GAZA STRIPPERS - 1000 Watt Confessions

GAZA STRIPPERS 1000 Watt Confessions cd 2000
Outasight / Get Em Down / My Car Is / Cat Fight / Juvenile Detention / Newburgh Housewives / Who Can Save Me? / Sex and the Drifter / Injected / Swan / Mommy Shot Daddy / Jesse Wayne / As Long as It Feels Good.
Produced by R. Sims
Gaza Strippers: R. Sims: vocals, guitar / D. Hooper: bass / M. Hodgkiss: guitar / M. Allen: drums.
Former Didjits and Supersuckers guitarist Rick Sims heads up the Gaza Strippers, a glammed-up punk quartet signed to the Man's Ruin label in the late '90s. Their first album, "Laced Candy", was released in 1999. "1000 Watt Confessions" was issued a year later, and the expanded EP re-release "Electric Bible: The New Testament" followed in 2001 and their last album "From the Desk of Dr Freepill" in 2005.
Full-on cranked-out rock & roll, in the Hellacopters/Supersuckers tradition, which would fit since frontman Rick Sims played axe for the Supersuckers' album in 1995. The former point man of the Didjits leads another ragtag band to frantic rawk glory, playing tracks with so much swaggering and tongue-lagging that you can almost feel the spit flying in your face. With certain cues echoing from the New York Dolls (among others), '70s glam metal appears here as well. This is better than the Strippers' first album, but the guitar freak-outs never quite peak as high as they did on the last track of that album, although several come close. These boys sing of the rock & roll life, of drinkin' and fast cars, of tussin' and tumblin' and getting caught for it. For a band with a song like "Who Can Save Me?" and a nun on the album cover, the Strippers d
on't want savin' that hard. Kick-ass organ solo on "Get Em Down," too. Source
Buy It HERE !


TRANS EUROPE EXPRESS - Same Players Shoot Again!!

TRANS EUROPE EXPRESS Same Players Shoot Again!! lp 1977
Sha La La La Lee // Livin' For Rock'N'Roll // Sticky Boogie // I Wanna Be Free // Teenage Baby // Medley: Rock'n'Roll Music/Blueberry Hill/Good Golly Miss Molly/My Blue Heaven/Keep A Knockin'/Rock'n'Roll Music // Rock'n'Roll Baby // My Lady From Germany // Mad Boy // The Hunter // I Thank You //Here We Come.
Produced by B. Bobby
Trans Europe Express: G. Adam: lead vocals, percussions / H. Rozoum: lead guitar, vocals / M. Pitton: bass, vocals / P. Maucourt: drums, vocals + D. Cottard: piano, percussions / H. Roger: piano.
Trans Europe Express (1975-1980) was a french heavy rock band from Paris. They have recorded three lp's and some singles. "Same Players Shoot Again!!" is their second album, recorded in 1977 on Cobra Records (Factory, Asphalt Jungle) contains two good covers: the Small Faces song "Sha La La La Lee" & the V.I.P's "I Wanna Be Free".Trans Europe Express were also well known in Germany where they recorded their third lp. H. Rozum, their guitarist will play later with the german glam band, the Gunslingers (Gunslingers/For My Mom). Today "Same Players Shoot Again!!" seems sounding better than yesterday ... try it please!
"This band played dynamic heavy blues-rock hidden away on two labels best known for completely different music! The first album was dedicated to Inga Rumpf of the German group Atlantis. Both albums had lyrics in English sung by a competent vocalist. They remind me of The Faces with Rod Stewart, or Mott The Hoople." Source
VIDEO Sha La La La Lee!
Buy it HERE!
Thanks to Marc!


Michael Davis R.I.P.

Michael Davis, bassist for the MC5, passed away at the age of 68.Michael died on Friday after being hospitalized for one month for liver disease.

Ya know, the Motor City is burning, babe
There ain't a thing in the world they can do
Ya know, the Motor City is burning people
There ain't a thing that white society can do

Ma home town burning down to the ground
Worser than Vietnam

Let me tell you how it started now

It started on 12th Clair Mount that morning
It made the, the pig cops all jump and shout
I said, it started on 12th Clair Mount that morning
It made the, the pigs in the street go freak out

The fire wagons kept comin', baby
But the Black Panther Snipers wouldn't let them put it out
Wouldn't let them put it out, wouldn't let them put it out

Get it on

Well, there were fire bombs bursting all around the people
Ya know there was soldiers standing everywhere
I said there was fire bombs bursting all around me, baby
Ya know there was National Guard everywhere

I can hear my people screaming
Sirens fill the air, fill the air, fill the air

Your mama, papa don't know what the trouble is
You see, they don't know what it's all about
I said, your mama, papa don't know what the trouble is, baby
They just can't see what it's all about

I get the news, read the newspapers, baby, baby?
You just get out there in the street and check it out

I said, the Motor City is burning, people
I ain't hanging 'round to fight it out
I said, the Motor City is burning, people
Just not hang around to fight it out

Well, I'm taking my wife and my people and they're on TV
Well, just before I go, baby,
Fireman's on the street, people all around

Now, I guess it's true
I'd just like to strike a match for freedom myself
I may be a white boy, but I can be bad, too
Yes, it's true now, yes, it's true now


Let it all burn, let it all burn, let it all burn !


EXTRABALLE - Extraballe

EXTRABALLE Extraballe lp 1979
Good Night Dresden / Quand la ville dort / 1000 km en U.R.S.S. / Abri / Monde souterrain / Wild Boys / Je pense à Sid / In the goldmine / Lovetrap / Retour dans la grosse pomme.
Produced by R. Millar
Extraballe: J. R. Jovenet (r.i.p): vocals, guitar / M. Peyronel: drums, vocals, keyboards / L. Carabine: guitar / M. Ward: bass, vocals / N. Sykes: keyboards.
"It was a few years ago and Paris was a different city, encounters were easier, there's always been a rough edge to the place but in 1978, there was still a collective Spirit that contributed to make things Happen.
That's when I decided to form EXTRABALLE , as soon as I met with Michel PEYRONEL.
EXTRABALLE was created by Energy , thru' Energy , for Energy. And the name really means that you always have a second chance,there's always a second take... on things , Life, etc... you shoot again , because there are no limits except the ones of your own decay that can stop you.
Even Karma IS not irreversible , you take my word for it, I thought I was doomed and damned for Real, for Years but some Daikinis must have intervened...
We were now signed and produced by Elektra and published by Warner's.
With all accessories and utilities , we soon found ourselves at the gates of the Château d'Hérouville. David Bowie was just finishing the Idiot album with Iggy Pop and the masters of the Low album were still just there on the shelves.
The library Room @ the Château was a trip and a half with Van Gogh and Chopin's ghosts having dramaramas, both had spent time nearby and incidently the weirdest stuff would manifest in that place.
Le Château d'Hérouville was a very special spot and one day the experience of recording the magical take of "In the Gold Mine "when the Sun was just rising is still memory stored for ever.
" Retour dans la Grosse Pomme " was the Hit single that kept us 22 weeks in Europe 1's charts. Then the award at Midem in 1980 for best french group of the year landed like a cherry on the cake.
We visted many times RTL's Video studios in Luxembourg , to shoot those tracks and gigs were plenty.
A lot of pressure was piling up, Murray Ward had replaced Olivier on bass and Nick Sykes, the english keyboard player who had just finished playing on the "Broken English" Marianne Fairhfull's album came to join during those sessions for this first Extraballe alabum on Elektra.
This line up with a heavier stucture needed more back up
This ended with our signing with Super boss Alain Levy on Columbia.
It was obvious that this new profile implied a lot of changes and I was forced to upgrade the line up of the band for the following album:"Sales Romances", the first album recorded for C.B.S.
One Huge Mistake ! I should have said "NO" to all those changes when Warner's publishing was not even communicating well anymore with C.B.S.
With Lolita , rebaptised Loilita Carabine and Olivier Huret becoming Olivier Hurt ...
with such a casting, we had a winning hand.
We traded Mercedes Benz's trucks and cars from Germay to Paris and AKS moogs from London that were rare in "the frog pond" to purchase the best possible music gear... Red and Purle or White Marshall Amps, Ludwig Drums, U name it we had all the tools.
We rehearsed until the end of Spring 1978, then I went to Finland to write most of what was to become the material of the first album.
EXTRABALLE pragmatical and strategic: Exit London 1 : to record the first maxi Single.
Danny Peyronel , Michel's brother, was playing keyboards with the Heavy Metal Kids and he made all very easy for us to achieve this first recording.The other main factor was the encounter with Robin Millar. ( Mick Taylor's brother in law).
I still have in mind Robin playing all the lead guitar parts of this first EP songs, he was playing and I was pretty much just shouting the chords changes... surreal..."Johnny la Hyène", "Capitulation" or "Haute tension",@ Matrix studios , Great Russell Street was in Awe...,ask Nigel, he was and still is Matrix and Maison Rouge studios's boss.
Meanwhile, I was living in Shepherd's Bush in a freezer of a flat and we were rehearsing in Camden, under the arches of the Stables, was Atlanta studios, Billy Idol and Generation X used to rehearse there too.
In 1978 Camden was a different sight :BSA's , Norton and Indian bikes , scrapyards, carbreakers, industrial post war slums...
A long shot from Michel 's residence in St Germain des Prés.... I was living in that hood too, it made sense then... Soon we were to become the resident act @ the Campagne Première theater anf from this point all started to flow like a Wild River.
This place was the Ultimate weapon and allowed us to appear quickly on bigger stages , such as the Bataclan to front the Stranglers and many other venues where we got a lot of exposure, hence a lot of good reviews. We sold each and every copy of this limited edion EP ...5000 copies, eventually with Extraballe FLAMINGO RECORDS became NEW ROSE, a label that did a lot for many bads under Patrick Mathé's Influence..." Source
To be continued... read the following here!
Buy Extraballe stuff HERE or HERE!
J. R. Rovenet (r.i.p) died in London a few months ago...he would have turned 60 in 2012.
A lire aussi l'article de C. Eudeline consacré à Jean Robert Rovenet et Extraballe dans le N° 535 de Rock & Folk.



ELECTRIC FRANKENSTEIN We Will Bury You! 2xcd 2003
CD 1: Wild In The Streets (Garland Jeffreys) / High Voltage (AC/DC) / Out There (F-Word) / Not For Sale (Girlschool) / Sex & Dying (X) / Borneo Jimmy (Dictators) / Savage (Fun Things) / Your Emotions (Dead Kennedys) / 1977 (Clash) / Just Like Your Mom (Vox Pop) / She's My Bitch (Supersuckers) / Frustation (Crime) / Plastique (DRI) / Aces High (Iron Maiden) / I Was A Punk Before You Was A punk (The Tubes) / Home Of The Brave (Naked Raygun).
CD 2: Runnin' With The Boss Sound (Generation X) / The Chain (Fleetwood Mac) / Third Generation Nation (Dead Boys) / Sick As A Dog (Aerosmith) / We Are The Road Crew (Motörhead) / Rock 'N' Roll is Dead (Rubinoos) / Wish You Were Here (Pink Floyd) / Tattoo Vampire (Blue Öyster Cult) / Frankenstein (New York Dolls) / Bad Reputation (Joan Jett) / Cocaïne Blues (TP Arnold/Johnny Cash) / Don't Touch Me, I'm Electric (Bill Nelson's Red Noise) / Over At Frankenstein's Place (from the Rocky Horror Picture Show) / Queen Wasp (The Misfits) / Coolest Little Monster (John Zacherle).
Produced by Electric Frankenstein & & K. Lacatena.
Electric Frankenstein: Steve Miller: vocals / Sal Canzonieri: guitar / Drew Benfante: bass / Mike Lincoln: drums.
Electric Frankenstein is an American band from Whippany, Clifton, and other areas of New Jersey. Their music is generally considered punk rock, but includes elements of hard rock and Heavy Metal as well. Because of this, they have sometimes been referred to as AC/DC meets The Dead Boys - high energy punk rock & roll that combines the raw and energetic sounds of Punk Rock and Garage Punk (Dead Boys, Ramones, Damned, Misfits, etc.) with elements of Hard Rock played by bands like MC5, Stooges, AC/DC, Kiss, Mott the Hoople, Alice Cooper, and so on.
This gargantuan 31-track Double CD release collects all of EF' s cover songs from the first 10 years of the band's monstrous history. "We Will Bury You" truly reflects the eclectic mix of EF's influences as a band. From the obscurest of Punk (F-Word, Crime, Fun Things), to Stadium Rock and Heavy Metal (AC/DC, Iron Maiden, Blue Oyster Cult), to the just plain unexpected (Pink Floyd, Fleetwood Mac): all of the band's heroes are paid homage to on this release.
Dedicated to André, a SOTD friend in Mongolia ! Thanks...



DRIVEWAY SERVICE Under My Hood 7'' 20?? (WigWam 003)
Under My Hood / Let You Go.
"With a star studded line-up featuring Breadmakers, Shutdown 66 and Puritans members, Melbourne's Driveway Service handle the garage thing just as well as they handle the road...and never a drop of beer is spilt. With each man playing in several other outfits it's just a damn shame the SERVICE don't hit the stage more often."
Direct from Mr D.'s cave ! Thanks !


Johnny Thunders & Walter Lure


GREEN ON RED - No Free Lunch/The Killer Inside Me

GREEN ON RED No Free Lunch (1985) & The Killer Inside Me (1987) cd 1992
Time Ain't Nothing° / Honest Man° / Ballad of Guy Fawkes° / No Free Lunch° / Funny How Time Slips Away° / Keep on Moving° / Jimmy Boy° / Smokestack Lightning° / No Drinkin'* / Broken* / Don't Shine Your light On Me* / While The Widow Weeps* / Clarkesville* / Mighty Gun* / Jamie* / Whispering Wind* / Ghost Hand* / Sorry Naomi* / No Man's Land* / Track You Down (His Master's Voice)* / Born To Fight* / We Ain't Free* / Killer Inside Me*.
Produced by D. Stuart° & J. Dickinson*.
Green On Red: C. Prophet IV: guitars / D. Stuart: vocals / C. Cacavas: keyboards / J. Waterson: bass / A. MacNicol° & K. Mitchell*: percussion.
The critical hosannas lavished upon the album "Gas Food Lodging" earned Green on Red a major-label deal, though, with appropriate irony, this very American band found themselves contracted to the British branch of Polygram. The label's American imprint, Mercury, picked up their option several months after the group's big-label debut, "No Free Lunch", was released in the U.K. An EP running a bit under 24 minutes (the tape & a later reissue padded it out to full length with a 13-minute blues workout on "Smokestack Lightning"), "No Free Lunch" covers territory not dissimilar to that on "Gas Food Lodging"; nomadic musicians on the road ("Keep on Moving" and the title cut), out-of-work sad sacks ("Honest Man"), families confronted with death and loss ("Jimmy Boy"), and the struggle to believe in something despite it all ("Time Ain't Nothing"). The band even throws in a pretty good cover of "Funny How Time Slips Away," and their performances are noticeably tighter and sharper than on their previous albums (the time on the road after "Gas Food Lodging" seems to have paid off), while the engineering by Steven Street and Simon Humphries is crisper and better detailed than the sometimes muddy tone of "Gas Food Lodging". But while the band sounds game, the songs are good, and Dan Stuart is in unusually strong voice (with the exception of "The Ballad of Guy Fawkes," where he lapses into a curious fake Brit accent, perhaps in tribute to his new corporate sponsors), at only seven songs "No Free Lunch" seems oddly incomplete, sounding less like a self-contained short work than an album that somehow didn't get finished. There's nothing wrong with what's here, but it's hard not to wish the band had made more of it at the time. Allmusic
After the creative breakthrough of "Gas Food Lodging" and the surprising discovery that they responded well to a touch of production polish on "No Free Lunch", Green on Red seemed poised to move on to new heights, both artistically and commercially, with their first full-length for a major label, "The Killer Inside Me". Jim Dickinson, noted R&B pianist and studio helpmate to such expressive eccentrics as Alex Chilton and Paul Westerberg, was tapped to produce, but while the pairing looked great on paper, the results sounded just a bit muddy and cluttered, lacking the tense clarity of "No Free Lunch" and the more organic sloppiness of "Gas Food Lodging". While the musicians are a bit better focused here than on their earlier recordings, the overly boomy audio does little to flatter this band's newfound precision. As a singer, Dan Stuart long had a tendency toward sloppy histrionics when he wasn't held in check, and here Dickinson seemed content to let Stuart's performances go wherever they will, and with a chorus of far more gifted soul singers offering backup, his craggy tone and faux-wino bellowing have rarely sounded more obvious or less effective. Most importantly of all, "The Killer Inside Me" lacks material on a par with the two released that preceded it, and while Dan Stuart is too gifted a tunesmith to not come up with a few songs worth hearing (most notably "Mighty Gun," "We Ain't Free," and the title cut), many of these songs sounds like retreads of ideas Green on Red tackled more effectively in the past, and the album's darker tone often feels forced, without the faint hope of redemption that made "Gas Food Lodging" so powerful.
While "The Killer Inside Me" isn't Green on Red's weakest album, it didn't live up to nearly anyone's expectations, and suggested this band's moment of glory might have been starting to fade away. Allmusic