Este es el tipo de acetatos por el que todo coleccionista de rock sicodélico sesentoso es capaz de dar un ojo de su cara con tal de tener una copia del mismo por varias razones a saber :
1.Su trascendente e incuestionable calidad musical que le permite seguir sonando fresco e innovador todavía hoy en día.
2. El estatus de reliquia sonora, ya que apenas se editaron de 300 a 500 copias en su formato original de vinil multicolor y otros tantos ejemplares en pasta negra, razón por la cual su posesión puede equipararse con la del Santo Grial.
3.La portada (diseñada por "Los Cerebros Elasticos") constituye una suerte de manifiesto del espiritú de la época, ya que implica entre otras cosas un total desapego con los convencionalismos sociales previos a la era psicodélica. Tales estereotipos literalmente son desechados por el bajante......
4.La calidad de la grabación e ingeniería de sonido pletórica de efectos de sonidos arquetípicos del género sicodélico. Tal característica , como veremos más adelante, no está exenta de un cierto aire rústico.
5.La atmósfera del disco en la que se percibe un total relax y disfrute por parte de los músicos. Este es uno de los factores que más apreciamos los coleccionistas de ediciones privadas : la sensación de libertad sin ningún tipo de ataduras comerciales.
6.La leyenda y mitos en torno a la forma como llegó a Venezuela el bajista-cantante y harmonicista norteamericano Stephen Scott y la manera como se involucró en semejante grabación con otros tres músicos venezolanos ( Jaime Seijas-guitarras, organo y voz ; Mario Seijas-batería y percusión y Adib Casta-guitarras, organo y voz, ex Claners-veáse nuestra reseña de su tercer y excelente lp-), mención aparte de la forma como llegaron a desaparecer del mapa tanto él como sus compañeros de los cuales poco o nada se sabe a ciencia cierta.
Estos y otros elementos han servido para que este disco sea citado como uno de los artefactos favoritos de los 60's de grupos como Stereolab, Acid Mothers Temple, Purple Overdose, Spacious Mind, The Smell of Incense, etc.

Hacer un análisis pieza por pieza es realmente un ejercicio inútil ya que cada track es un ejemplar ganador como dicen en la hípica. El album arranca y finaliza con el sonido de un bajante sanitario, haciendo así honor a la portada. Cada canción es precedida por un pequeño intro de efectos psicodélicos como aplausos, agua, sirenas, llantos, ensayos de orquestas de cámara, sonido de aviones, vidrios rotos, organos y música cirquense ( al estilo de la introducción de la composición " The American Methaphysical Circus " del grupo norteamericano United States of America), tonos de piano con loops y sonoridades alteradas........
Gran parte de la piezas como, p.e. "People" , presentan una mezcla de una sólida y melódica vocalización a mitad de camino entre Tony Macphee ( Groundhogs) y Jack Bruce ( Cream ), aunado a un extraordinario trabajo dual de los guitarristas-muy amantes del fuzz, wah-wah y otras unidades de distorsión-una maciza ejecución del bajo y una pulsante batería.
Los que tengan el placer de oír esta y otras piezas como " I Can't See Straight " y " Searching For a Meeting Place ", percibirán un interesante paneo stereo de los instrumentos y voces, amen de un factor capital en este disco : un cierto eco que parece emanar del fondo, un probable efecto del lugar y forma cómo se grabo el disco ( un garage o estudio elemental con micrófonos un tanto distantes y tratados con alguna reverberación ). Este eco le da un charm y carácter dicotómico a la grabación ; es decir, cierto aire rudimentario ( esos ecos de fondo ) y moderno a la vez ( gracias a los efectos psicodélicos , loops y técnicas de edición ).
Otras composiciones como " Put That in Your Pipe & Smoke It" ( un título bien explícito ) y " I'm Gonna Be " presentan un memorable dialogo de guitarras y harmónicas sin caer en la sobre-indulgencia y tedio de los grupos tipo Canned Heat.
Pero también hay espacio para la sutileza en este disco : " To Walk On Water " presenta un celestial diálogo de flautas( canal izquierdo ), harmónica ( canal derecho ) , guitarras acústicas y pinceladas de vibráfono jazzístico simulado con un ingenioso uso del organo, todo ello en el mejor estilo del grupo británico East of Eden. El blues también encuentra su lugar en " Heavens Coming Up ", así como pinceladas de la mejor psicodelia británica en " The Time Of Hope Is Gone " con su éterea vocalización, organo farfisa en clave menor, guitarras lánguidas y una narración final con carácter apocalíptico.
"W.C. Blues " es un fabuloso corte instrumental con un crescendo sostenido de dialogos entre guitarras y harmónica al mejor estilo de las piezas instrumentales de los grupos freakbeat de los 60's. El disco cierra con un collage de todos los efectos sonoros precedentes , dando así fin a 34 minutos de la mejor psicodelia hecha en Sur America, a la par de grupos y músicos como The Outsiders, Hendrix, 13th Floor Elevator, The Rolling Stones, The Electric Prunes, Pretty Things.........................

Víctor Anasagasti

Venezuelan full blast fuzz / wah-wah assault, backwards noise, screeming baby sounds used as solo instruments, tons of effects, English (American) vocals, a real masterpiece which deserves to finish the cultseries of the LITLLE INDIAN label. Comes in multicoloured vinyl like most originals.

"psychedelic-music"

EL legendario guitarrista venezolano Adib Casta murió hace unos dias. En algun tiempo se dijo que era el Hendrix venezolano, probablemente por el disco de Ladies WC o por sus participaciones efimeras en otros proyectos como Sky Way Meditation. Los Claners es la prehistoria recurrente. Lo conocí hace algun tiempo a raiz de un especial que hice de psicodelia latinoamericana en Acto de Fe, en el cual coloqué a Ladies WC y comenté que ese LP era de colección y que por él se pagaban cientos de dolares. Tambien mencioné que a mediados de los 90 una disquera en Inglaterra habia sacado una edicion en CD y que nunca consiguieron a los autores para pagarles los royalties. Adib Casta me contactó (creo que a traves de Gregorio) para que lo ayudara a localizar a esa gente, y a la disquera que incluyó una de sus piezas en el CD "Love, Peace and Poetry- Latin American Psychedelic Music". Le di los datos de la distribuidora, de Ultima Thule (que lo vendian por correo) y Freak Emporium, el emporio de la psicodelia en Gran Bretaña que los mencionan en un extenso libro sobre la psicodelia. Nunca supe si logró algo. Un efisema pulmonar y la pelazón terminaron con Adib Casta. Estaba verdaderamente escoñetado.

Juan Carlos Ballesta ( 15 de Abril del 2003)

Adib Casta died 4-12-2003 in Caracas, Venezuela - Emphysema ( Rock ) Born 1948 in Puerto La
Cruz, Venezuela - Guitarrist and composer - Co-founder of Ladies W.C. with singer and harmonist Stephen Scott - One of the
Venezuelan rock pioneers - He was a near perfect soundalike of Jimi Hendrix - Casta also was a painter and art designer.

Title: Speed Limit 35
Format: LP
Label: RD

"Unreleased at the time, recordings from 1970/71 by this band from North Carolina with member Stephen Scott ex Ladies WC, the legendary band from Venezuela. He was the main songwriter, bass player and lead singer on the monstrous Ladies WC album. He joined Speed Limit 35 in fall of 1968 after his departure from Venezuela. The band also rehearsed in a club called The Zoo along with the legendary Christopher, that released their mega rare LP Whatcha Gonna Do? on the Chris-Tee label. The music on this album was recorded partly in the studio and partly live when Speed Limit 35 was the opening act for Steppenwolf in April 1970. What you hear are fantastic long heavy psychedelic/West coast styled jams with great guitar leads. It sounds like a mixture between Kristyl, Chirco and Tayles. Pressed on heavy audiophile vinyl, ultra heavy old style cardboard sleeve and an insert with a bio written by Stephen Scott." - RD.

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, for the most part, 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.

A few of the songs veer from the blues-centered rock. "To Walk On Water" is really a pop song, slow and more orchestrated than most of the others here. The vocals are more in a crooner style than the usual rock feel, but it still works. "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.

Definitely a good find, Ladies W.C. can stand with many of the psych stars of the time. If you’ve been enjoying some of the other Shadoks finds like Spectrum and Iota, you won’t be sorry if you pick this one up. You may wish, like me, that the band recorded more than 34 minutes.

By Mason Jones

This Venezuelan artifact, originally released in 1969 on the Souvenir label in a limited edition of 4,000 (which immediately sold out, mostly to fans in the Caracas area), was recorded in 2 1/2 days on the eve of American student Stephen Scott's return to the University of South Carolina's School of Journalism. It sure makes all his fellow students' "What I Did on My Summer Vacation" essays pale in comparison! Scott (bass and vocals) co-wrote the album with lead guitarist Adib Casta; Seijas brothers Jaime (guitar) and Mario (drums) round out the quartet. Casta died while this reissue was being prepared. The release is dedicated to him, although, sadly, his name is misspelled in the booklet photo.

The songs, which Mario's liner notes tell us were "Steve's melodies purified by Adib and tinted by Jaime," are book-ended by the sound of a flushing toilet—a bold move back then, but completely appropriate considering the band's name, which refers to the women's bathroom, or "water closet." Indeed, sound effects play a key linking role between tracks in the form of ocean waves, wailing sirens, screaming babies, screeching brakes, crashing cars, jet take-offs, etc.

Scott has that requisite bluesy wail so prevalent in late '60s psychedelia, and the opening track "People," with Casta's spot-on emulation of Clapton's trademark screaming guitar and Scott's perfect embodiment of Bruce's heavy, throbbing basslines, wouldn't have been out of place on Cream's Disraeli Gears. Casta also shows off his magic fingers on the sloppy garage-rockin' "I Can't See Straight." Scott mentions in his liner notes that the band featured the two hottest guitarists in Venezuela, but I think he's being too parochial. Few stringbenders anywhere could match the dual pyrotechnics on display here, and fans of '60s blues/psych, whether it be the Latin or North American type or that from across the pond in Britain, are encouraged to seek this out pronto!

"Heaven's Comin' Up," another walking, bluesy wail of a tale in the great tradition of what Canned Heat, Paul Butterfield Blues Band, and Killing Floor were doing north of the border, also demonstrates that Scott can blow harp with the best of them. The screaming baby between-track link perfectly (and literally!) suits the tale's screaming lament. Casta whips off another brain-frying solo on "And Everywhere I See the Shadow of Life," which is a rather catchy pop tune that might've made a successful single were it not for that unwieldy title. "Searching for a Meeting Place" returns to the classic bluesy psychedelia of Cream, so much so that I think Ladies W.C. would have made a perfect opening act for the British blues legends at the Fillmore and Avalon Ballrooms, back in the day.

Perhaps not coincidentally, the third track on each LP side is a soft, moody ballad offering welcome respite from the guitar workouts. A theme song of sorts, "W.C. Blues" has a familiar air about it, like one of those bluesy instrumentals in those '60s exploitation psych films like Psych Out, The Trip, or Beyond the Valley of the Dolls. If you are a fan of '60s psychedelia with a "blue(s)-ish" tint, and especially if you collect South American rock, I highly recommend Ladies W.C.

BY Jeff pencza