Chapter 1 - "Pretty Maids” 1982 - 1983

Chapter 2 - "Red, Hot and Heavy" 1984 - 1985

Chapter 3 -"Future World" 1986-1987

Chapter 4 - "Jump the Gun" / "In Santas Claws" 1987 – 1990

Chapter 1 - "Pretty Maids” 1982 - 1983

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Released: Nov 1983 in the UK on Bullit records (UK) and Par Records in the US.
Everywhere else on Licensed deals or import.

The album was in march 1984 re-released in a remixed version by CBS Records throughout Europe.

The first song ever written by PM was Shelly the Maid, written at the end of 1981 by Hammer and his then brother in law. Next song was City light, written in the summer of 82. In the autumn of that same year the songs, Victims of Power, Nowhere to Run, Spanish Midnight, Fantasy, Children of Tomorrow, Warchild and In the Night were all written and demoed during January 1983 at a local demo studio. The demo simply titled Heavy Metal was first send out to some small unindependent labels and immiedetly caught attention by a company from the Netherlands called Rave on records and a little English label called Bullit records. We decided on Bullit, since we believed that Britain and the british press were the turning point for heavy metal at the time being. Signing with Bullit was the first mistake among many, in the years to come.

Being the young and rather naive kids (around 17 and 18 years of age), we simply signed and gave away our copyrights/ publishing rights for the next 50 years or so. To be honest, none of us really knew or cared for the content of that first contract. We just wanted to make a record and take it on the road, the sooner the better!!! The 'mini' album was recorded with Tommy Hansen at his local studio in our hometown of Horsens during april 1983 now including one brand new song called Bad boys. Tommy was a well known local guy who made his first serious musical move in the beginning of the seventies with a band called The Old Man and the Sea, some kind of a Danish pendant to Bands like Deep Purple etc. and that's what caught our attention. Besides that he was a great keyboard player and had a good set of ears for grooves and melodies. We financed the recordings and photo sessions ourselves and the lay out of the front cover was up to Bullit records. Oh my god, were we disappointed when we first went down to the record store to buy a copy of our first album, YES WE WERE !!! (and we weren't even sent a free copy, believe it or not). The front cover was so lousy and cheap looking, that we couldn't believe our eyes. The picture of a women in stockings on a red background with no head to be seen, ha ha. The story goes that the bitch was so ugly that they had to remove her head from the cover, not to scare fans away from buying it. Now that's what I call Spinal Tap.

After the recordings and out of the blue, we had an offer to support  Black Sabbath in Scandinavia on their first tour with Ian Gillan. That was in August '83 and we were so exited and almost shitting our pants commiting ourselves to this, we were absolutely first timers out on the road, but it was an overwhelming experience. The Sabbath guys and crew were very kind to us. The album was finally released in England in November '83 and Bullit records called for us to tour with the albums release. They said: Come on over, we'll treat you like stars, we've set up a 10 date tour and everything was taking care of. When we arrived in England, needles to say, there wasn't taken care of anything. Most of the gigs weren't even promoted. I remember we played a gig in Leeds and there were only to security guys and a waitress, but we played anyway. We were based in an emty house in Stoke with no facilities at all, besides 6 madrasses. We travelled around England in the back of a van sitting on top of our gear in our sleeping bags. We were getting paid three pounds a day and bassicly lived of baked beans and French fries for three weeks. We'll treat you like stars, MY ASS!!! However, nothing could spoil our good mood and spirit, we were young, hungry (or should I say thirsty) and ready to take on the world. While we were there we managed to get some good rewievs in Sounds Magazine among others and also recorded 4 songs with producer Tony Wilson for the Friday Night Rock Show on BBC. We were recommended to Wilson by Ian Gillan, who obviously had remembered us from the Short Sabbath stint in August.

When we returned to Denmark we made an interwiev with a Danish Rock/Pop mag about the tour and new album and we told them that we had sold around 50.000 units in three weeks, they actually printed that in the mag and some A&R guy on CBS records apparently fell for our little exaggeration (that's the only time we actually fooled CBS, since then they've been fooling us) They wanted to sign us right away. We then Remixed the whole album in a studio in DK, added a few backing vocals and the album was released in Europe in March '84. CBS records gave Bullit a little bag of money and we were out of a bad deal and directly entered a new one (read: bad deal)

Next stop: Red, Hot and Heavy   

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Chapter 2 - "Red, Hot and Heavy" 1984 - 1985

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With a new major record company behind us we started out '84 by opening up for Judas Priest on one single gig in Copenhagen on January 20. In march we did some promotion for the re-release of the first album and made our first appearance on Danish national tv performing Fantasy. CBS wanted us to follow up with a new album a.s.a.p. In those days we used to rehearse something like 5 times a week or at least hang out together, so much of the material for the forthcoming album was already written. The first song I guess we wrote was Nightdanger then followed by Queen of Dreams, Battle of Pride and Cold Killer. Those were all written during the summer/autumn of '83. Then we went on our first tour of England and remixed the first album etc. and not much songwriting were going on for the remaining part of '83. After our first brittish tour we also realised, that maybe it was time for a little line up change. When you spend three weeks in the back of a van, playing small clubs under real shitty circumstances you find out a lot about yourself and those you are in a band with and something wasn't quite right, someone had to go.

In April '84 John Darrow was sacked and Pete Collins left more or less on his own as I remember it. We were now on the lookout for a new bass player and a second guitarist. We knew about two guys who had recently played in a band called Pentagon and had now formed a new band which we went to check out. We sort of liked what we saw and asked them to join us on the spot, which they did. With Allan Delong and Ricky Hansson in the fold we started out partying and socalising a lot to get to learn about each other but still kept up with the rehearsels. Studio time were booked for the end of may and so we hooked up with Tommy Hansen to do some demoing and pre-productions for the new materiel. The songs Red, Hot and Heavy, Back to Back, Waiting for the Time and A place in the Night were all written during that spring of '84. One final song was added, though. Little Darling by Thin Lizzy. In hindsight an odd track to choose, when you think about how many great songs Lizzy did, never the less. At the time being, we were looking for an international producer and our first priority was in fact Phillip Lynott who had a big star in our minds since we were all huge Thin Lizzy fans. A poor attempt were done by the record company (if any at all) to get him interested. The truth is that CBS didn't want to spend too much money on a producer and we ended up with Tommy Hansen and a guy called Billy Cross, an American based in Denmark and who's rise to fame was being guitarist in Bob Dylans touring band in the late seventies. But the choice of Tommy as the producer was the right one. He was the one that came up with the individual inputs, so he more or less deserves all the credits for the production side of it. Billy didn't really participate a lot, apart from the mixing of the album.  Red, Hot and Heavy was recorded and mixed in 4 weeks at the PUK studios in a field in the middle of fucking nowhere in Northern Denmark. However PUK was a great place and a place we would return to many times in the years to come. We, of course enjoyed every bit of the prossces recording our first real longplayer. We were really focused on getting everything right on every angle and everybody really tried to give it the best they'd got. On top it was the first time we had the chance to work with a fairlight computer/synclavier and that kind of keyboard set up definitely had it's mark on the overall sound of that album. Red, Hot and Heavy was also very much the album where we as a band defined our sound, developed our style, found our different roles within the band and in every sense showcased what this band was all about.  When we finished the album I guess we all thought that we'd done some fine piece of work, not knowing that this particular album would actually turn out to be a milestone in our career.

When I listen to Red, Hot and Heavy today I must say, that i fully understand why it is considered a classic by so many of our fans today. It simply sounds so different to a lot of the hard rock albums that were being released back in the mid eighties. Not saying that it was better or worse than anything else (nah, maybe a bit better you know, ha ha!), it just did sound different and some kind of refreshing. Anyway it's an album that I'm proud of being a part of. Red, Hot and Heavy was released in Scandinavia in October '84 and was followed by a short tour of Denmark. After the tour we had to sack Ricky Hansson which was a little tough since he was an extremely nice guy but he just didn' t cut it live, Pete Collins were eager to join the band again and he did. And that was about it at the moment. CBS did knew they had something, but they just didn't know how to handle that something. Our then manager and friend, Ken Anthony played the album to Eric Thomsen (from now on referred to as ET) and he was blown away and really liked what he heard. ET was an institution on the Danish hard rock scene at that time. He was basicly a promoter and was responsible for all heavy metal/hard rock concerts in Denmark and to a certain extent Scandinavia. He made his name up through the seventies working with such bands as Deep Purple, Eric Clapton, T Rex, Slade, you name it. He had a quite close relationship with Richie Blackmore and all the people and bands that came out of the Deep Purple thing. But most of all, ET had a notorious reputation for being a crazy unpredictable rock'n'roll animal who would rather often do the unexpected. And i can easily state that the most chrazy, laughable and joyful moments we (mostly Hammer and myself) had in our 27 years in rock'n roll was together with ET. I don't want to go into details about that, since I could write a book about all the incidents and crazy moments. ET was rock'n'roll in every sense but also a very warm person, with a big heart.  Hammer and I had a meeting with him in his private home in Copenhagen and we clicked right away from day one. ET was as enthusiastic and ambitious as we ourselves and believed that we had the potential to make it big. His first plan was to get us on the Deep Purple reunion tour in the beginning of '85, but that plan bummed. Then we decided to wait for the right tour with the right band to support the release of Red, Hot and Heavy which was released throughout Europe in the spring of '85. While waiting for the perfect tour we did a few festivals in Holland, Belgium and Poland as well as some local TV apearrences in Germany and Denmark. ET liked to do things in style, so he typically booked Hammer and me into a fashionable hotel in Copenhagen just to do an interwiev. Our first serious encounter with the rock'n'roll highlife was after a concert in Copenhagen where he took us out to one of the absolute jet set places where we hung out with the guys from Bon Jovi who opened for Kiss the same night. ET introduced us to the rock'n'roll life style and life in the fast lane, and we were more than willing to learn. A lesson we never forgot.

So with no tour just around the corner we went back into rehearsels to get some new things done, but it was like we couldn't really get started until we've finished promoting Red, Hot and Heavy. But some of the better songs from the forthcoming album were actually being penned at that period. Red, Hot and Heavy slowly started to get real good rewievs and feed back all over Europe, Japan and in certain parts of America as well . So finally the international department of CBS records in London started to show some attention. In august, ET came up with the tour, CBS came up with the money to support it (of course, at the end of the day we paid ourselves through our royaleties). Never the less on September 5th, we went out on tour with Saxon, the English nwobhm rockers who were out to support their new album Innoscense Is No Excuse. The tour started in Hanley, Stoke on trent in one of these old theatres. We'd been to England before playing small clubs and pubs, but now we found ourselves performing for 3 to 5.000 people a night, we were exited! On the first night I guess we all were a little nervous not really knowing what to expect, So before the first show Biff came into our dressing room and introduced himself, wished us luck and told us that we'd do fine in England, apparently a very nice bloke. When we got out on stage to do our 45 minute set the first thing we heard was someone in the crowd shouting 'GO BACK TO DENMARK YOU FUCKERS!!!' Holy macaroni, what a reception. Then the spitting began and continued throughout the whole set. On top of that they threw all kinds of shit at us but we refused to give in and just carried on and tried to pretend that we enjoyed what we did. After the gig we had so much disgusting snot in our hair that we didn't need hair spray or gel for the next couple of weeks if it wasn't for the fact that we booked a hotel room to get a shower and get the shit out of our hair. Of course on that particular night there was no shower facilities backstage. So now we knew what we were up against and what to expect, but truth be told, that first night was by far the worst too.

The next two weeks we continued on to mixed receptions. The problem was that CBS in England had done a real bad job promoting the album and most of the punters had never ever heard about the band and naturally first of all came to see Saxon. When we played in Birmingham you could hear a pin drop after we finished the first song, NO REACTION! After the gig we drowe directly to Lorelei in Germany to make our first live Apearrence there and hardly made it in time. We had to cut our set and went directly out of the tourbus, rushed to the stage and gave a short but determined 30 minute set. We had a warm welcome in Germany where the fans were familiar with the music and now we were looking forward to the European leg of the tour. After the Lorelei festival we went straight back to Cardiff, Wales and managed to get Paul Chapman and Pete Way up on stage to jam on Red, Hot and Heavy. We knew Pete from Copenhagen where he lived at the time. We finished the british part of the tour in Brighton on September 20th. On the entire tour in England we were not allowed one single soundcheck.

On October 6th we started out the last leg of the tour in Munich, Germany, but before that some unfortunate persons in the band entourage had to go through the finger test going through customs in the airport (it wasn't me, he he). On the trip through Europe we gave Saxon a run for their money, suddenly there were people coming to see us too and we were in for the kill. So much that when we played in Brussels, Belgium, Saxons manager came up to me just prior to walking on stage, telling me that Biff was a little concerned that I was ripping him of getting the crowd going ha ha. He told us to take it easy and we told him to fuck off!! and went out and kicked ass. I guess Biff was a little concerned of competition. After the last show in Bremen we hung out with the Saxon guys and partied, they drank their usual tee which we didn't understand shit off. We drank everything, at least everything with alcohol in it. The tour had been a great success for us, especially on the European continent but also the british part of it had been okay after all. At least it had been instructive and we learned that all things don't come for free, sometimes you have to fight hard for achievement. And that was a good lesson. Red, Hot and Heavy was now selling really well and the tour had done it's purpose. We ended the year by flying to Amsterdam where we made a playback of Waiting For the Time to be showed on Sky channel. During the Christmas holidays we returned to Germany for a few shows. Now with the first smell of real success we were ready for the next move in our carreer.

It was back to the rehearsel s and a new album. Back to work.

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Chapter 3 -"Future World" 1986-1987

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Lovegames was the first song that was written for the album that eventually became Future World. It was written late '84 just about the time when Red, Hot and Heavy was released. During the spring of '85, Rodeo and Yellow Rain were the next songs to be penned. It was a bit of in between rehearsals for playing festivals and the ongoing promotion for Red, Hot and Heavy which was released in Europe at that time. Some time in late summer '85, Hammer and I were hanging out in his apartment listening to records which we regular did and I remember that in particular LA bands like Ratt, Rough Cutt and in particular a band from Arizona called Icon (especially their second album: Night of the crime) had quite an impact on us back then. But on that day we listened to the first King Cobra album and one of the songs from that album, can't remember which, did actually inspire us to write the title track for the forthcoming album. First it was in fact entitled Afterworld but of course later named Future World.

To this day, I personally would state that if I had to pick one song from our entire back catalogue as the best one, it probably would be Future World since it simply contains all the ingredients that identify the band at its best, a great guitar riff, good vocal melodies and nice keyboards. The mixture of all that is what does it for me. Though I think we've written a lot of good stuff since that, I still see Future World the song, as something unique. On top of that it's one of the songs that I still enjoy to play live. With 4 songs almost finished in the can, plus a couple of riffs and ideas, we spent the rest of the year more or less on the road promoting our then current album Red, Hot and Heavy. In late November '85 we hooked up with Tommy Hansen again to do some demos of the new materiel. We recorded Future World, Yellow rain, Lovegames, Rodeo and a brand new song called Too Much Too Fast (it eventually ended up as Youngblood in a slightly different version on the Jump the Gun album). Anyway ET and an A&R guy from CBS in Copenhagen came over and listened to the new stuff, and they liked what they heard and wanted to hear more songs. In February '86 we lent a summer residence on a little island called Samsoe in Denmark. We brought our gear and some rough ideas and got on with the songwriting for a week or two. As soon as we turned up the amps, we immediately were approached by a local neighbor who obviously thought a nuclear bomb was brought to explosion on his cozy little island, just to realize that it was a bunch of longhaired youngsters out to have a good time. He told us to lower the volume right away. We did, until he left. We had a real good time while being there though there was absolutely nothing going on there in the middle of winter. Of course the ideas weren't popping up all the time so when we running on empty we would either play video games, watch movies (mostly porn movies though) or just party on. But we were quite productive. At least We Came to Rock and Needles in the Dark were both written in that period and as I remember, we finished off Loud and Proud as well. 

Around March/April we did some very rough demos of these songs plus some more or less unfinished songs with the working titles Empty Streets and Bringing on the Bad News once again with Tommy Hansen. Now CBS international were starting to show interest in the band and the Americans as well. Partly due to the sales of Red, Hot and Heavy but also because of the new materiel that were send to them. Now was the time to start looking for a producer and the right place to record it. CBS in London came up with a guy called Tony Platt with whom we met in Copenhagen In may, but I guess the chemistry wasn't there. Tony was a kind of in house producer for CBS London at the time and we weren't amazed by his works. Our top priority and wishes in the band were guys like Beau Hill, Peter Collins, Chris Tsangerides, Tom Alomn and of course John Mutt Lange (though we knew that was an unrealistic wish). None of these were apparently possible to get involved, since they were either too expensive or simply not available in the summer of '86.  CBS international wanted us to have a household name to produce the new album and so did we. The choice fell on Eddie Kramer who was available and willing to take on the job. Kramer who made his name working with such artists as Jimi Hendrix, Led Zeppelin and Kiss just to name a few. However it was his involvement with Icon's, Night of the Crime album that actually caused our attention. What we didn't know was that when we hired him he had apparently been sacked from the last three or four projects that he'd been involved in, due to personal problems with the bands, as we later found out. Kramer suggested that we recorded the album in America and we had no obstructions to that idea.  Before the deal with Kramer, who after all was pretty expensive, was signed, CBS wanted us to put our signatures to a new deal. It was a bit of, if you don't sign this piece of paper the whole deal is off. And as we didn't care much for the financial side of the rock 'n' roll business, as long as we just had money enough to get by on a daily basis. We signed it and were hung up on a very bad deal for our part, the next seven years. And let me add that in those seven years we sold a lot of records.

Eddie Kramer arrived in Denmark in the middle of June and we got straight into preproduction for the forthcoming album. Eddie who was a very nice and gentle fellow seemed very enthusiastic to begin with. He didn't exactly carry the image that we had of a rock 'n' roller and looked quite the opposite. However we spend the first couple of days playing the songs over and over in our rehearsal room and then booked ourselves into a little studio in Aarhus (DK) to see if we could come up with another song or two. One night out of the blue came Eye of the Storm, which was the last song to be written for the album.  In the beginning of July we flew to America. Once we arrived at the JFK we were picked up and taken straight up to Woodstock, one and a half our north of New York by car. We were set up in two cottages with a nice swimming pool in the back of the garden. The Bearsville studios were based in the middle of the woods, on a very beauty full nature site indeed. Woodstock the town, Was a very cozy little village, and some of the Hippies and flower power people from '69 when the festival took place was still hanging around there, they never left. And there we would spend the next four months.  A normal day would turn out like this: Get up at around 10 am and eat breakfast, meet in the studio at around noon, work for about 10 to 12 hours. Then straight down to the Woodstock pub and getting ourselves shitfaced in gallons of Budweiser's and Jack 'n' Coke. From there we normally went back to the cottages and continued the party at the pool with the entourage that we picked up at the pub (or somewhere else). That was a pattern we followed more or less every single day during our stay there.

We immediately picked up on the American life style and enjoyed it to the full. One night at one of our parties I picked up a giant watermelon the size of an atom bomb and dropped it on the floor, I can't remember weather I did it on purpose or not. Anyway the result looked like something out of the Texas Chainsaw Massacre and when the studio owner found out the day after he went totally ape shit. The guy named Ronnie Lyons had quite a nasty reputation, which we did not know about at the time. But the next day he approached us in the studio hallway and said to Kenny, if you guys don't behave I'm gonna shoot you in the knee caps. Then he looked at me and said: But not you Ronnie, I'm gonna cut your throat so you can't sing, and he looked like he fucking meant it. The fact that he always carried a gun made us take him rather seriously. A real loonie. Well into the recordings Eddie called up Graham Bonnet and Jimmy Waldo of Alcatrazz with whom he had worked with recently, to come over to New York and help out with respectively backing vocals and keyboard sounds. We flew them in from Los Angeles and spent a couple of exiting days with them. Bonnet who six years earlier was the singer of Ritchie Blackmore's Rainbow were of course an excellent choice of a backing vocalist, since we were all huge fans of Rainbow and grew up with them. This relatively little fellow with his James Dean haircut and his Hawaiian shirts had probably the loudest and most powerful voice that I'd ever heard, incredible real and besides that a very nice guy too. But the recordings what so ever seemed to take forever and Eddie started to get on everybody's nerves (including the studio personal). He demanded that everybody was speaking English during the process but when we spoke between us, we usually spoke in our native Danish since it seemed natural. But Eddie was so curious in every sense and absolutely hated when he missed something. And of course the more pissed of he got, the more Danish we spoke. Apart from that Eddie defined himself as one of rock 'n' rolls absolutely all time great producers, but the truth was that he didn't know shit about modern day technology. On top of that he couldn't stay awake during the night sessions when I did my vocals. On more than one occasion I'd come out of the vocal box and into the control room where Eddie were laying bent over the mixing council and say: Well Eddie, so what do you think, was it okay or???, and Eddie would often with his eyes half way open reply, yeah it was great Ronnie, but could you do it again? Something had to go and it was Eddie.

A guy came over from the record company and took a listen to what we'd achieved so far and wasn't too pleased. Eddie Kramer was fired right on the spot from one day to another. But due to his contract, still got paid his 40.000 US dollars for something like four or five weeks work, not such a bad deal for Eddie in fact. He might have been a hot shot producer in the early seventies, but in '86 he was over the hill, History!  Me, Hammer and Owen carried on finishing the project with the engineer, Cris Isca, with whom we went along fine. When it came to the mixing of the album some of the producers and engineers who we'd met during our long stay at Bearsville studios were considered. The studio had two separate studios and the other one were occupied by such big names as Tina Turner, Huey Lewis and Simply Red, while we were there. At the end of the day we ended up with Chris having a go at mixing it, and in late October it was completed and we returned to Denmark.  Back home and after a couple of weeks off, we started listening to what we'd done in America. We sort of knew the songs were there but the mixes simply did not come out of the speakers as we wanted it. CBS weren't too happy with it either so we decided to remix at least some of it. We booked ourselves into the Easy Sound Studios in Copenhagen and once again dragged Tommy Hansen in to handle the buttons. We spent nearly two weeks there working at night, with no result. It just didn't sound right, still wasn't there.  At the same time Swedish hard rockers Europe were hitting it big time with their song The Final Countdown. Europe were as we signed to Epic Records (a subdivision of CBS) in America, and they suddenly saw us as the next big potential coming out of Scandinavia. They suggested that longtime Journey and recently Europe producer Kevin Elson mixed some of the more melodic tracks of the album, and that we found someone to mix the heavier stuff. Flemming Rasmussen who by now had made his name producing Metallica lately was approached and was willing to take on the job. Flemming, who we would work with several times in the years to come, was an easy going guy, a nice person in every sense and he really brought some energy into the tapes. In December we checked into the Sweet Silence Studios and mixed 5 of the songs with him in charge, and we were happy with the outcome. 

In the beginning of January, Hammer and I flew out to sunny California to mix the remaining songs with Kevin Elson. CBS saw Lovegames, Rodeo and Long Way to Go as radio potential songs and we spend a little week in the San Francisco area finishing these songs with Elson. After that we went to Los Angeles and stayed there for a week at Jimmy Wado's flat out in Sherman Oakes. Jimmy showed us around the LA circuit and took us to some parties where we hung out with bands such as Rough Cutt and Keel. The front cover for Future World was drawn by a guy called Joe Petagno who was living in Copenhagen. Petagno was mostly known for his work with Motorhead and we thought he did a real good job on the Future World thing, we were pleased with it. I guess that's more than you can say about the back cover, more specific the photos. CBS in Copenhagen had hired a stylist/designer to come up with the clothes we were to wear and I guess we ended up looking like some mix between Prince and a modern day version of Star Trek. Not exactly what we aimed at, but I guess it was all right back then. The next thing that happened was that we decided to bring in a second guitarist to the band once again. During the German leg of the Saxon tour we met a guy called Angel Schleifer who then played in a band called Vamp and who was really into the stuff we did. In '87 he played in anther German band called Sinner, who was on tour in the beginning of the year. They happened to play in Hamburg which isn't too far from where we live, so we went down to check him out. We liked what we saw and invited him up for an audition and he stood the test by really having his shit together, a real flash guitarist and a very nice guy too.  So finally in April '87, Future World was released worldwide and a lot of promotion were waiting just around the corner. The album had great reviews and receptions everywhere and started selling right away. Epic records in America ordered us back to New York to shoot videos for the use of MTV. They now seemed to finally give us the priority that we all wished for and hired the guy who'd done the recent Bon Jovi videos for Slippery When Wet among others. The video for Lovegames were shot on the top of a skyscraper just next to the empire state building. Future World were shot in a studio in NY and partly in California. During our stay in N.Y we were followed by a Danish TV crew who wanted to do a TV special on us, which was going to be broadcasted later that year. We stayed at the Hilton hotel right in the middle of Manhattan for about ten days and had our first real taste of what it meant to be rock stars in America. We were being transported around in limo's, did tons of phoners, Magazines and radio interviews and at late night we were taken out to eat at some of the best and fashionable restaurants in New York city. It was our first experience of what a real extensive promotion tour was all about, something we'd go through a lot of times in the years to come.

Back in Europe, Hammer and I carried on with the promo thing. The album was now really taking of especially in Germany and France. First we spend a couple of days in Cologne where we did the German press, then straight off to Paris, where we were based for a week and then travelled out to all the bigger cities either by plane or train to do the French part of it. After that it was time for Scandinavia where we decided to go by car, me, hammer and ET (our then manager). But faith would have it that on the boat from Stockholm to Helsinki, we of course had nothing else to do than drink our brains out. The problem was that when we arrived in Helsinki and drove off the boat at least ET's brains wasn't fully restored or let's just say that he hadn't got writ of all the alcohol he consumed the night before. And of course we were stopped by the police and poor ET had to walk backwards down a 100 meter line so they could check his balance. On top of that they wanted him to count from hundred to zero in German, ha ha ha, me and Hammer were sitting in the car almost pissing our pants. What a fucking laugh!!! For some reason situations like this would always happen to poor ET and of course they took his drivers license. However it didn't knock our ET, who after all thought it was quite funny too. Coincidently, ET had Manowar touring Scandinavia at the same time and it just happened to click with our promo route, so we jumped onboard their tour bus and spend a couple of day with Joey Di Mayo and the guys, really cool dudes and a lots of fun to be with. Everything just seemed to go our way that year. Future World was now on the American billboard charts and the videos went on heavy rotation on MTV in America. At the same time we were offered to go out with Deep Purple in late summer, on a four week European tour playing stadiums and the biggest halls. The tour also included to two Monsters of Rock dates in Germany with Purple headlining with such other acts as Metallica, Dio, Ratt etc.  But before the European tour was to take off, ET suggested we did a warm up tour in Hungary of all places to tighten up the band and it seemed like a good idea. That was in the days of the Communist regime and you never really knew what to expect when you went to an Eastern European country. I think we were supposed to play something like 10 gigs but only ended up playing 5 or 6 due to totally bad organization. For instance on the day before we played the first gig, we picked up a local newspaper and found out that the gig we were gonna play that same night had already been reviewed as if we had already played the gig. It was supposingly a good review, so we really had something to live up to, ha ha. The only city I actually remember by name was Budapest, there we played a big outdoor thing with some local bands supporting us and it was really great. I mean the Hungarians were so hungry to see and listen to a western band, that you felt really sorry for them that they so rarely had the opportunity to do so.

The tour which took place in June is definitely one of the most memorable ones. There were so many funny moments that it deserves a chapter of its own. On the last night we held as usual a big party. We had so much of the local money which we couldn't bring out of the country and didn't have time to spent anyway. So into the early hours of the following day after gallons of champagne and booze and beers we (led by ET) started to throw all these money out of the window of the hotel, which caused an absolute roar on the street underneath us. People were jumping up and down to get some of it. The hotel direction wasn't too pleased with us since a couple of TV sets had obviously got out of the windows too, so ET was presented with quite a heavy bill for all the damage done. In fact it wasn't the first time we'd had trouble with hotel managers. In '85 we were banned for eternity after a water fight that obviously caused severe damage at the Novotell hotel chain in Germany. In another incident (the same year) we damaged an entire floor going crazy with a fire extinguisher, that incident was pretty costly. But that was part of the game the way we saw it, that was Rock 'n' roll and need I say ET himself always took part. On August 13 the tour kicked off. We first played a couple of gigs on our own in Denmark and then hooked up with Deep Purple some days later in Helsinki. Everything just went smooth and we simply enjoyed being out on the road with some of our absolute heroes. We were treated very nice by the Purple organization, both by the band and their crew and even Ritchie Blackmore invited Hammer and myself to attend his entourage after the concerts, where he used to do little magic tricks and gags. Ritchie who only communicated with the other guys in Purple through his personal assistant, had his own dressing room, stayed on separate hotels and had his own flights booked when he travelled. So he was indeed as the rumors have it, a strange and mysterious guy, but friendly though, at least to us. During daytime we used to play a lot of soccer with him and the locals in whatever city we were.

The highlight of the tour was the Monsters of Rock festival in Nuremberg playing in front of 60.000 people. We were the first to go on and I remember that I was as nervous as I've have ever been looking out facing this enormous crowd gathered there. It took several rolls of toilet paper prior walking on stage that particular day but as soon as the words: Would you please welcome CBS recording artist PRETTY MAIDS!!!, and a mighty roar came back from the audience, we knew we were about to have a great experience. We got out there played a relatively short but effective set and had a fantastic reception. I have clips of it on video and it still gives me goose bumps when I watch it today. The next day we were supposed to play the second of the two Monsters of Rock appearances, but for some reason the truck with all our backline gear and instruments got stuck in some cue line on the motorway and didn't make it in time. We had to cancel and it was a major blow to everyone, all we could do was to stand at the festival site and watch the other bands go down a storm. Real bad luck. The last leg of the tour with Purple was in Italy, where we never had played before. The first stop was in Milan, where we played two nights at some big hall. The first day we went out to have a look around and found a nice bar in the city square. The weather was fantastic and we started drinking pitchers and in true Maids style we continued until we were more or less shitfaced. Time flies when you're having fun and we nearly missed the sound check. That first night was really up the hill since we were all pretty fucked up after our daytime drinking session and really had to fight for every single applause. That day we promised ourselves never to drink before a concert, a promise that we have actually kept ever since apart maybe for on or two occasions. We ended the tour with Deep Purple at the mighty arena in Verona, a fantastic place. After the Purple tour, we continued the tour for a couple of weeks headlining ourselves. We played a string of dates in Germany and France and finished the whole thing by playing a bunch of completely sold out shows in our home country of Denmark. Future World had been a massive success, an overall breakthrough for us in particular Europe. When we finished the tour it was still selling strongly and today I regret that we didn't stay on the road a little longer. We were young, riding on success and the band was firing on all cylinders. In July we had an offer to go out with Whitesnake for three weeks in America, but at that time we had already committed ourselves to the Purple tour. I would really have loved to have a crack at America at that time. But it was decided that we went straight back into rehearsals to write a quick follow up to Future World and so we did. However, faith would have it that it wouldn't turn out as easy as we would have wished for.

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Chapter 4 - "Jump the Gun" / "In Santas Claws" 1987 – 1990

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In November '87 we booked ourselves into some studio and rehearsal facilities in northern Denmark, called the Stuk Ranch. We were determined to do a quick follow up to Future World or at least that was our intention. We had no ideas at all so we literally had to start from scratch. We spend a good week there but most of the time we fooled around with some foolish cover song, making a joke about one of our roadies. However we got one song written while we were there. It was Over and Out and I guess a little bit of Attention, but bad luck already started to rear its ugly head. One night we went into a bar/discotheque in a nearby city to clear our heads (with alcohol naturally). During the night most of us left and went back to the farm, but Phil and Alan decided to stay there. Phil obviously got into some fight with one of the local rednecks and ended up with a broken arm. So he had to record the demo we did for Over and Out with one arm in a sling and we went home. On the way back we passed by the newly rebuild Puk Studios to check out their new facilities, Judas Priest were there recording their Ram It Down album and we were amazed with what we saw. The rest of the year we didn't do much mostly because of Phil's broken arm.

We started '88 off with a one of gig in Denmark in late January. That was the last gig with Angel Schleifer. Angel had an offer from German rockers Bonfire who at the time was doing pretty well. Angel who lived in Munich found it a little easier for himself to team up with Bonfire for logistic reasons. And besides that I don't think he ever learned to cope with our sense of humor, which I guess we can't blame him for, he he. So we went on as a five piece once again and for the first time, I guess we felt like we hit the wall as far as songwriting goes. We literally didn't know how to move on after the success of Future World, and were maybe just a little scared of not being able to deliver the goods one more time. What so ever it was up the hill during the spring of '88 all we got written was Partners in Crime and Youngblood (a left over from the Future World sessions, originally called Too Much Too Fast and then Radar For Love). Late spring we were contacted by our old friend and once manager (in the early days). He'd met a guy in Copenhagen who was really up for the job as second guitarist. He's name was Ricky Marx; he was Danish but had actually lived in Geneva, Switzerland for the most of his life. We called him up for an audition and we learned very quickly that his Danish grammar was pretty fucked up and on top of that with a French accent, we saw many possibilities for a good laugh. And that we had! Besides that he was a great guy to be with, shared our sense of humor and was a good guitarist. We hired him and he moved up to Denmark to settle down permanently.

During the summer we did set up our own studio equipment in our rehearsal room, made basically for demo purposes. Phil, who was a technology freak, had during the years build his own 24 channel mixing console and was so to speak the mastermind behind all this. That resulted in some really good demos of the new songs that were being written at the time being. Because suddenly the inspiration and the ideas came up to the surface and songs like Attention, Lethal Heroes, Headlines and Savage Heart were all written in the late summer of '88. We also wrote a song called Dancing on Fire but didn't find it good enough to go on the album at the time. Both Kenny and I have frequently searched for it since that but has never been able to find the tape of that song. As I remember it definitely had its good moments, maybe some of the old members have a copy or it's just lost in the gems. We now felt we were about to have the right balance of songs for a new album and started looking for a producer. In September we went to Copenhagen to see Deep Purple and after the show we had a chat with Roger Glover and handed him the demos of the new songs for him to check out. He wasn't uninterested and we agreed that he'd give us some feedback when he returned back home to the states. Shortly after we had a call from Roger who really seemed to like the material and In particular one song draw his attention and that was Savage Heart. Rog was convinced it could be a big hit and during the recordings the following year we did so many takes of that particular song just to get it absolutely perfect, that at the end of the day I guess no one could tell the difference anyway. As we waited for Roger to finish of his touring commitments with Purple we didn't really do much for the remaining part of '88 apart from a one off gig under a pseudonym name in our hometown, Horsens, where we mainly played cover songs and maybe one or two of our own songs In late January '89 Hammer, Owen and I went to America to do pre-production for the upcoming album and to look for a suitable place to record it. We were installed on a great and historic hotel called the Showboat in Greenwich Village, Connecticut, close to where Roger lived among the rich and famous. Everyday we went out to Rogers house where we worked on the material in his studio in the basement and when we didn't work we'd either play snooker, smoke a little spliff, drink a couple of beers and listen to Roger telling jokes. Roger would have a joke or a good story to every occasion and for us being old Purple freaks since we were kids, it was like heaven with all the stories and rock folklore we were being fed with. I mean we were sitting there in this enormous house with I don't know how many bed rooms. The walls were plastered with Platinum and gold discs of some of our favorite albums. On top of that Roger was an extremely nice and warm person, a gentleman in every sense and a really easygoing guy to work with. To this day we still meet occasionally whenever he's around. Rogers first intention was to record the basic tracks for the album more or less live in the studio or with a mobile recording set up, as he used to do with Purple, so we went down to the Bearsville studios where we recorded Future World to check out the locations once again.

Finally we all decided to record the album at the high profile Puk Studios in northern Denmark. Artists such as George Michael, Depeche Mode and recently Elton John had all been there. Back then Puk studios and all the facilities that followed was among the best in the world and it was naturally a very expensive choice too, but we didn't worry about that, at least not back then. We started the recordings in march '89 and continued until sometime in May, where Roger were called back to the states to audition a new singer for Purple, since they had fired Ian Gillan. The first week in Puk we spent trying to do a new version of Fantasy from the first album. We experimented for a while with programmed drums and samples but it seemed to take forever and then we dumped the whole lot and started from scratch. For some reason, everything we did on these sessions seemed to take ages since we wanted to make everything just perfect. We (the band) were really into Def Leppard's Hysteria at the time, but we were NOT Def Leppard and Rog wasn't Mutt Lange so at the end of it all Jump the Gun became much to polished and overproduced and lost a lot of the nerve and energy that the original demos in fact possessed. In hindsight we should have followed Roger's ideas about a mobile set up but I guess good ol' Rog got a little carried away during the process as well. On top of that I guess we the band also used our stay at Puk as some sort of a holiday resort and probably spent too much time dazzling around in the pool/jacuzzi area. As usual we also had our fair share of partying during these sessions, I mean we were out there on a field in the middle of fucking nowhere and after a while we were getting bored to death so we had to entertain ourselves one way or another and believe me, we were always pretty good at that. We also had our own chef in the studio serving all sorts of delicious food from around the world, mostly chili dishes, which caused some serious ring of fire in the mornings. On other occasions we dined and drank together with Scottish chart toppers Wet Wet Wet who was in the studio next door, they occasionally had food flown in from their favorite restaurant back home in Scotland. Who said MONEY?

The sessions did take a dramatic turn though on some Sunday afternoon. Phil Moreheed had just left the studio to go back to visit his family for a day when he shortly after his departure got involved in a serious car crash on his way home. We had a call from his girlfriend who told us about the accident and went straight out to the scene of the crash which wasn't far from the studio. When we saw the totally smashed up car we knew it was a miracle that he had survived. His hips were seriously injured and he had to undergo a big operation where a lot of metal parts were inserted into his hip, to give him back his capability to walk. When we visited him on the hospital, his mood and sense of humor was at least intact and we all agreed that our biggest concern now was how we could get him through costums in the airports with all the metal he now had in his body. We still needed some drum tracks to be laid down and with Phil out of the picture for at least 6 month or so, we had to get someone to finish it off, which was okay with Phil. Roger suggested that he called up Ian Paice to finish the job and since we had to get a stand in I guess that Paice wasn't such a bad choice. Paice agreed to do it and flew in from London and played on the track Youngblood and the intro for Rock the House. We actually filmed the occasion and there we were sitting, watching this legendary drummer playing on our record, in such a gentle an easygoing way. Fantastic. During June and July we did a few overdubs in either Puk Studios or Werner Studios in Copenhagen which was another great studio at the time. And finally we were done with the recordings. Roger suggested that we took the whole thing back to New York and mixed the album with an engineer that he had recently worked with, a guy called Mike Clink. We'd never heard about the guy before but he had in the past worked with such bands as Hall and Oates and was supposed to be a good man behind the mixing console. So we did put our faith in Roger and booked ourselves into the Hit Factory Studios in Manhattan. So in August '89 Hammer and I flew to New York and suddenly found ourselves in this great studio compartment which contained 4 studios in all. And we were in extremely good company there, Billy Joel was in one studio, Michael Bolton in another and Joan Jett and the Blackhearts occupied the last. Besides that, the atmosphere in the studio were pretty cold and boring, and so were the mixes we got done. Everything seemed to take forever and we weren't really going anywhere. The standard procedure during the mixing session was that Roger and Mike would spend all day coming up with a mix and Hammer and I would be called in late in the evening or early night to come up with our views on it and most of the time we decided to take a listen the next day with fresh ears.

One night we were sitting in the studio watching The Towering Inferno on the telly and since there would be nothing to listen to that night we decided to go back to our hotel. On the way back we passed an Irish pub and naturally had to check it out. Inside we met this woman who said she worked for playgirl magazine and she actually asked us to appear in the mag. To begin with we thought she was kidding us and we had a great laugh but as the night went on and the pitchers of Guinness were hammered down she became more and more serious and eventually offered us a flat fee right there on the spot. We thought it was a great joke, but she gave us her card so we told her we would give it some thought and staggered back to our hotel, totally shitfaced.At six in the morning just after falling asleep the fire alarm went on. I rushed out of the bed and went to look out of the window to find out there were fire engines all over the place 22 floors down under. Hammer was up too and with The Towering Inferno a little too fresh in mind, we hurried out to the elevators just to find there were not functional. We ran down the 22 floors to get the hell out of there and when we hit the reception we were told that it was in the building next door there'd been a fire call. And to make things worse we were told that the elevators wouldn't be turned on before noon so we had to climb up the fucking 22 floors again, with massive headaches and hangovers. Another night Bruce Payne (our then co-manager) offered us some VIP tickets for a baseball game, The NY Yankees against the Boston Red Socks at Yankee stadium up in the Bronx. I wasn't really into American sports as such, but Hammer was really up for it and I thought it would be fun to catch the spirit of it anyway. So we were brought up there in a Limo but were told to take care of our own transportation back to Manhattan which was okay. We saw the match and had a couple of beers and the occasional hotdogs. When the game was over we got out of the stadium and tried to catch a cab but that was totally impossible and after an hour or so we decided to start walking back towards Manhattan and see if we could catch one along the way. But there were no cabs to be found and we kept walking and suddenly everything started to remind a little too much of the American movies that we regularly saw, there were street gang type of guys staring viciously at us everywhere, pimps and hookers and you name it. People standing around these barrels on fire just to catch some heat and I did in fact expect to be mugged at anytime. It was pretty obvious that we didn't belong there and I guess none of us were in particular too proud of the situation. However we jumped on a bus just to get out of that area and later on finally cached a cab and we were safely back on Manhattan.

One day, Billy Joel, who was in one of the other studios, had the New Jersey mass quire in for a session. Mostly famed and known for their appearance on Foreigners mega hit I Wanna Know What Love Is. We talked about the idea of having them to sing on Savage Heart and everyone was up for the idea. So we approached them and they were in for it and naturally were paid well for their efforts. But that was a great experience to be a part of, I mean they were all more or less lead singers in the Aretha Franklin/Whitney Houston kind of league and never had we seen so much talent In one room, Amazing. But unfortunately that quire was all we got out of our three week stay in the big apple. When we returned to Denmark we took a short rest and then took another listen to the mixes we just had done in NY and nobody was pleased with it just sounded daft and did quite simply not come out of the speakers so we sacked the whole lot. THAT was a very expensive experience. During our three week stay in NY we spent around 150.000 euro and that was a lot of money back then and I suppose still is. We stayed on the highly fashionable Warwick hotel and booked ourselves into one of the most expensive studios for weeks with no result at all, apart from the mass quire. But money didn't matter as Bruce Payne said back then if we had a hit record. We didn't! Back home in September, we booked ourselves into Warner's Recording Studios and started all over again with a guy named Henrik Nillson behind the desk, a guy we had confidence in. So Roger came over and we mixed the album in two weeks and this time the result was satisfying. One night, during this mixing session Alan Owen, (who we brought along since he always had a good set of ears) suddenly disappeared. The day after we found out that he'd decided to leave the band as a permanent member. Quite a surprise! At the time being we were never given any sort of explanation for his decision. Later we found out that he didn't feel comfortable with the stylistic and visual part of being in a band, and the fact that he was born with a serious eye disease and was more or less born half blind didn't help the situation, I guess. What so ever, I always considered Alan a very essential part of the original line up, so it was a kind of a blow to me that he left back then. Next thing that happened was that CBS Records decided to postpone the release of the album until the spring of '90. Fed up with studios and the CBS decision we took the rest of the year off and as I remember did nothing at all.

In the beginning of '90 a group of Japanese record company representatives and journalists came over to do a big feature on the band for the Japanese magazines and radio/TV. The album was having a great reception in the Far East and our first encounter with a Japanese audience seemed to be within reach. In March/April the album was finally released throughout the world to rather mixed reviews. Overall it had a reasonable reception, but it wasn't maybe quite as good as people had hoped for after the long 3 year gap since Future World. And besides that the music scene had changed quite a lot, since it was now the sleaze bands such as Guns 'n' Roses who was the center of attention and heroes of the day. In our home country of Denmark the album was slaughtered, we're talking MURDER here. To begin with we did some in stores in various CD shops and some smart guy in the marketing department of CBS (now SONY) had the idea that the album should be promoted as the most expensive in Danish rock history. So SONY Denmark put a full page add in the biggest news papers in Denmark saying something like listen to the most expensive record ever in DK. Come and touch the guys. Come and touch the guys, MY ASS! I mean in a country where we have an unwritten law that says you're not supposed to think you are anything at all, you just don't do that kind of shit and the response came right away and like a boomerang. In honesty, the bad reviews in Denmark actually did hurt us quite a lot back then, we really thought we had a killer of an album and had put a lot of effort into it, but fortunately the reviews were mostly pretty okay everywhere else.

After some promotional trips around Europe during the spring, we set out for our first real European tour as headliners. We kicked off in Stuttgart (DE) in May and toured through Europe until something like late June where we finished of somewhere in France. We brought another SONY act called Johnny Crash with us as support and they actually kicked some serious ass. It was a kind of crazy tour, we really brought out the party animals to the max on that stunt and the Johnny Crash guys weren't any better, so it was a deadly or should I say wet combination. As far as I'm concerned, I actually have a pretty strong memory, but I must admit that there are quite a few black spots in it during that particular tour. Before the tour we teamed up with an English keyboarder named Dominique Gale who happenedto live in Denmark with his Danish girlfriend. He was a good and professional session player and we'd use him for several years to come, mainly for live activities. When we got back home we played the Roskilde Festival and a few others in Scandinavia and straight after embarked on a tour of the Swedish folk parks opening for Alice Cooper. In September we went to the land of the rising sun on our first ever Japanese tour. We touched down in Osaka and when we had checked through the customs and got out in the arrival hall I guess we were more or less blown away by the reception we had. There were hundreds of fans waiting for us (mostly girls), with flowers and all sorts of gifts. The same situation took place when we got to the famous Grand Hotel where loads of fans were waiting outside and inside the lobby. The Grand Hotel was the place where Deep Purple recorded most of their classic Made in Japan. Jump the Gun was a big success in Japan and more or less some kind of a break through over there. It was a sold out tour and a great experience for all of us. Everything was so different there compared to what we were used to in other parts of the world, the culture and their mentality, The Japanese were/are very friendly and seemed to be very dedicated to our music, they knew or wanted to know everything about us and our background and the country we came from. I remember that before going there for the first time we filled out some questions for some fan mag. One of the questions was something like: what would you prefer as a favorite gift and my answer was obviously a Carlsberg beer, since I actually thought it was a joke, but it wasn't. During our stay there almost every fan that did approach me brought me a six pack of Carlsberg and when I checked out of my hotel in Tokyo to go back home a quarter of the room were filled up with Carlsberg beers (am I exaggerating here? okay maybe a little). It almost brought a tear to my eye to leave all those cans behind. I also promised myself that if I ever was given the opportunity to fill out one of these questions regarding my preferable gift again, I'd write a Ferrari.

When we returned to Denmark we decided to go back into the studio and record a Christmas single to accompany a couple of weeks of touring in Nov/Dec that had already been set up. We wrote the song In Santas Claws and decided to make a cover of a song released back in '78 by a band called The Greedies called A Merry Jingle as a B- side. The Greedies was a band that consisted of Thin Lizzy and Sex Pistols members back then. We booked ourselves into the Werner Studios once again to work with engineer Henrik Nilsson. One night during the recordings we heard that Ian Gillan was in town doing a gig with his new band. So we went in to check it out and say hello. We met in a bar next to the venue and had a few drinks, we told him we were doing this Christmas song and invited him and his guitarist out in the studio for a listen. We got to the studio, got hold of a lot of booze and partied on throughout the night. At some point someone suggested that Ian should have a go at singing A Merry Jingle and he was surprisingly more than willing to do so. As drunk as a skunk (as we all were) he staggered into the vocal booth and gave it a full blast. That was a seriously funny session. In Santas Claws was released in November. Backed up by A Merry Jingle and three live tracks from that year's Roskilde Festival, as far as I remember the whole concert was recorded live and broadcasted live on Danish radio as well. We also set out on a mini tour of Scandinavia and a string of dates in Germany. And as fate would have, it would be the last tour with the eighties line up. There was an overall bad vibe in the band during that tour. I guess everybody was a little disappointed with the whole Jump the Gun situation. Times had changed and the people at SONY that originally had signed us up and been behind us were not there anymore. It was the same situation in America. The album was released as Lethal Heroes but there was no support behind it and it died pretty quick. We weren't too pleased with our management either and if it wasn't for the success that we'd gained in Japan, it had been a rather disappointing year for all of us. Not that Jump the Gun by any means was a flop but I just guess the expectations that were build up during the three years of writing and recording it were way too high. Personally I was fed up with the whole situation not the guys in the band but the management and the record company. So I mentioned to the others that I considered leaving and would think about it during the Christmas holidays. Shortly after Allan Delong decided to leave, he'd found a girlfriend and I guess she got pregnant and that was it for his part. Ricky Marx moved back to Switzerland with his girlfriend and we slowly lost contact with him. Phil Moreheed who had his own company producing amplifiers also left at the end of the day to put all his efforts into his own business. A few weeks into the new year I had a call from Hammer, we had a little chat on the phone and agreed to team up again and see if we could get some new stuff together.

It was like a new beginning really, and that's the foundation for the next chapter.

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