| | Lunachicks Babysitters On Acid CD Lunachicks Discography of CDs
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The Lunachicks' shtick was well in place by the time Babysitters on Acid appeared, a debut which didn't have much to say, but said it with enough base humor and zealous punk antics to keep the spirit of comic anti-revolution alive. Unsurprisingly, like many punk revivalists in the 1990s, the Lunachicks were busy with pop culture references (The Brady Bunch, James Bond) and offensive lyrics ("Lord, I hope they never come back!/ok kid, step on the oven rack/you wanna know how the baby is?/don't worry, she's almost done"), all the while relying too deeply on heavy metal riffs and sloppy drumming, as if the idea of methodically recreating the dubious skill of the punk movement didn't carry with it its own irony. But no other group had a singer like Theo Kogan, who was Ari Up, the Dwarves, and Courtney Love all at once. Famous for dressing up in blood-splattered wedding dresses and scowling through songs like her life revolved around Oliver Stone's Natural Born Killers, Kogan would take the band from an all-girl Queens of the Stone Age to a band that was aggressive and satirical, but in a non-threatening way. With her help, Babysitters on Acid became a debut that outshined its limitations, not least of which its premature release, and she gave you the idea that the Lunachicks' best material was right around the corner. ~ Dean Carlson
Photographer: Michael Lavine.
Lunachicks: Theo (vocals); Gina, Sindi (guitar); Squid (bass); Becky (drums).
Personnel: Theo Kogan (vocals); Becky Wreck (drums).
Q - 3 Stars - Good - "...bad girls, more than capable of playing the boy punks at their own game." (1/91) Babysitters On Acid Music Lunachicks Babysitters On Acid Songs Babysitters On Acid Music Review Purchase Babysitters On Acid CD To buy, Click on price to add to cart | Kinks Ultimate Collection CDs (2002)
Babysitters On Acid album
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Although generally not as highly regarded by the critics as the Beatles, the Rolling Stones, or the Who, the Kinks may well have influenced far more musicians. The three-chord sledgehammer proto-metal burst of teenage lust called "You Really Got Me," the Kinks' third single and first hit, touched off a garage band explosion, which in turn influenced the rise of punk a decade later. Blessed with an astute songwriter in Ray Davies, the Kinks followed the template of "You Really Got Me" for a couple years, racking up hits with "All Day and All of the Night," "Tired of Waiting for You," and "Till the End of the Day." But Davies had more than one card in his pocket, and he blossomed into a sharp social satirist ("Dedicated Follower ...
| | Ozzy Osbourne Ultimate Sin CD (1986) Germany; Remastered
Babysitters On Acid CD music
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Also available in a 3-pack with DIARY OF A MADMAN and BARK AT THE MOON.
Ozzy Osbourne's 1983 release, BARK AT THE MOON, revealed that ...
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| | Laurie & John Arabella CD (2004)
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Arabella, named after a street outside Laurie and John Stirratt's hometown of New Orleans, alternates between songs penned individually and as a duo. The twin siblings' first full-length release together anchors on acoustic guitars and vocals, pulling soft harmonies, keys, and colors into the mix with ease. Sparkling and celebratory with its rich pop arrangements, the music here moves beyond the earthy, spare, and sultry quality of the duo's folkier live sets. With Laurie & John joined in the studio by familiar personalities from the Autumn Defense and Wilco, a sense of community is fittingly woven into the record, and Arabella sits comfortably in the body of work spanning the Stirratts' respective careers. In the opening track, "Ten Years Ago Today," Laurie's sweet and pure vocals steal the show wherever they appear, and in harmony, the Stirratts have the lilting subtlety of the Everly Brothers. Vintage organs pierce the afternoon haze like beams of winter sunlight and a pedal steel sighs always from a distance, like the ego tending to the id, with occasional baritone guitar adding a heavier step. Pat Sansone brings his characteristic arsenal of keyboards to the album, such as Moog on the rousing "A Merciful Night," a cut reminiscent of mid-'70s productions by the likes of Arif Mardin. Minor-key melodies in vocal harmony recall the Mamas & the Papas on "If I Hadn't Blinked My Eyes," while other moments on the album have the mellow sun coast aesthetic of America or Mojave 3. Both Stirratts have a clarity in their voices that creates a sense of innocence and optimism, yet their musicality and the effortlessness of the production makes this a work of artistic maturity. Throughout Arabella, John's poetic abstractions counter Laurie's earnest reflections -- on dreams, hard-won wisdom, and the solace therein -- together mapping the geography of the soul. ~ Lisa M. Smith
John and Laurie Stirratt were born 5 minutes apart in November of 1967 in New Orleans Louisiana, and grew up in neighboring Mandeville in a musical family- their father Avery has played tenor and plectrum banjo in Dixieland bands since his teens. Their mother ...
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