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PREORDER
Ships When IN STOCK.
01. Ladies W.C. - People
02. Ladies W.C. - I Can't See Straight
03. Ladies W.C. - To Walk On Water
04. Ladies W.C. - Heaven's Coming Up
05. Ladies W.C. - And Everywhere I See The Shadow Of That Life
06. Ladies W.C. - Searching For A Meeting Place
07. Ladies W.C. - Put That In Your Pipe And Smoke It
08. Ladies W.C. - The Time Of Hope Is Gone
09. Ladies W.C. - W.C. Blues
10. Ladies W.C. - I'm Gonna Be
ARTIST
TITLE
Ladies W.C.
FORMAT
LP

LABEL
CATALOG #
MR 470LP MR 470LP
GENRE
RELEASE DATE
2/21/2025

Seminal and highly influential album in the history of Venezuelan rock. Ladies W.C. (1968) is innovative in many aspects: from its stunning psychedelic guitars, loaded with fuzz and wah-wah effects, to its repertoire -- made up of original songs -- or even the graphics featured on the cover of the album. As in the case of "Love Depression," this album has become one of the most sought-after and collectible recordings of Venezuelan rock. Munster's reissue includes remastered sound from the original tapes, 180g vinyl and liner notes. Adib founded Ladies W.C. with his friends Jose Maria Arria "Chema" (bass, vocals), Wolfgang Vivas (lead vocals), and Frank Rojas (drums). Their sound was so innovative that it was not conducive to getting many bookings and they barely managed to play a single concert. As a result, all the original line-up, except Adib, upped and left. Soon after, Stephen Scott and Mario and Jaime Seijas replaced them, seamlessly complementing Adib's playing and his growing interest in blues and psychedelic hard rock. The group's first and only album, released by the Venezuelan label Souvenir, was recorded at Continente Studios in just 10 days. Ricardo Landaeta acted as technician, while Adib and Stephen worked out all the structures and arrangements of the songs, as well as the lyrics. They were very intense recording sessions in which they spent full days locked inside the studio. Hector Fuenmayor is the only guest musician on the recording. All the songs are their own compositions, which was unusual on the Venezuelan scene, as groups' repertoires tended to be cover versions of international hits. The sleeve art, displaying a striking illustration instead of the classic covers showing a photo of the band, was also a novel ingredient in Venezuela, as was the distorted sound of the guitars which made great use of the wah-wah pedal, the extensive harmonica playing, and creative use of sound effects, all of which gave the album a unified conceptual feel. The band were only active for only a couple of years from 1968 to 1969.