THE BABYSITTERS - The Babysitters (new rip !)

THE BABYSITTERS The Babysitters lp 1985
Can you hear it / American toys / No particular place / The beard song / I wanna be on T.V. / Pickin' the blues / Old L.A. / Give us a loan / Everybody loves you when you're dead / Tel Aviv / Rock en roll chicken / Alright O.K. .
Produced by The Babysitters.
The Babysitters: Buttz: vocals / Jimbo: guitar / Boo: drums / Stik: bass.
It's a very hazy trail that leads up to it, and I've tried, in vain so far sadly, to track down Sitters singer Buttz, but a brief history of Babysitters time is that these leery loons leapt from some asylum in some strange netherworld and first seem to have appeared on Flicknife Records 1983 "Trash on Delivery" compilation, which I don't own, but is notable for having The Dogs D'Amour's impossibly brilliant "Teenager" on it, which I believe was on their first demo ever and had Ned Kelly (alright, Christie) on vocals and a 14 year old Tyla just on guitar and backing vocal duties. Anyway, back to the boys in question. Their composition was "Living Out Rock'n'Roll" and was a divine blast of spiky Ramones and Special Brew fuelled salvation about running amok round London in tight pants, ending with the soon to be typically bizarre Buttzness of "Livin' out Rock'n'Roll.......pineapple" for no apparent reason whatsoever. This just set the scene, 'twas an aperitif for the album to come. An album of some of the most punky rock'n'roll craziness, jollity and eternal greatness there ever was and will be. Not for them the archness of, say, Sigue Sigue Sputnik, this is what they were.What happened next is uncertain, except one can safely assume they spent a while playing, what I can only imagine were fun drunken blitzes of sets in such classy dens of iniquity and dereliction as Fulham Greyhound and The Bull and Gate amongst many others, finely tuning their own peculiar brand of beery brawling Ollie Reed Rock'n'Roll and practicing their vocal harmonies, before procuring a little deal with HM Records for the price of a pint, a couple of tabs and some chips. They put the vocal harmonies in particular to brilliant usage on the barbershop quartet swish of "The Beard Song", about how he digs his girl's long blond hair and curves, but her beard gets on his nerves. And she's a cute girl to, tho she has false teeth and size 11 feet. Believe me, it works. They also open the whole glorious ragtag shebang with a vocal group "Hello" "Helloo" "Hellooo" "Hellooooo" before stumbling into, and around, "Can You Hear It?", choicest prime cut of a lyric line here? "Open your eyes and open your ears, open up your wallet and get me some beer" and ending with the signoff "What's he say?" "Dunno mate didn't hear it." Ho ho. Such possibly inanity is all over the record, but depending on your point of view, it is complete genius. Actually, it IS complete genius, just on the same shiny coin as buffoonery. Sod and sick on your point of view. In my rule book, thin as it may be, anyone who can write a song called "Tel Aviv", yes, as in literally, "it's a long way to...", is an utter star barking maestro. A relevant and up to date version of the old First World War anthem "It's a Long Way To Tipperary", though quite why Buttz has/had such an affection for the place is unclear, at the time of writing. Similarly dredging up from the mists of Pot Noodles, Bensons, and cider haze "I Wanna Be on the TV" from the couch whilst watching dismal daytime TV, which back in the mid 80's must've been really bad, the poor barstads, is simply heroism on a grand scale. Perfectly capturing many a person's thoughts better than any fucking Smiths record could/can.
This is part of the mystery shrouding the lack of success of the band, especially if you couple that with "Give Us A Loan", the old problems trying to get some dolly out of the bank, with some of the best Pinky and Perky backing singing since The Dolls did "Stranded in the Jungle". And "Old L.A.", a jazzy, loungy, bouncy, broken bedspring tune, where Buttz gets all Elvis on our asses, well ears, is a stunner. Yup, cor blimey, guv'nor. All topped and trimmed with what I think is a cornet. Hell, and I guess it may well have been, it sounds like it was recorded in some sleazy jazz joint bar in LA, but perhaps more likely in Soho, at 2am such is the Gaulouise smoky atmosphere on it. Buttz wandering about the stage with a vodka martini - in a pint glarss please, guv - spilling drops on the last remaining slack jawed patrons, perched perilously on the edge of....oh well, there he goes. Right through the squeaky door.This whole slice of drooling fantastico-ness reminds me of nothing more than an 80's underground version of Keith Moon, Harry Nilsson, Ringo Starr, and Viv Stanshall and co hanging out in the 70's, been gloriously daft eccentric English types (Harry being an adopted Angle), just unfortunately not having the necessary readies to totally unleash all their spontaneous impulses on the world. Or be fully clothed. I mean, just look at the cover, which kinda makes Captain Sensible, well, look as though he was living up to his name. They look like they just woke up in a skip after trying to break into the offie on the way home.And those two covers. Well the first is a pretty perfuntory and faithful run through of Mr. Chuck Berry's "No Particular Place", so we can leave that be, and the greatest of all is "Rock En Roll Chicken", taking Bo Diddley's "Pills" to pastures new and leaving it stranded there for ever more. Daft as hell, still funny. But not as much as closer "Alright O.K.", set in, or about, some clip joint or other called The Embassy where "You can spend your wages on a pint of beer, or camp it up and play the queer", and featuring some choice one liners reminiscent of Moonie and Ringo on Moonie's "Two Sides of the Moon" album (a criminally under-rated and of course quite insane masterpiece) like "'ere mate you got 20 pence for a beer?" "yeah here's 10 get us half" and "why do they call you Disco Dave?" "I d-d-d-d-d-d-d don't know". And to end with, there's the prophetic "Everybody Loves You When You're Dead", which is sadly too true, Buttz lurching in and out of his Elvis mannerisms, fittingly enuff. Buttz knew it, just like Thunders knew it when he wrote "Disappointed in You" with "The only way you get respect is when you die, if you're a friend of mine." I remember after being written off for years all the nice accolades that were devoted to Stiv and Johnny, oh typically. But there we go, such is the way of things. And following this, Buttz only went and managed to outdo himself and get together The Last of the Teenage Idols, didn't he? But I think that's over to someone else.
The Babysitters - truly one of the best records ever and hot diggedy do here's to Rock'n'Roll, y'all. Stu Gibson "Sleazegrinder.com"
Read the Buttz 's interview here : http://www.sleazegrinder.com/int_buttz.htm*
Cd covers by MAX!


Do The Pop / More Fun
Produced by P. Boissel & The Cheetahs.
The Streetwalkin' Cheetahs: Deniz Tek: guitars, vocals / Frank Meyer: guitars & vocals, vocals on "More Fun", Dino Everett: bass & vocals, vocals on "Do The Pop", Art Jackson: guitar, Mike Knutson: drums.
While on tour in LA in August '97, Deniz was asked to come by the studio where the Cheetahs, long time fans, were recording an album of cover versions. Runaway's vocalist Cherie Currie had just left, having done a vocal track for what eventually became the Cherry Bomb 7" on Alive. The guitar tracks for these two songs were done within an hour.
Of Interest: "Deniz simply plugged his guitar into the amp that happened to be set up in the studio already, a new Fender DeVille, not expecting much. He was favourably impressed with the sound. The next day, both the Cheetahs and Wayne Kramer came to see Deniz' show in Hollywood at a small club with about 30 people in attendance." Source


BUBBLE - Total Harmonic Distortion

BUBBLE Total Harmonic Distortion cd 2001
Days Like These / Under My Wing / Artificial Schizophrenia / Idle Feel Of Fame / Naked / Easier Than This / Black Hole / Super Psycho / By & By / Sunshine / Dreamsong.
Produced by Bubble.
Bubble: Share Ross: vovals, guitars /Brian: bass/ Bam Ross: drums.
"Bubble exploded on the Hollywood scene in '97 when leaders, Bam (drums) and Share (guitars, vocals) started out with guts and a vision
as just a two piece band of drums and guitar! The idea? To have a blast on stage, lose the pretence and get their rocks off musically! It must've worked because they were offered the band residency on "glitter/punk night" at Hollywood's Goldfinger's. Combining disgustingly hooky melodies, raspy vocals, loud guitars and punk attitudes, Bubble went from being an exciting unpredictable
group to becoming brash, alterna/pop/punk leaders at the forefront of the new "glitter" scene.
Their totally DIY self-produced 15 song album "how 'bout this?" is a shining example of great songs, spectacular hooks and is definitely a "classic-to-be". With the right Bubble blaster Brian Wong (bass), this band is charged with electricity and excitement!
Bubble has already done a very successful tour of Japan (April 2000) and returned there in December 2000 after hitting the UK with their high energy brand of rock n roll/pop/punk/sleaze.
This group has no shortage of credits, but that ain't what they're about! Delivering an unforgettable live set, this band is ready for world takeover. Bubble's "SparkleStar" will be in the upcoming movie - "Dancing At the Blue Iguana" starring Daryl Hannah and Jennifer Tilly.
Bam used to bash skins for The Wildhearts & the Dogs D'Amour!
Bubble has already toured Japan, the west coast of the US and Great Britain to excellent accolades. Their second album, "Rockets And Volcanoes" has just been released to wonderful reviews in Japan and is scheduled for release in spring 2002 under the title, "Total Harmonic Distortion" in Europe and America just as the band heads off for SXSW, the UK and Japan again for more tours!!!
"Share and the boys rock on this cd like never before! Solid, honest,hard and raw! A "must get" cd to add to any collection. Keep rockin hard Bubble!" Source


RADIO BIRDMAN - Radio Activity

RADIO BIRDMAN Radio Activity (The Singles & E.P.'s) lp 2001
1 I-94 / 2 Burned My Eye / 3 Smith & Wesson / 4 Snake / 5 More Fun / 6 Dark Surprise / 7 Breaks My Heart / 8 Didn't Tell The Man / 9 Ghost Riders In The Sky / 10 Aloha Steve & Danno / 11 Anglo Girl Desire / 12 Eskimo Pies / 13 Skimp The Pimp / 14 Lifespill / 15 100 Fools / 16 Alien Skies / 17 Let The Kids Dance / 18 Sweet Jane.
From back cover:
1,2,3,4: Burn My Eye EP 1976
5,6,7,8: More Fun! EP 1988 (Live Paddington Town Hall 12.12.77, A8 Rockfield Studio 78)
9: The Raouls (D. Tek featuring P. Hoyle & C. Masuak) from "Surf 'O' Rama" sampler
10,11: Single 1978
12,13: TV Jones 1974
14: Visitors 1979 alternate guitar mix, non-album (from Red-Eye-Appetizer)
15,16: Single 1984 (15: D. Tek, Studio Houston, Texas 1981, 16: Radio Birdman: Rockfield Studio 78)
17,19: Single 1999 D. Tek & C. Masuak [Hitmen D.T.K.] (Studio Houston, Texas 1991)

Although the best-known band of the early Australian punk scene of the late '70s was the Saints, the first band to wave the punk rock flag in the land down under was Radio Birdman. Formed by Australian émigré Deniz Tek (originally from Ann Arbor, MI) and Aussie surfer-turned-vocalist Rob Younger in 1974, Radio Birdman's approach to rock & roll was rooted in the high-energy, apocalyptic guitar rant of the Stooges and MC5, sprinkled liberally with a little East Coast underground hard rock courtesy of Blue Öyster Cult. Their first EP, Burn My Eye, released in 1976, was a great record and still remains a seminal chunk of Aussie punk. Loud and snotty, with Younger bellowing his guts out and Tek on a search-and-destroy mission with his guitar, this was a great debut that set the stage for the impending deluge of Aussie punk bands waiting in the wings.
Thanks to Mr D. !



VA Les Pauls & Breaking Glass cd 2001
American Heartbreak: Too Beautiful / Bellrays: High School / Cherry 13: Lower Class Angels / Toilet Boys: Special / Libertine: Candy / Dead Boys: War Zone / American Heartbreak: Angeline / Street Walkin' Cheetahs: Gettin' Six / Electric Frankenstein: Razor Blade Touch / El Diablo: Sure As Shit / Candy Snatchers: Ass, Grass Or Crack / Toilet Boys: Turn It Up.
"Take a spill on the wild side with this trashy collection of booze-soaked bitches, as Coldfront and Sin City offer some serious, bad-ass rock'n'roll. You get twelve tracks from slurrers American Heartbreak, Bellrays, Cherry 13, Toilet Boys, Libertine, Dead Boys, Street Walkin' Cheetahs, Electric Frankenstein, El Diablo, and the Candy Snatchers. Packaged with a cover art by Frank Kozik."
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You better check the Freddy Lynxx videos posted this week by Lostindacity on You Tube !!!


THE GOLDEN ARMS - Gimme Some Lips

THE GOLDEN ARMS Gimme Some Lips cd 1998
Rag Doll / Too Much To Lose / You Could Be Mine / Take A Ride With Me / Fallin' / Give Me More / Nowhere To Go / Days Of Wine & Roses / Just Where You Are / Set Me Free / Little T & A / M.I.A. / Take A Chance With Me / Laundromat Kat / Go Back To Go / London Boys / Ask Me No Questions / Lady Bird / Search And Destroy / All I Want (live) / Overdose (live).
The Golden Arms: Hiroshi The Golden Arm: guitars, vocals / Satoshi Silvers: guitar, vocals / Koji Stardust: bass, backing vocals / Tamito Black Out: drums, backing vocals.
Guest Musicians: Freddy Lynxx: guitars and backing vocals / Little Johnnie: guitar / Joe Alcohol: guitar / Zepp Oberpichler: backing vocals / Jeff Dahl: guitar / Dee Dee Suck: guitar / Lipstick Killers: assorted instruments.
This disc has been spinning non-stop here at the Cyber Lounge and I just can't get enough. The Golden Arms, a Japanese band, puts out high energy sleaze rock inspired by The Dolls, Thunders and Iggy. They perform a bunch of original material and several cover tunes including the Stones 'Little T&A', five Thunder's songs and an excellent bass heavy version of Iggy's 'Search And Destroy'. About half of the tunes are produced by the band itself and the Jeff Dahl produces the rest. Helping out on a number of tracks are an assortment of characters including Freddy Lynxx who plays guitar on 7 tracks.If you picked up the JT tribute CD called 'Stranded In The Dolls House' then you heard this band doing 'London Boys'.
The sound varies quite a bit throughout the 21 tracks due to the various people involved and the two different recording locals, Tokyo and Arizona. Jeff Dahl's production makes the band sound polished while still keeping the edge. And it's the edge that really shines through on the two live tracks ending the disc. They were recorded live on a Walkman recorder in an Arizona bar and they sound great to me.E. Davidson
Buy It "I Don't Know Where" coz it's out !LienThanks to Mr Frk !


MUD BOY & THE NEUTRONS - Known Felows In Drag

MUD BOY & THE NEUTRONS Known Felows In Drag lp 1986
Shake Your Money Maker / Little Queenie / Brownsville / Can't Feel At Home / Bamalama / Codine / Back In The USA / Memphis Blues Again / Bo Diddley.
Produced by J. Dickinson.
Mud Boys: James Luther Dickinson: vocals, keyboards, guitar / Lee Baker: vocals, lead guitar / Jimmy Crosthwait: percussions, drums / Sid S.Selvidge: rhythm guitar.
The Neutrons: Doug Garrison, Ed Hollis, Jim Lancaster, Jerome Miller, Carl Narvell, Jerry Phillips, Richard Rosebrough.
A longtime staple of the Memphis music scene, producer Jim Dickinson helmed sessions for successive generations of cult heroes spanning from Screamin' Jay Hawkins to Big Star to the Replacements, additionally lending his keyboard talents to recordings from Ry Cooder, the Rolling Stones, Aretha Franklin, and others. Dickinson began his career during the mid-'60s, emerging as a sought-after session player through recordings with everyone from Petula Clark to Arlo Guthrie to the Flamin' Groovies; in 1971, he appeared on the Stones' classic "Sticky Fingers", and that same year collaborated with Cooder on "Into the Purple Valley", the first in a series of solo albums and soundtracks with the famed guitarist. In 1972, Dickinson issued his first solo LP, "Dixie Fried"; around that time he also formed Mud Boy & the Neutrons, a legendary local band featuring Delta bluesmen Sid Selvidge, Lee Baker, and Jimmy Crosswaith. Mud Boy & The Neutrons released two albums on New Rose Records and Koch International reissued their first album in cd with live bonus tracks under the title of "Walk Among Us". They temporarily disbanded, but reformed in 2005 to perform at a festival of Memphis music held at The Barbican in London. This concert was filmed but to date remains unreleased.The group has always been known for deliberately making their offbeat public performances rare, special events; they never toured. Their music style included elements of varying Southern United States-oriented music styles including blues, "swamp" music, R&B, folk music, gospel music, and country.
Much of Dickinson's reputation rests on his 1974 production of Big Star's "Third/Sister Lovers", the pioneering Memphis power pop group's abortive final masterpiece -- a record that both literally and figuratively captures the sound of a band falling apart, it was not issued in anything close to its intended form until 1992, its status as an underground classic nevertheless assured through years of unauthorized releases. His work with former Big Star frontman Alex Chilton continued on 1979's disastrous "Like Flies on Sherbert"; the hipster cachet of both projects made Dickinson a sought-after producer among a new generation of bands, and throughout the 1980s his credit appeared on albums from the likes of Jason & the Scorchers, Chris Stamey, Green on Red, the True Believers, and, most notably, the Replacements, whose "Pleased to Meet Me" included their song "Alex Chilton."
Dickinson remained active in the years to follow, working with the likes of Primal Scream, Mudhoney, and Rocket from the Crypt. His sons Luther and Cody also pursued careers in music, forming the band DDT and later leading the North Mississippi Allstars.
Jim Dickinson died August 15, 2009 of heart complications in Memphis, TN at the age of 67, closing out a varied and impressive musical career that had lasted over four decades. Allmusic.com
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