I started out in this realm as Peter Knox. I grew up in the western suburbs of Sydney, in a place called Old Guildford (well, it was called that at the top of my street, and Yennora at the bottom end. My house was right in the middle, so we could choose our address at random). We had a huge area of ‘bush’ (that’s western-suburban for forest) behind our back fence, where we used to go to make forts, tree-houses and play rudies. I liked making forts best, but rudies came in a close second. I learned all about secret places, be they made of old bits of wood or flesh. I was a skinny weakling sort of growing up person, and I extracted great pleasure and mirth from making stupid noises and cracking ridiculous jokes that only I seemed to get – so much so that my old man genuinely believed me to be insane (though he would more than likely have used ‘underprivileged’ to describe my alienness). My ears were too big for my head and my legs were (and still are to this day) the wrong size for the rest of me, as if some DNA carpenter had mixed up the bits from two different kit bodies. It all made for a rough, torture-ridden, ‘come here you skinny bastard I want to beat you up just because I know I can do so without too much opposition, aren’t I a expletive deleted brave mongrel’ childhood, but hey, didn’t it make me into some weird-arsed genius of a funny bastard later on? (Just kidding about the ‘bastard’ bit).
It wasn’t until I was about thirteen years old that I got my hands on a real musical instrument – well, that’s a loose description of a ‘Hawaiian’ acoustic-electric slide guitar my old man bought with wild dreams of becoming talented. He left the thing on top of his wardrobe for so long without touching it, it could have been heritage listed by the time I discovered its whereabouts. By sheer luck and the mysteries of chronology, I discovered The Beatles on the old radiogram in my bedroom at the same time I came upon the guitar. The radiogram, like a ‘loaded gun’ prop in some B-grade soap opera, was (kidnapped) and reinvented as an amplifier – I somehow worked out (by some osmotic process) that the bared cables from the end of the guitar lead could be joined to the cables where the record player needle plugged in – Tada! Presto! Electric guitaro! Trouble was, I didn’t know how to tune the expletive deleted, but my school mate Bob Daisley (who has gone on to become somebody world-famous, or at least a rock music celebrity) soon taught me how. Not content with crude but effective lessons from a famous-in-the-future bass player, I sent away for the twenty Melody School of Music guitar lessons advertised on the back of the New Idea magazine. I got to pay the program off at one dollar a week, which allowed me access to one lesson each payment. I had to play the guitar behind my closed bedroom door, because it was unwritten household knowledge (and secret suburban business) that the old man would have gone ballistic if he’d discovered the family nut case soiling one of his possessions. When I’d learnt my first four chords, I wrote my first song (He Don’t Look Like Me). I never got as good as Bob Daisley (well, not as rich anyway) but I nearly electrocuted myself a couple of times by connecting the wires from the guitar to the radiogram back the front (or something) and I left home at sixteen because people in my house kept trying to cut my hair off – none of which Bob Daisley got to do. I doubt that he regrets those early omissions, any more than I don’t regret having his incredible luck (yeah, right).
Whatever I just said, it all boils down to the fact that I moved into a flat in Burwood with a school friend, Glynn Williams, who had emigrated from the Isle of Man a couple of years earlier and spoke just like The Beatles. Glynn and I started growing our hair as fast and as long as human anatomy would allow, and my big brother Ray had to keep an eye on me because the Law said I was too young to move out of home without some sort of mature supervision. I’d made it clear to my parents that I didn’t want them anywhere near my shared flat in Burwood, so my brother ended up as the compromise situation. Mature supervision my arse! He nearly got us chucked out of the flat when the landlord caught him in the shared kitchen bonking his girlfriend on the table! No wonder I’m such an expletive deleted human being!
So, besides being free to go into Sydney Town on the weekends to long-hair hangouts like Beatle Village and Rhubarbs, where live bands played music that seemed to hang halfway down their backs, we formed a duo called The Twain (clever, or what?) and wrote songs and dreamt about doing gigs and stuff. We played at a party in a hall at (D?), with me playing guitar (not the old man’s, not over his dead body!) and Glynn singing like a cross between Stevie Wright from the Easybeats and Mick Jagger (perhaps nothing to brag about these days, but then it was spiffy indeed!).
Glynn went on to be lead singer with that unforgettable sixties band The Soul Survivors, playing the big gigs like The Oxford Hotel in Taylor Square, which in those days allowed heterosexual social engagement. I went on to play with Waldo Hayes in that equally unforgettable Dylanesque outfit from Kings Cross, Sylvester Quincy Barker’s Music Box, who got to play lots of times at the Wayside Chapel, and, eventually, also The Oxford Hotel in Taylor Square! The sixties sure was a small world! Glynn gave up music some time later, by which time I’d bounced around the Sydney wine bar scene in numerous iconic and legendary outfits with names like Fluke (a pisstake of Flake, who were the pop flavour of the moment). Eventually (and here the order of things gets a bit tangled in the loose ends of memory) I became the resident bass-player at a little coffee lounge in Brougham Lane, Kings Cross, called The Ball Pants (truth-I couldn’t make shit like this up if I tried). I got to sit on one of my Overeem (I think that was the brand) quad boxes and play bass with whoever could bring a guitar in and whack out a tune or two. Hey, I got to perform He Don’t Look Like Me in public and everything!
I was there then and I was there again.
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.