, whether playing clear melodic lines, warbly wah-wah, or intense fuzz leads. The 10 songs here represent prime acid rock. Recorded in 1969, it feels like it, with wah and fuzz represented in spades. Scott’s vocals are strong and clear, with that high-end wail you can hear in so many Nuggets-era bands. Showing some of their blues heritage, they pull out the harmonica for emphasis on a number of songs, with "Put That In Your Pipe and Smoke It" a particularly good example of Scott’s skill there. The 34 minutes range from "I Can’t See Straight" and its harmonica and guitar lead to the vocal harmonies of "And Everywhere I See The Shadow of That Life," with a break featuring some truly blazing psych lead guitar. In general, actually, this album belongs to Casta’s lead guitar displays. From brittle, high-end twangs to watery wah and, best of all, totally space-bound fiery fuzz, he makes me wish the band had recorded more albums. "The Time Of Hope Is Gone" feels somewhat more calculated, very much of its time. With organ and ending with a portentous spoken-word section, it’s a reasonable attempt at overtly mystical psychedelia. The studio work throughout the album contains a number of nice touches, as they toss in sound effects to liven things up. From the opening toilet flush to a baby crying, they were clearly having fun with it... Ladies W.C. can stand with many of the psych stars of the time.".............

Raw psychedelic rock from Venezuela. This S/T album was the only LP this band ever made and it's a pretty strong disc in my opinion. Some of the songs are very fuzzy and some of them include some nice harmonica. That harmonica brings clear blues rock sound in some of these tracks.

Most of the material is very good here. The album is pretty balanced so it's hard to choose any clear standout moments. My personal favourite might still be that wonderful "The Time of Hope is Gone" which should be a lot longer. That's actually the only real problem this album has. Some of these songs are a bit too short.

But apart from that Ladies W.C. is a great record. I'm gonna give it four stars out of five. If you're a psych rock fan I recommend you to check this album out..by..CooperBolan ..........

The record was recorded by American Stephen Scott, while traveling the So. American continent, and accompanied by a Venezuelan group he enlisted the services of. The resulting album is filled with fuzz guitar, harmonica, and some truly rippin' mat'l, and may well be one of the very best albums from down that way. all vocals are in English, making this sound unlike the majority of S.A. LP's, which generally are Latin flavored. This reissue was the very first one, put out by a friend of mine in a numbered pressing of 295 copies (actually 300, but he kept 5 unnumbered copies for investment purposes), and including an untitled bonus track. .......

Adib Casta - Guitar, Vocals
Jaime Seijas - Guitar, Vocals
Mario Seijas - Drums
Steve Scott - Bass Guitar, Vocals

Songs

A1. "People" [2:41]
A2. "I Can't See Straight" [3:20]
A3. "To Walk On Water" [3:28]
A4. "Heaven's Coming Up" [4:22]
A5. "And Everywhere I See The Shadow Of That Life" [3:25]
B1. "Searching For A Meeting Place" [2:49]
B2. "Put That In Your Pipe And Smoke It" [3:11]
B3. "The Time Of Hope Is Gone" [2:35]
B4. "W.C. Blues" [2:53]
B5. "I'm Gonna Be" [5:48]

Kahvas Jute “Wide Open” 1971 Australia Heavy Prog Psych

Kahvas Jute “Wide Open” 1971 ultra rare  Australia Heavy Prog Psych
full spotify
https://open.spotify.com/album/1fVKF7SLS34PnzBmuiWWrn

full spotify (Remastered with bonus tracks) 

https://open.spotify.com/album/3bUE8WT7SirqYynFYghuj9

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http://www.milesago.com/artists/kahvas.htm


A progressive hard rock combo based in Sydney and active initially between 1970-74. Their album “Wide Open” is renowned for the stunning guitar playing and the strength of the songwriting. The band went on to become one of the finest acts of the era, but they never recorded again until mid 2005 when they decided to reform and try out a few new songs , much in the vein of their original album. 
Musically, the album fits somewhere between the likes of Cream and Blodwyn Pig, with nods in the direction of Led Zeppelin, the Jeff Beck Group etc. It's a very English sound, but far from being a slavish copy of the overseas role-model the album bears a uniquely Australian flavour. The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze combine to place the record head-high in the progressive stakes. Furthermore the whole shebang is held together by the restlessly exploratory bass style of the great Bob Daisley and the muscular, yet agile drum patterns of Dannie Davidson. 
There was no hype to the band, just an unpretentious bunch of musicians capable of producing inventive and enduring music. Not only did the band earn a reputation as one of the best live bands of the period, they also released one of the great Aussie progressive albums in Wide open. As the title suggests, Wide Open is a free-flowing, expansive blending of rock, jazz and blues, with a touch of folk thrown in for good measure, a hard-as-nails progressive blues rock extravaganza strong on rhythm and melody, and bristling with exceptional guitar interplay. 
After their demise in 1974 Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow ,Gary Moore Band, Widowmaker and Ozzy Osbourne 's Blizzard Of Ozz.There is much discussion that Bob Daisley is the highest record selling Australian artist of all time... 
I was there in 1970 at Festival Studios in Paternoster Row when Kahvas Jute’s seminal album Wide Open was recorded, and I was there again thirty five years later at The Basement gig where the band revisited and reworked some of the material from that first album, as well as showcasing new songs that somehow fitted seamlessly with what had gone before. At the same time, these new songs offer a logical and natural evolutionary movement into a second album, as if the intervening years were merely a glitch in the creative timestream. 
Kahvas Jute came together from the remnants of Mecca (Bob Daisley and Dennis Wilson) and Tamam Shud (Tim Gaze and Dannie Davidson), and in 1970 they were the first of their kind in Australia, maybe the world. In 2005, they are possibly the last of their kind and, though a series of heavy, guitar-based rock genres has existed in the years between, I would describe Kahvas Jute as one of a kind. Though they started in 1970 with intentions of emulating the music coming out of the UK at the time – The Hendrix Experience and Cream in particular – what they ended up becoming was something as unique as, yet apart from, those major influences. 
The Kahvas Jute rhythm section began its journey as Bob Daisley and Dannie Davidson in 1970, experimenting with and extrapolating on Hendrix and Cream power pop constructions. In 2005 it is Bob Daisley and Mark Marriot, invested with a whole new set of influences and experience. This rhythm section exists in a parallel engine room universe of their own making, inhabited only by themselves. 
When Kahvas Jute stepped out of the Tardis in 2005 and started playing “Free” from the Wide Open album, my skin tingled. The freshness, the enthusiasm, the clarity of intention, the shear joy of executing a creative vision, poured from the Basement’s little stage. In 1970, the songs on Wide Open represented a departure for Dennis Wilson from the power pop of Mecca, apparent in songs like “Black Sally” and “Side Street Man” from Mecca’s final single. 
In the years since, Dennis has performed with numerous bands of his own (Dennis Wilson Band, Deltoids, Catch 22) and other people (Le Bop, Doc Span Band, Under Rapz with Steve Gilpin) as well as writing and recording material with Chariot and Swanee, and releasing two solo albums and singles. He features on recordings by Loaded Dice, Screaming Tribesmen, Electric Pandas, Ol’ 55, Jackie Orszaczky and Olivia Newton-John. His songs have seen live performances by the likes of ex-Steely Dan members Elliot Randall and Jeff “Skunk” Baxter. His music appears in the Cannes award-winning movie “Going Down,” as well as the ABC TV series “Four Corners”, and episodes of Steve Irwin’s “Crocodile Hunter” and “Croc Files”. 
Tim Gaze’s adventures since 1970 are no less spectacular. He has enjoyed a long career as one of Australia’s pre-eminent and most sought after session guitar players/vocalists. His music features on the surf film soundtracks “Morning Of The Earth,” (1972), “Band on the Run” (1982), “Sultans 2 – The Power Strikes Back,” and the subsequent “Sultans” 3, 4 and 5. He has written for, recorded and performed with Miss Universe, Ross Wilson, Ross Hannaford, Ariel, Stevie Wright, Tim Gaze Band, Rose Tattoo, Skin Game, Brothers of the Bell, Big Secret, Gyan, the Peter Wells Band, a re-formed Tamam Shud, The Bushwackers, The Blues Doctors, The Hoochie Coochie Men and Jimmy Barnes. 
For Bob Daisley, his song “Ascend” represented the beginning of a songwriting journey that has taken him around the world, and his songs onto the albums of artists such as the patriarch from the reality TV sitcom The Osbournes, Widowmaker, Uriah Heep, Black Sabbath, Mother's Army, Warren DeMartini, Stream, Gary Moore, and of course his twenty first-century Australian projects, The Hoochie Coochie Men, Living Loud (not to mention guesting on kazoo and melody bass on a track on The Zarsoff Brothers 2005 album “Mixed Business”) and - full circle - the fresh-from-the-Tardis version of Kahvas Jute. 
After forming in 1971, Kahvas Jute earned an immediate reputation on the live scene and issued their only album, Wide Open, in January the following year. The album remains a classic progressive rock album, exemplifying their expansive tunes and outstanding guitar work. "Free"/"Ascend" was issued as a single in July 1971. Guitarist Tim Gaze left the band and they continued as a three-piece, traveling to the U.K. in June 1971, where they made little impact and broke up. Bassist Bob Daisley played with several heavy metal bands and appeared as a session player for guitarists such as Yngwie Malmsteen and Stevie Vai. Dennis Wilson eventually revived Khavas Jute in May 1973 with drummer Dannie Davidson and bassist Scott Maxey. They supported Bo Diddley on his Australian tour in October 1973. In March 1974, Maxey was replaced by Peter Roberts, but by May, the band changed its name to Chariot....by Brendan Swift....~


Kahvas Jute is a progressive rock milestone and a consummate example of underground psychedelic hard rock at its most inventive and powerful. As the title suggests, a free-flowing and expansive musical blending of rock, blues and jazz, and to leaven out the sound there’s a touch of acid folk thrown in for good measure. 
It’s a very English-influenced sound but far from being a slavish copy of the overseas role model, the album bears a uniquely Australia flavour. It continues to be held as one of Australia ’s prime rock collectables, with original pressings of the album selling for as much as US$600.00 on eBay in recent years. 
The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze (Tamam Shud) combine to stamp the record as a tour de force, where style, content, technique and sonic bearing meet in perfect equilibrium. 
Furthermore, the whole shebang is held together by the restlessly exploratory bass lines of the great Bob Daisley (who later went on to a stellar international career with Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep, Chicken Shack – the list is endless!) and the muscular, yet agile drum patterns of Dannie Davidson (Tamam Shud, Band Of Light). 
Is it any wonder then that all these elements add up to make Wide Open one of the most sought-after artefacts of the entire Aussie progressive rock era? 

Reformation: 
On the 17th July 2005 , Kahvas Jute, featuring new drummer Mark Marriott (an experienced session player), played a gig at famed Sydney venue The Basement which was filmed for future 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 (5 of the audio tracks feature as bonus tracks on the CD reissue). 
If anything, the gig showed the band to be better musicians than ever, with the added elements of experience and maturity shining through, while also managing to capture the Kahvas Jute sound to perfection. 
Aztec Music’s reissue of Wide Open has been digitally remastered by Dennis Wilson. Packaged in our usual 6 panel digi-pak, with rare photos, and liner notes by Ian McFarlane.....~


Call it patriotism, or maybe just nostalgia. What better time or place could there have been than Australia in the early seventies? Wide Open is a summer record, and as the blossom-filled global warming Spring comes on I’ll be putting my Infinity speakers out the back door and blasting this baby whilst pottering around with my hippie gardening project of turning my yard back into native Australian bush. 
Yes they sound very much like Cream especially on the heavier tracks, “Odyssey”, “She’s So Hard to Shake” and the extended closer - not just the band but Dennis Wilson’s vocals as well. On the other six however they sound rather like Khavas Jute. It’s a mellow vibe but still rock, with satisfyingly rough and raw guitar tones. Every song has hooks – vocal lines, guitar patterns - and after the verses and choruses they crank up those twin guitars again for more rockin’ out. 
I confess again that Australian rock was a pretty primitive thing in the early seventies and some of the lead here does blast that basic blues sound, but the goodtime hippie vibe is present. “Love for everyone.” So amongst these slim pickings I fancy Wide Open may be in the top half dozen Aussie LPs of the era. The name Khavas Jute loosely translates as “department for the enforcement of consumption of marijuana”; or "coppers' stash". Or something like that. Plus my speakers have the same name as the record label. Neat!...by....SandyMc ...~


Kahvas Jute were an unfortunately short-lived late 60s/early 70s "hard" rock/psychedelic rock outfit from Australia. Well short-lived as far as the studio was concerned releasing only one album although it looks like they limped on until the late 70s as a live band including numerous personnel changes and a change of name to Chariot. 
The band's main claim to fame is the twin lead guitar attack of Dennis Wilson and Tim Gaze. This aspect of their sound reminds me most of Wishbone Ash. Unfortunately it reminds me most of Wishbone Ash's first two albums Wishbone Ash and Pilgrimage rather than the far superior Argus. Like Wishbone Ash's first two albums the band seems to think that "soulful" twin lead guitar playing is all that is required to make good music. They fail to inject enough good songwriting or creativity and, most importantly, heaviness for a supposedly hard rock band. Speaking of which, I wouldn't trust these genre labels too much, this is barely hard rock, with quite a soft, slow or midtempo and attempted soulful sound in parts. (Medium rock? Does that exist?) Apart from the virtuosic guitars and a few progressive leanings, it's also definitely not prog. Heavy psych is probably fair enough but just be aware it isn't that heavy. Perhaps just slightly progressive psychedelic rock? 
Having said all the above I don't want to skewer the band too much. They are actually a good band and I do actually enjoy listening to this one album wondering what might have been if they had been able to release a few more. But these weaknesses mean that I can't enjoy the album as much as I could. The biggest problem for me though is that this is one of those albums where the opening track is just so much better than anything else. It is unbelievable really just how good 'Free' is compared to the remainder of the album. This track is one of the slower and softer tracks but is one of the few where the twin guitar attack is so effortlessly soulful and moving. After this almost every track just bludgeons you with its indiscernible twin guitar wankery or total lack of creativity. Track after track is mostly generic blues/psychedelic rock with barely an interesting moment amongst them. All of it is bland but none of it is bad mind, well nothing until we get to the closing 'Parade of Fools'. Presumably this is supposed to no holds barred jam or "wig out" as modern music journalists would call it but it's just so pedestrian and lengthy for the sake of it. No thanks. 
All in all, a promising album, but nowhere near as good as it could have been....by...Bitterman ...~


Wonderul prog-ish Aussie hard rock 
I've owned this album since it first came out on vinyl and it has remained on my playlist constantly ever since. Opening track "Free" is a little deceptive, being a ballad of sorts. However listen to tracks like "She's so hard to shake" and "Parade of Fools" and I am sure you will be convinced that this wonderful gem of an album should be owned by anyone keen on early 70's hard rock. Twin lead guitarists Dennis & Tim are legends in Australia guitar history. Both are still gigging. In fact I saw Dennis Wilson (yes I know there is another more well known Dennis Wilson) play at a small basement nightclub in Cronulla (in Sydney) just last month and he blew everyone away with his Hendrixy style. This album is also noted for bringing Bob Daisley to the recording world. He of course has since played with UK hard rock royalty (Ozzy Osborne, Uriah Heep, Gary Moore) and even with Yngwie etc etc etc. His playing on this album is mind-blowing with a slightly fuzzed up Cream-like sound but with more bottom end..really cool. Both guitarists get a fantastic sustained sound, very modern. Far better than many other hard rock guitar sounds from 1971. As Aussie predenter legend Molly would say "Do yourself a favour......"..by....szusza ...~

After forming in 1971, Kahvas Jute earned an immediate reputation on the live scene and issued their only album, Wide Open, in January the following year. The album remains a classic progressive rock album, exemplifying their expansive tunes and outstanding guitar work. "Free"/"Ascend" was issued as a single in July 1971. Guitarist Tim Gaze left the band and they continued as a three-piece, traveling to the U.K. in June 1971, where they made little impact and broke up. Bassist Bob Daisley played with several heavy metal bands and appeared as a session player for guitarists such as Yngwie Malmsteen and Stevie Vai. Dennis Wilson eventually revived Khavas Jute in May 1973 with drummer Dannie Davidson and bassist Scott Maxey. They supported Bo Diddley on his Australian tour in October 1973. In March 1974, Maxey was replaced by Peter Roberts, but by May, the band changed its name to Chariot. ~ Brendan Swift...~ 














Personnel: 

Dennis Wilson - Guitar, Vocals, Acoustic, Bottleneck, Wah Wah Guitars 
Bob Daisley - Bass, Vocal Harmonies 
Dannie Davidson - Drums (tracks 1-9) 
Tim Gaze - Guitar, Vocals, Piano, Steel Guitar 
Mark Marriott - Drums (tracks 10-14) 


WIDE OPEN 
(Remastered with bonus tracks) 
Track Listing: 
1. Free 
2. Odyssey 
3. Up There 
4. She’s So Hard to Shake 
5. Vikings 
6. Steps of Time 
7. Twenty Three 
8. Ascend 
9. Parade of Fools 

Bonus Tracks – Live at the Basement 2005 
10. Politician 
11. She’s So Hard To Shake 
12. Ascend 
13. Ascension 
14. Parade Of Fools 


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