pig ina bottle must have started around 1981 after i arrived
in belgium> a country i had no knowledge about> in fact i had always
got belgium slightly mixed up with bulgaria in my confused teenage mind
and when i met a girl from belgium i thought i would be travelling behind
the> then, iron curtain\ but no> to rijkevorsel> which might
as well have been behind the iron curtain> it seemed another world\
eric voeten
and I quickly formed an alliance
> he being the youngest of a large anarchic family where i found myself
lodged into place like an invading cuckoo\we practised on acoustic guitars>
me de-tuning mine for the bass notes>i wrote some lyrics and composed
in the method of "stick this bit with that bit and then stick that
bit on the end" and hey presto! we had a song/ the drummer was a
little harder to find but after meeting bart
op de beeck who mistakingly thought i was a belgium saxophonist i knew
we had our drummer\ the music
progressed quickly> the delight at making a new noise and we reached
our absolute top with a totally unexpected good review which wiped a few smug smiles off the faces of the critics>
of which there were many\it was of course the beginning of the end >and
we had hardly begun< but the pressure/ the fame/ the musical differences
i think the end started when we discovered that you were supposed to tune
your guitars but still we battled on\the next level
on humo rock rally we failed
>my singing was particularly unpopular so leen
voeten was enlisted together with lea
vanderbroeck and martine dickens as vocalists >come percusionists>
come whatever could be shaken and in a moment of madness our precious
drummer was transfereed to percussion so that erik
debruyne could steer us\ of course bart drumming completelythe wrong track
during a concert
was kind of tiresome but the move towards a less dishevelled sound into
the horrors of the mid '80s signalled unresolvable differences and that
was it |
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