IN: Scissor Sisters is an American pop/rock band formed in 2001. Forged in the "gay nightlife scene of New York," the band took its name from the female same-sex sexual activity tribadism. Its members include Jake Shears and Ana Matronic as vocalists, Babydaddy as multi-instrumentalist, Del Marquis as lead guitar/bassist, and Randy Real as drummer (who replaced Paddy Boom). Scissor Sisters incorporates diverse and innovative styles in their music, but tends to sway towards pop rock, glam rock, nu-disco, and electroclash.

After touring the world in 2007, the band had a short hiatus in order to work on their next studio album. Premiering new material of this album at secret gigs in New York City's Mercury Lounge in October 2008, they assumed the names Queef Latina and Debbie's Hairy. New songs included on the set list were "Television", "Who's Your Money", "Other Girls", "Major for You", "None of My Business", "Singularity", "Do the Strand", "Who's There", "Not the Loving Kind", "Taking Shape" (with Babydaddy on lead vocals), and "Uroboros". Shears stated on the band's website there was a possibility that none of these songs would appear on the album, as the band was less than satisfied with most of them. This was confirmed to be the case when the track list was revealed. Drummer Paddy Boom was absent at these gigs and it was later announced that he had amicably parted from the band. The band had come into contact with drummer Randy "Real" Schrager, who was known from his work on the downtown New York scene, playing with bands such as Jessica Vale and The Act. He was initially brought on as a fill-in during Paddy Boom's leave of absence. Eventually, Randy was made part of the full-time line-up. Scissor Sisters spent much of 2008 and early 2009 in the recording studio. However, after working on new material for approximately 18 months, the band decided to shelve their third album. Shears explained: "In my heart I knew it wasn't right. I didn't really know what it was trying to say. It left me a little bit cold." Reportedly, an entire record had been worked on but that the group had "shelved it about a year ago." Shears admits, "If it wasn't something we could fully get behind and believe in, I think the band was going to be over." The band returned to the studio and begun to work on new tracks in June 2009, which made it onto their replacement third album Night Work. Produced in collaboration with Stuart Price, Night Work was released on June 28, 2010. The album was described as "supersexual and sleazy" with its first single, "Fire with Fire" as "a really epic song that makes you feel really good". With the album, the band have toured worldwide on The Night Work Tour. As an opening act, they joined Lady Gaga for select dates on her third leg of The Monster Ball Tour in early 2011. Shears and Scissor Sisters collaborator John "JJ" Garden provided the lyrics and score for a world-premiere musical adaptation of Armistead Maupin's Tales of the City, a beloved series of novels (and later a television miniseries) about life in San Francisco in the 1970s. The musical was first developed at the Eugene O'Neill Theater Center's National Music Theater Conference in 2009, where Shears and Garden collaborated with a creative team that included playwright Jeff Whitty and director Jason Moore, of the Tony-Award-winning musical Avenue Q. The show had a subsequent run in San Francisco on May 18, 2011 at the American Conservatory Theater.
QUESTION: Why did they shelve the album?
IN: Rudolph Van Gelder (November 2, 1924 - August 25, 2016) was an American recording engineer who specialized in jazz. Regarded as the most important recording engineer of jazz by some observers, Van Gelder recorded several thousand jazz sessions, including many recognized as classics, in a career which spanned more than half a century. Van Gelder recorded many of the great names in the genre, including John Coltrane, Miles Davis, Thelonious Monk, Sonny Rollins, Art Blakey, Joe Henderson, Freddie Hubbard, Wayne Shorter, and Horace Silver, among many others. He worked with many record companies but was most closely associated with Blue Note Records.

Van Gelder was born in Jersey City, New Jersey. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women's clothing store in Passaic. His interest in microphones and electronics can be traced to a youthful enthusiasm for amateur radio. A longtime jazz fan (his uncle, for whom Rudy was named, had been the drummer for Ted Lewis's band in the mid-1930s), Van Gelder took lessons on the trumpet. Van Gelder trained as an optometrist at the Pennsylvania College of Optometry, in Philadelphia, because he did not think he could earn a living as a recording engineer. From 1943, after graduating, Van Gelder had an optometry practice in Teaneck, New Jersey, and recorded local musicians in the evenings who wanted 78-rpm recordings of their work. He became a full-time recording engineer in 1959. From 1946, Van Gelder recorded in his parents' house in Hackensack, New Jersey, in which a control room was built adjacent to the living room, which served as the musicians' performing area. The dry acoustics of this working space were partly responsible for Van Gelder's inimitable recording aesthetic. "When I first started, I was interested in improving the quality of the playback equipment I had," Van Gelder commented in 2005; "I never was really happy with what I heard. I always assumed the records made by the big companies sounded better than what I could reproduce. So that's how I got interested in the process. I acquired everything I could to play back audio: speakers, turntables, amplifiers". One of Van Gelder's friends, the baritone saxophonist Gil Melle, introduced him to Alfred Lion, a producer for Blue Note Records, in 1953. Within a few years Van Gelder was in demand by many other independent labels based around New York City, such as Prestige Records. Bob Weinstock, owner of Prestige, recalled in 1999, "Rudy was very much an asset. His rates were fair and he didn't waste time. When you arrived at his studio he was prepared. His equipment was always ahead of its time and he was a genius when it came to recording". According to a JazzTimes article in August 2016, "jazz lore has formed the brands into a yin and yang of sorts: The Blue Note albums involved more original music, with rehearsal and the stringent, consistent oversight of Lion; Weinstock was more nonchalant, organizing what were essentially blowing sessions for some of the best musicians in jazz history". Van Gelder said in 2012, "Alfred was rigid about how he wanted Blue Note records to sound. But Bob Weinstock of Prestige was more easygoing, so I'd experiment on his dates and use what I learned on the Blue Note sessions". He also worked for Savoy Records in this period, among others. "To accommodate everyone, I assigned different days of the week to different labels". In the 1950s Van Gelder also performed engineering and mastering for the classical label Vox Records. Thelonious Monk composed and recorded a tribute to Van Gelder entitled "Hackensack".
QUESTION:
When did Van Gelder begin recording?