Copenhagen, L'education Nationale (French cafe).
Interviewers: Claus Nygaard (The Company Scandinavia Denmark), Per Hansson (TCS Sweden) & Stuart James (English concert photographer).
Fish: [looking at the tape recorder] "Blah, blah, blah, blah, blaaah. Thank you very much! [warm smile]. You've got three cigarettes.
Claus: Tell us about the tour.
Fish: It's a big thing, we go about in the bus, we travel about a lot and I get really depressed [laughs]. Yeah, it's a big one. Yeah, I mean, the attitude was, we'll either go out and do the gigs - well, I'm never going to get on the TV's and radios just by crossing my fingers. There's nothing you can do if you haven't got the respect from the companies, and the only way you can get respect from the companies is to go out playing. Therefore when we're putting out "best of" albums, we've got to put on a "best of" tour, and we're losing a fortune on this tour. But because the record company and the touring operation works so close, and because I'm the manager etc., you know, the money is always close, so if something is successful, you get immediate reward, which means that the tour makes sense. I think, playing Esbjerg last night just proves exactly why we're doing this tour. We went into town, first time, played the gig, did a brilliant gig, we'll sell that gig out next time we come. You know, we're guaranteed at least one big Danish festival next year, and that means Denmark's opened. We've got national radio today, "Just Good Friends" is getting played every two hours on the TV channel, you know, it's happening. We go out and play as much as we possibly can, or as much as the promoters will allow in order to try and build my career and I think in Scandinavia particular, I mean, I think it's got so much potential it's scary... I mean, once you're in the door you can keep on coming back, like next time we come back, I mean today again is sold out, we'll do a bigger gig in Copenhagen, you know, they're already taking about putting us in a bigger gig in Copenhagen next year. If we do the festivals, we come in and do the festivals, and play the provincial gigs at the same time. If you come on the bus you can play a gig in Copenhagen, then you run about and then you come back and play, you know, another three or four gigs... and then next summer, you're gigging about in Scandinavia seeing what it's like having sunlight all the time, getting out the mosquito bags. Yeah, but it's exciting, it's really exciting. I mean, it's completely opposite from the UK. The UK I just find depressing. And I think some of the cynicism of the UK rubs off on you and you, you become, you can become very negative very easily. I mean, I had to get off that island. I mean it's not the fans, I mean it's lack of fans, it's the lack of support from radio, the lack of support from magazines.
Stuart: They're up against you all the time?
Fish: Oh, it's crazy. I might just forget it, you know. I can see the UK, you know we're trying to do a tour at the end of the year, and we're going to the promoters to find out where they want us, and we have got one for the London show, but I reckon we'll do maybe six or seven shows this year. I mean, the UK has now falling in the same sort of line as America, you know you can only spend so long trying to batter it down, and then it's like, to be honest we spent 80,000 Pound on promotion on these two albums, I would have been better off spending 80,000 Pound over here. And that's what I realise, next time the promotion in the UK is going to be minimum, it's just a service.
Per: You've worked with Kommunikation and Lars-Olof for about eighteen months in Sweden. How do you feel it's going.
Fish: Lars is great. I mean, I think because we gave Lars the gigs, it has inspired him to work, you know, the second you've got a deal, you got to commit to gigs, you've got to earn the respect, and Lars was always going to be up against it just trying to sell albums like Suits. With this stuff we've the chance of going into a good building process. Lars is good.
Per: On this tour you're also doing a number of gigs in Eastern Europe. How do you look at the market in Eastern Europe?
Fish: It's a huge market. You've got to go in there first, and again getting the respect. When the economy becomes stronger, then you're going to happen there. We go in there and we're lucky, some of the gigs we lose and some of the gigs we make on, and in general we just break even through the whole lot of Eastern Europe.
Stuart: You're getting to where you get the response like last night?
Fish: We're getting brilliant responses out there. You know, we've got two national TV's, we've got a full electric set on national TV and an acoustic show on the national TV, we've got the radios playing all the time. You've got to go where the work is. They want us here, they want us in Scandinavia. You can tell, I mean I was told the show was nearly sold out tonight, the Odense show that's virtually sold out. You know, you just got to come in and work. We're doing a national radio in Gothenburg, and with that we've got the chance to scan all the way through, and in Oslo there's national radio.
Stuart: That makes all the difference, doesn't it, having the radio stations on?
Fish: A full live concert on the national radio is great.
Per: Are they going to transmit like one hour of the set or the whole set?
Fish: I have no idea, they're recording the whole set in Gothenburg for a FM radio show.
Claus: How is your PR co-ordinated in Scandinavia.
Fish: Lars does it all. He sets up interviews, we do interviews, he sets the posters up. You know, you've got to go together, we've only been together for just over a year now. We need to sell 300,000 albums, and the only way we can sell that phenomenal amount of albums, is by doing a phenomenal tour. I mean, if we don't sell 300,000 albums, then there's a serious situation next year, where we have to take the operation down, you know, change it around, you know, we might do the next album, then sell the studio and sell the house and then concentrate more on screenplay writing. Still do the music, but concentrate more on the writing. It's an idea I've been playing about with, and I'm just getting my head round it now. Putting a novel together on the tour, it's really interesting, you know, the way I've gone into this tour, this is a "do or die" tour, it's definitely "do or die". There's no better way of doing it than actually set the piece up and write about the what's going on in my mind, this is what's happening at home. And at the same time, you know, using things that's happening on the road and take it back into the past. Like a sort of novel support biography in a way. I've got loads of stories, and I think on the tour there's a lot of chances to expand on a lot of the ideas, I mean, the very fact it's a journey in itself. You get out on the bus, you don't know what's at the end of it. It could be 300,000 albums. If I'm only selling 150,000 albums, I think the bad wolf is going to be knocking at my door. So I mean it's quite exciting in a perverse way. So, in that respect, I've got my compact computer, and with my computer I can get in on the Internet and play about.
Claus: [with a smile] It's good to hear that you're not working on a book on a day to day basis, because there's already a Scandinavian guy working on such one.
Fish: Yeah, I mean, I think, you know, I happen to be pretty bored of going on doing a book on a year by year basis. To write something like that you need a skeleton, you know, to push things around, you are talking about some sort of direction. And I think of doing it as a tour thing, you know, write how I feel, talking about the boys... moments, talking about interviews, like right now.
Stuart: Are you venturing into new areas, new countries?
Fish: No, every country I've been in. Oh, Finland, I've never been in Finland before, I've never been in Lithuania and I've never been in Latvia.
Stuart: Are you going into Russia this time?
Fish: No, I've not got my arms license. Russia is a scary place just now. In fact, when we go into Lithuania we pick up two army guys, who come with us in the bus, armed guys. It's heavy.
Claus: There's a lot of talking going about over here that the Russian Mafia is concentrating on moving into Scandinavia.
Fish: Yeah, they're really big in Finland at the moment. You know, you got to deal with it, but it's fun.
Claus: It's the adventure of touring.
Fish: Yes. And we have got 15 shows in Germany, and I'm sure that by the end of the 15 shows in Germany I'll never be able to face another glass of German beer in my life....
Per: On Yin and Yang you got the publishing deals for the EMI songs, or was it the Polydor songs? Have you finally got the full rights?
Fish: No. I own the rights to Internal Exile and Songs from the Mirror, and Polydor's got to give them back to me in 2003 and 2005. Well, which is only seven years away. If they delete them they automatically come back to me. Polydor have just released Internal Exile and Songs from the Mirror, because we are doing this tour.
Stuart: What about the video rights?
Fish: We're negotiating at the moment. But there's an acoustic TV in Poland, there's a full TV in Lithuania, there's a TV in Zurich, and there's a TV in Germany. And I'm quite sure that we can also get an "In Concert" programme together as well.
Stuart: What happened to the Galenish concert last year?
Fish: I've never seen it. They showed it on local TV, but I never got a copy of it. It's a problem, I mean, you're actually dependent of fans to keep you up to date of what you're actually doing, especially when you're on tour, you're accumulating so much baggage, you know, and when you're on tour for three months, you accidentally forget that you did some stuff.
Claus: Speaking of videos. Tell us about the helicopter part from the video?
Fish: We were doing the recording on the light house. I was up there with Frank and Sam, And it was a crazy game, there was a really high wind going on there. And we were standing there in this terrible weather, holding at the railing like "oooouuhhh", you know. And the helicopter was doing all these parallel runs around the tower and then the cameraman said, I want to come in and fly up before the tower and get a shot like that, and the cameraman big Dave, Dave Mirror, kept going closer, closer, closer. We could not go round the other side of the tower, cause that was so windy we would be blown off. You can see it when Frank's playing, he's got his head down, and it's not because he is watching the piece he's playing on the guitar, but because he tries to keep his hat on. One of the times the helicopter came in up against the wind and with the wind dying the helicopter came too close to the tower, and I was standing there trying to be brave and look cool. This helicopter came in and I'm going "Wooo". When we came down I said, it was close. And when the pilot came down he said, that actually qualified as an official near miss. He missed the top of the tower by two metres. That's close. But probably it would have meant that we had done a very successful single.
Claus: What about Alan Parker, has he answered you? [Fish applied for a role in Alan Parker's coming movie Evita, which stars pop queen Madonna, TCS].
Fish: No. It always takes ages for that sort of stuff to happen. I don't hope I'm going to get it, to be honest. Let Tom Jones or somebody like that get it. I'm too good looking.
Claus: Well, you never know what it will lead to?
Fish: Yeah, it's just one of those things. You know, in an ideal world, next year, if I could say, "This is what we would really like", I would like the album to go out and sell 300- 400,000 copies, get in to tour in South Africa, Japan, Australia, get that move in. Maybe do a two week American tour next week, just go across, cause I mean, the American fans are getting really fed up with it now, cause, I was certainly talking about going across for so long. Even the Marillo's are just going out doing ten shows now, and I think we can probably do the same. Just go out, and go as long as we're not going to lose money on it, just go out and do a very low level operation. You know, we've been trying to get distribution in America for the last two years, and we just can't get it. Companies are just uninterested in what I'm doing. I would like to see, in an ideal world, we can go out and do 400,000 albums, and that basically gets the investors that are in the studio out of the way, and it gets the banks out of the way, and it gets, you know, all the other things out of the way. And it means that we would be able to sit there, having the house and stuff, and for the first time in five years actually having some sense of security. I would really like to go in and make the next albums - and I say plural, you know - knowing that I've got the money to pay the session musicians and I'm not going to take phone calls in the middle of vocal takes from suits, which has been the case in the last two years. It has been quite scary. At the same time we can sell those albums, I want to move into doing two albums next year, one like as an alter ego, which should be a very much groove based album, I would not say a dance album, I have the Black Grape album, which I really like... [the French waiter comes to the table to pick up the coffee cups, Fish excuses himself (in French) that he cannot speak French, another round of black water's ordered and the interview goes on, with a slightly changed subject, TCS].
Per: Speaking of Yin and Yang. I read the first review of the albums in the Swedish press yesterday, and it was really positive. The albums are really strong, but there's just one song I can't understand why you've included, it's the Institution Waltz.
Fish: You don't like it?
Per: No. I don't. And no one I've talked to likes the song, and it's a big mystery that you've included it.
Fish: I like it, and it was my choice. I really like that song, and I've always wanted to do it. It's a bit like very early Pink Floyd. It's there instead of Script, cause I didn't want to touch anything from Script, there's a purity to Script that I think I couldn't do again. Forgotten Sons was maybe a contender, but I don't really think that I could have done Forgotten Sons better, than it was originally done. But Institution Waltz, I wanted to do something from that period, you know, Three Boats Down from the Candy was a maybe, but I think Three Boats Down from the Candy, we done really, really well. The original was great. So the Institution Waltz was like there. Charting the Single was another one I thought about, but the lyric on that I just found a little bit, it makes my cheeks glow a bit funny. But the Institution Waltz was just that whole psychedelic period when I first moved down to England, it just really makes me think of 1981 when I first joined the band. I mean, it's Pink Floyd, Ummagumma, it's Grandchester Meadows, and you know, it's just one of these songs. It's really funny, in the Q-magazine they said, it's like a horrible cross between Blur and Genesis, and it's funny, cause I'd never really thought of it, but when you hear it, it's the same stuff that Blur's doing. So actually it's very modern. Moira the secretary, it's her favourite song.
Per: It's just me who can't understand the song? Maybe if I listen to it a few more times.
Fish: You can't understand it?
Fish: It was just nice to do.
Claus: Which version are you doing? Are you doing the first version, or the rearranged version? On the bootlegs around you can hear the first version, which is a straight forward dam-dam-dam waltz, and then you rearranged it in 1982 with a lot of breaks and shifts in tempo.
Fish: The Institution Waltz? We didn't really play it that much. I think we only played it about 30 times, and that was it. I can't even remember seeing a demo tape, I don't think it was even demoed. Now we just went into the studio and started putting layers on, which was fun to do. James Cassidy hates it, but I like it. It meant a lot to me, it was just one of those songs.
Claus: So you don't remember that in the old days you actually sat down and rearranged it?
Fish: Can't remember, can't remember. What I've got is the Hunters Having Lots of Fun, and that's the version that was used as reference. But it was nice, cause Diz Minnitt was involved and it means that Diz Minnitt got some publishing.
Per: But he missed the recording?
Fish: We were going to use Diz, but just the way the time worked and things like that, Diz was moving house and we lost contact, and stuff like that.
Per: Any plans for the next single?
Fish: I don't know. Let the Germans choose. Cause Germany's so strong. It's just going so strong there, so let them pick the single. I think it'll probably be Lucky or Boston Tea Party, we've to go with a rock song.
Stuart: How well did the single actually do in the UK?
Fish: Badly. It was there, but the problem was that it didn't go into Top-40, and as soon as it didn't go into Top-40, Our Price never reordered. And that was it, so if you don't do it the first week!
Claus: The current set you're doing. I'll say it's more progressive than ever before. You've got the two medleys, and you use Black Canal as the opener.
Fish: Yes, it's quite progressive, but at the same time it's very rocky. It's a very dark set, but it's a good set to sing. It's not as demanding on my voice as the previous sets, and I think it's because we've got some breaks, and the ranges are similar. With a tour of this length we've to be very careful, we've changed the key in Fugazi, and there's only two or three moments in the set that you've got to watch. The choruses in Big Wedge, I hate them, it's because you've got to work your voice right up. Incommunicado's pretty tough, cause you're coming straight off Pipeline, and you're really going for it. That's really it. The rest of it works really well. It's just rockier, it's more bluesy now than it was. More people have been intrigued by it, and at every gig there has been a Jim Morrison t- shirt in the audience, and it's like saying something. It's actually where we're going with the next album, like I tried to explain earlier on. Listen to the Black Grape album, listen to Brian Eno and it just grooves and works, it's like abstracts, and that's what I'd like to do. I'd like to do one abstract album next year and one sort of typical Fish album which will be very conceptual, that's the Sunsets on Empire album. But the other one will just be put out under the name Dick, make it really hip really trendy, you know. The idea was to put just a single finger on the cover with a big blue vein on it and D-I-C-K tattooed. Oh, we're all getting tattoos in Hamburg, by the way, if you'd like to come along with us. Eight of us are going to get tattooed in Hamburg that's decided, it's that tour, it's tattoo time, after all these years. But for that album we need the space. Even if it goes utterly wrong, well if it goes utterly wrong, and we don't sell the Yin and Yang albums then we're in a position, where we've got to sell the house anyway. But when the time comes into selling the house I'll have at least six months, and in these six months I might be able to cut down on the touring and get the albums done, and then just get rid of everything, then sell the albums and use that to pay off the rest of the debts, and then work it out. It's nice it's actually getting pretty clear cut now, which is nice. It's not as confusing a situation as it was two years ago. But I think the big problem is that if it goes down, if it went horribly wrong, I think the big scary part would be if we lost the publishing copyrights, if we lost the recording copyrights, which are worth a lot of money. But the problem is that if you do something wrong the vultures come and get them, and you don't have the chance to get the real value for them, and that's the scary bit. But as I said, you've just got to deal with it. Like I said 300,000 albums is realistic. Split on two albums, it's 150,000 each. Suits has done 85,000 now, but we've Spain on board now. Scandinavia probably did maybe 5-6,000 albums last year, but I reckon we could get it up to the 15,000 with a fair wind. And if two albums doubles it we're up to 30,000 albums. If the Germans get it together we could probably get 150-200,000 albums out of Germany. I've got management down there now, I've got a management consultant and I've got a really good promotion company, I've got a big tour, I've got the Viva-2 job, we've got TV adverts, we've got a single that's getting a lot of radio play, the video's playlisted on VH-1, it's playlisted on Viva-2, it's getting played on MTV now. If you think of the fact that Vigil did 150-160,000 albums in Germany and Misplaced Childhood did 5-600,000 you know it's possible. And with the possibilities of going to the open airs next year. It's like fighting a guerrilla war, you know, you've got to go in, you've got to plan your attacks, you've got to hit it and you've also got to make sure that once you've done the attacks, where you're going to regroup. Cause if the attack goes wrong you've got to have somewhere to go, and I've got that worked out - sort of. That's the cunning plan.
Per: What I've missed over the last years is another official live CD from the Company.
Fish: Oh yeah, well, Sushi paid for Suits, you know. I'll do another one off this tour, I mean, I'll probably put a mid-priced live-album out sometime next year. But again it's a trench, it's something we've got, something to which somebody would go "you've released so and so much live stuff", but then again, who's cussed up with the bootleggers? We can plug the market. So much live stuff has been recorded already, and on this tour there's live radio in Gothenburg and in other places, so there's going to be enough material to pick out a good live set.
Claus: Release the one from yesterday. Fats said that he had it on tape for production purposes? [Yesterday the gig was in Esbjerg. Fats is the lighting designer on this tour and he uses the recordings for his next day set up and rehearsals, TCS].
Fish: Yes, we had everything apart from Raw Meat. We missed Raw Meat last night, Raw Meat was brilliant.
Per: And he gave us an offer today to buy a copy of it.
Fish: [sceptically smiling] He better...
Fish: [laughing] I'll kill him.
Per: No he didn't.
Claus: Why not Incubus?
Fish: The end section rips my voice out. It's a great song, I love singing it. On a 59 date tour I think that if there was one number that was going to rip me apart, it would be that one. Cause I get too involved in it in the end, it's a really angry song in the end.
Stuart: I've always found it the best song to photograph, because you're involved in it, there's so much depth and feeling there.
Fish: I think we'll do it at the convention, if we get to put in a convention. Maybe if there's a small UK tour coming up at the end of the year, we might throw that one in, but I think the set at the moment works brilliant. Last night was 2 hours and 15 minutes, and it felt like 45 minutes, it just moves too fast. And that's the sign of a good set.
Claus: When I look at a gig like yesterday, where you were down in the audience three times. How do you get these ideas, and when do you get them?
Fish: You just do them. You just react. It depends on the audience, it depends on the vibe. It just seemed the right thing to do, it's just a feeling you get and you go with it. I've always done it for years, it's nothing that's brand new, you just get into it and go down to the punters, it's fun, It's nice to touch people.
Stuart: The radio mike was good, when you did Margaret years ago and you actually appeared up at the balcony at the Hammersmith and nobody knew where you were, it worked quite well.
Fish: Yeah. Now Raw Meat is really good for it, and then you get to meet all the nice girls as well [laughs]. Last night there was somebody that said he was going to lift my kilt up, it's always a problem.
Claus: That puts a natural end to audience participation. What about using La Gazza Ladra as the intro track, didn't you consider it to be a bit risky, having used it in 1985, 1987 and 1988?
Fish: I decided the risk was worth it. Again, what the hell, it was my idea to use La Gazza Ladra in the first place, I was the one that chose the name for that album as well. I think that if Steve Rothery or Mark Kelly had come up with the idea for that intro then, I would not have used it. It was my idea and I thought, oh yeah. Every time I hear that song in any programme, I automatically identify it with Clockwork Orange. It was great cause in Clockwork Orange, in every scene of violence that occurs in Clockwork Orange La Gazza Ladra plays. And that's the reason why it was originally picked. And it was an idea actually to go hawk and go to put the whole stage set up like in Clockwork Orange. But I mean La Gazza Ladra is mine. Well, you know, the way I look at it, it's an identification with an era and I think it's like saying, like, well, let's be absolutely blunt about this, you know, we sound more like Marillion than Marillion do these days, and La Gazza Ladra just emphasises that point. You listen to Afraid of Sunlight and you listen to Clutching at Straws, they're like so far removed, in style and everything. Everything's so different. If you listen to Suits and you listen to Clutching at Straws, it makes a lot more sense. If I'd kept the name, my life would have been a lot easier, my career would have been a lot smoother, you know, but the thing was I never wanted the name. I never wanted it, I always wanted to go as Fish, but at the same time Fish is identified with a certain style of music, and putting on La Gazza Ladra just emphasised the point. It's not an anti-Marillion thing, it's just a very pro Fish thing.
Stuart: Will you release Kayleigh in its new version?
Fish: EMI will not let me release any of the Marillion material as singles... But again, I would be nervous about releasing a Marillion track, it's one thing to put all these tracks on the Yin and Yang albums. To be honest, I would rather have Lucky out as the next single.
Claus: Speaking of Marillion, you invited them to Edinburgh? [On Saturday 2nd September 1995, Fish did headline a festival in Edinburgh, TCS].
Fish: I asked them to come up and do the Edinburgh show, and I was told that Steve Hogarth and Mark Kelly had already booked their holidays, which were fair enough. And John Arnison said, well maybe Pete and Steve Rothery might come up, and then sort of like Pete didn't think it was a good idea for him to come up, and Steve Rothery was away on holidays. [John Arnison has been managing Marillion since 1982, TCS]. Marillion's attitude I just don't understand, I really don't understand it. 7 years, 8 years down the line, and it's still this childish picky stuff... Well, I still class any one of those guys as friends, I don't care what they feel about me, I've nothing against them. I just don't understand why they're still so uncommunicative, why they're just so basically unfriendly, and so bitter about it all. You know, bitterness for what? In 1991 and 1992 I had more reason than anybody on this planet to be bitter about the way things turned out, but I realised, you know, I've said a lot of stuff in interviews and I've had a bad attitude problem, but there's no point in looking back and going FF, formerly, formerly, formerly. Here's what John Arnison said to me the other day, he said, "you guys should have been millionaires with the amount of albums you sold", and I said, "maybe if you'd done better deals, yeah we would have been". But again, there's no point in looking back and getting bitter and twisted about it, you just got to be looking forward. Of course it's difficult, cause the older you get the more you become aware of the competition, the more you become aware of the youth that's coming up, and that's worrying, you know, it's worrying. But you just have to go on, like I said, we're in a situation where if we can go out, as long as we can clear the desk, and I can go out and sell maybe 100,000 albums or whatever across the world, I can keep on going. With 100,000 albums I can keep myself going every couple of years, get the space to write screenplays, pick the tours. I mean, if things were badly wrong, the tours had to be properly sold out, we couldn't sort of go out and lose 20,000 Pounds a tour, we had to make sure that we would not lose any money on the tour. At the moment we're being very, very brave, I mean, very brave. It's the "he who dares wins"-scenario.
Stuart: How much does it cost this tour?
Fish: 18,500 Pounds every week. That's how much the tour costs. Wages, equipment hire. 18,500. And we can really do five shows a week, so we got to do basically 3,500 per night. Last night we got 1,000 Pounds, tonight I think we get about 1,000 Pounds. I don't think we get paid more than 1,400 Pounds for any show in Scandinavia. So it depends on the album and the merchandise sale. We do our own merchandise, again, you've got to keep it in, to cut the middle men out. But you've got to take the chance. Because in Esbjerg last night, we did it, next year we're going to sell that place out. If we get a good reaction tonight and if we get a good reaction in Odense, we'll get bigger shows. We've got a 55,000 people festival, 10,000 is going out to buy both albums, suddenly you've 20,000 albums coming into Denmark, and then you can tour next year as well, cause you know that the next album you put out is going to sell 20,000 copies. And remember, if we can sell 20,000 albums in Denmark of Yin and Yang, it means that we're going to sell another 10,000 Suits.
Stuart: Because people buy into the back catalogue?
Fish: Yes. We just box clever now. As I said, you know, when I left Marillion in 1988 I should have been very, very well off. I wasn't. I mean, I got less than 10 pence per CD of Misplaced Childhood [laughs]. But, you know, I like to say, there's no point in being bitter, you just have to go, "okay, I learned from that"... I don't want to be a millionaire, I just want some security, cause I want to keep on making albums.
Claus: When you're paid now, are you paid a percentage of the tickets sold?
Fish: No. The promoter goes, this is the cost of the venue, this is the cost of this, this is the cost of that, this is the cost of posters and advertising and da-da-da, and you negotiate a fee. So you're paid a fee, and once the gig sells out then you split, you get a percentage split, it's quite complicated.
Claus: The reason I ask is because the ticket price in Esbjerg was very low. And a lot of fans at the door said they first thought it was a mistake that it should have been 175 kr. instead of 75 kr. They were willing to pay 175 kr.
Fish: It was because the Danish promoters feel that my career in Denmark could be highly successful and we proved it last night. And we agreed to come in at a low price in order to break the market. That's why the ticket prices were low, to entice the people along to the shows. There's no point in charging a high price to come along to see a show, cause you're not going to get the people to go. Just as the albums Yin and Yang, entice people to go along, and it happened last night. Some of the people there had not seen us since 1983, so it works.
Interview 16th September 1995