Cor Gout: vocals
Wim Oudijk: all instruments

Guest musicians:

Bart Weber: guitar
Louis Debij: drums
Guus van Leeuwen: bass, backing vocals
Fred Koene: drums
Attila the Stockbroker: mandola, vocals

Production, engineering by Wim Oudijk and Guus van Leeuwen.
Co-production on « Blitzkrieg Bop »: Attila the Stockbroker.
Technical assistance: Anton Simonis.

Cover, artwork and design by Ada Fesevur, Siebrand Weitenberg.
Logo design by Edu Kisman.

Reviews in English: 2              Chronique en français : 1___________________________________________________________________________

SOUNDS, UK, January 1986

TRESPASSERS W « Paris in Between The Wars » (TW)

A ranting sensation, Trespassers W bleat with charm about such things as their theory that the devil is an English women. Pretty weird with an neat backing track and some clever musical intonations.


Trespassers W
Paris In Between The War
s / EP 12″ / TW Rec. TW 1003

En voilà qui n’arrêteront jamais d’étonner. Après un excellent 1er single, un magazine très intéressant et un LP remarqué dans OSP 13, leur dernier EP est à nouveau un petit chef-d’œuvre. Reprendre « Blitzkrieg Bop », l’hymne ramonien, en version langoureuse, fallait oser. Les références musicales faussent toute tentative d’identification et donc d’explications et dirigent l’attention vers le textes – scènes satiriques sur l’évolution du French Cancan ; parodie d’un morceau interprété à l’origine par B. Bardot « Le diable est anglaise »… (et refuse de rouiller) et analyse conjonctuelle sur le fondement des « B-Sides » des singles. Aurait-on trouvé les Woody Allen du rock ?

SPIN magazine, USA
By Andrea Enthal:

Apparently the Trespassers’ idea of a blitzkrieg is a pillow fight, so the « Bop » in their version of « Blitzkrieg Bop » goes ballad on their 12-inch EP « Paris in Between the Wars. » Imagine the guitar lines of the Ramones’ original plucked on madola (a lutelike acoustic instrument) as a sweeping, flanged synth slowly crosses through each verse. British poet Attila the Stockbroker adds delicate vocals, pronouncing every « b » and « p » in « bop » with the enunciation of a tuxedoed butler, delivering each « hey, ho, let’s go » with a clipping monotone. What was written as a fast a furious firestorm has been transposed into a shimmeringly sparse melody with the scratchy ambiance of « Sister Europe » from the Psychedelic Furs first LP. Attila is only a guest for that cut, but the band’s own compositions are just as alluringly soft. The title track is a delicately recited tale of a French cancan dancer who holds her male audience under a bewitching spell: « Music gets intoxication like a sultry hymn. Her dancing is fascination, and incantation. » Cor Gout intones with a foreign-tinged accent over Bart Weber’s soft and slinky snake-charm guitar, while uncredited percussion taps lightly to create the song’s sparse electro tom-tom. The chorus sings a sweet « come see her dance, look mama, no hands » in the middle and an even more majestic « come see her dance, look mama, no pants » at the end. She’s not wearing any pants on the record label either, but that’s all I’m going to say, except to warn you not to let your parents see how the centerpost of your turntable relates to the black and white suggestion of her form. This record was manufactured by CBS of Haarlem, the Netherlands, and imported into the US by an unknown distributor. If you know who imported it – help!