LP WW-US/UK/FR

Lp, 2024 Repress


First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.





International Girl's Not Here

The Crescents

From Behind Bandages

Don't Remember Leaving

The Night I Was A Booby Prize

Arturo's Attitude

And Then The Walls Fell

Compulsion

Live From Rotten Towers

Still My World

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Mini LP, LTD 500 , Clear Vinyl - RSD 2024, No sales to UK,USA,FR, Benelux

1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over


Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.

The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.

The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.

A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.

The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500.

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Format Notes:

2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl


Track List:

A1 Blue Trane
A2 Soho

B1 Off Minor
B2 The Maestro
B3 Road Island Red

Release Notes:

Don't judge a book by its cover. Judge a record by its cover.

And, perhaps, its title.

Cedar Walton's Mobius is as outrageously, disorientatingly brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from - essentially - one *hell* of a SUPERBAND.

Yes, in addition to Walton's Fender Rhodes wizardry, Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax. Oh and did we mention STEVE GADD ON DRUMS?!?!

Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Walton, a giant in the jazz world, got quite the workout every time he played, from piano to arp synthesizer to clarinet to electric piano to mini-moog and back again.

Mobius was Cedar Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Coltrane's "Blue Trane" is the first classic to be given the funkafied Mobius treatment, Ryo Kawasaki let loose all over neck-snapping Gadd-drum gold before the horns take a fiery turn and subsequently give way to Cedar's virtuosity. A sparkling b-boy break version of Thelonious Monk's "Off Minor" (featuring an absolutely *fire* solo from Walton) really sets proceedings alight. Of the three original pieces, the shuffling, percussive power of "Soho" is just absolutely mind bending Latin-influenced jazzy soul whilst the mellow vibes of "The Maestro" bring elegant, sumptuous soul. And then there's the effortlessly funky "Road Island Red". Just too, too good.

Cedar Walton was born in Dallas, Texas, on January 17, 1934 and began his professional career in 1959 when he began touring for several years with the J.J. Johnson Quintet. He later joined the Art Farmer-Benny Golson Jazztet and then Art Blakey's Jazz Messengers. Pretty solid credentials, right? While based in New York City, Cedar played with such luminaries as Donald Byrd, Eddie Harris, Blue Mitchell, Kenny Dorham, Lee Morgan, Freddie Hubbard, Jimmy Heath and Milt Jackson. Without question, he was one of the most complete and gifted musicians of his time and Mobius provides proof of that. The fresh, danceable tracks, all firmly rooted in the living tradition of blues and gospel, are skilfully presented by a master who enjoyed keeping abreast of contemporary tastes and was always keen to renew his language.

As the album notes state: “Mobius, which is the theoretical shape of the infinite universe, makes use of the most modern recording techniques and synthesizers. We mastered and mixed so that it’s hotter than the competition, which should help radio play and in-store demonstration.” Indeed. Mobius is really gorgeous mid-70s fusion, ranging from the funky to the ecstatic. It's an absolute MONSTER that will completely blow you away; and, yes, it's as wild and hypnotic as the cover. The audio for Mobius has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More