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