After the exit of their singer “Charlie Huhn” (ex-Ted Nugent) in 1988, the band Victory searched for a new suitable shouter through an advertisement. In addition to numerous applications for the vacant job as frontman, a manager from New York who liked Ted and knew of Victory’s problem drew the band’s attention to Ted Bullet, who that time was playing with his own band “Thrillz” in a few bars in New York and New England. Ted soon got a call from the Victory Management in Florida and was asked straight away if he wanted try it with the band Victory in Germany. Although Ted had never heard of this band before, he thought to himself “why not, if it doesn’t work out, I’ll have a two-week vacation in Germany”, where he has never been to either. At the end of April ’88 the time had come: Ted came to Germany to introduce himself to Victory.

Unfortunately, it soon became apparent that Ted’s voice wasn’t really suited to Victory’s material, and he didn’t fit into their concept at all. But thanks to an offer from Victory’s bassist “Peter Knorn” (Fargo-Pedder) to stay at his apartment for a while, Ted was able to stay in Germany for two weeks to look around and check out other bands. However, Ted was not very successful in finding musicians to possibly start his own band. Eventually he met “Henny Wolter” in a bar, they got drunk (of course!) while chatting about music and bands, then finally agreed on a jam session the next day in Henny & Ole’s practice room.

Henny Wolter, Ole Hempleman and Alex Scotti had known each other for 10 years already. Each of them had played in different bands from time to time. Actually, they always wanted to play together, but since each of them was always active in other bands, it didn’t work out at first. It wasn’t until May ’88, when everyone had either broken up with their band at the time or was fired, when they finally got together and formed a band. However, Alex wanted to pursue a few other plans first, so that only Henny and Ole got together until Henny finally met Ted Bullet…

The following days in the practice room went great. Not only did Henny, Ole and Ted get along well with each other, they also shared the same style of music, the same genre and even the same musical influences from the 70s. The conditions to unite could not have been better!

Several sessions followed, and since the trio still didn’t have a drummer, “Fritz Randow” (drummer of Victory) was asked if he could help them out for a while. Fritz agreed, they even played live together once, but then Victory went into the pre-production of their album “Culture Killed The Native” (in the meantime they had found the new Victory shouter in the 21-year-old Spaniard “Fernando Garcia”) and so Fritz’s part-time job on the drums was over.

After a long search and asking around, they finally met “Alex Scotti” again, who even brought some tour experience with him through his participation in the band “Amazone”. With his entry in August ’88, the band was complete. What was still missing was a “reasonable” band name…! In addition to some rather impossible and questionable suggestions, they finally agreed on the suggestion of Ted to call the band “Thunderhead” for the time being. The drummer from Ted’s old band once played in a band with the same name. 

Behind the 8 BallWhen Alex joined the band, things really got going for T-HEAD right away. In addition to some newly written and rehearsed songs, most of Ted’s song material was simply taken over, revised, or incorporated into the newly written songs, so that a first demo was created, which could be sent to various record companies. Amid some serious offers from various record labels in Nov. ’88, Thunderhead finally signed the deal with Intercord around New Year’s day of 1989. And already in February ’89 their debut album “Behind The Eight-Ball” was recorded and …

     ”…the album was ready in just 12 days,” Henny explains. “Everything had to happen very quickly back then. We hadn’t been able to think too much about which part is great and which isn’t: it was just recorded.”

Since it was their very first album, they invited “Will Reid Dick” into the studio (who had among others previously co-produced Thin Lizzy and Saxon). Will was just right for the job. Actually, he was supposed to act only as an engineer, but then he automatically slipped into a kind of co-producer role.

“Behind The Eight-Ball” had been a surprising success for everyone and sold 30,000 copies. The sound that Thunderhead introduced to Germany’s rock scene with “Eight-Ball” was new. There has never been a band from the rather tranquil city of Hanover before singing about life on the streets, in the big city or about drugs. Also new was that the guys knew exactly what they were talking about, and that gave them a lot of street credibility everywhere.

The good sales figures for “Eight-Ball” brought Thunderhead a support tour with Uriah Heep and Victory in Germany as well as a support tour in England with Motörhead.

In 1990 their second album “Busted At The Border” was released and here too the band consistently stuck to the style of “Eight-Ball”.

Unfortunately, “Busted” didn’t live up to the high expectations that their debut album had aroused, which also had an immediate effect on the sales figures, because they only amounted to around 10,000 copies.

     “That was partly because the song material – also from our point of view – was not nearly as strong as on the “Eight-Ball”, Henny says, “and on the other hand it was also due to the record company. We had to put up with the accusation that we built a bit too much melody and not enough aggressive guitar parts into the songs, so that our real strength, which is intensity and power, didn’t fully come to fruition. However, the record company also made some mistakes, because the distribution and the Promotion work for the second album really wasn’t very well organized.”

Unfortunately, that wasn’t all.

Producer Tony Platt was hired for the “Busted” album (did also work with “MOTÖRHEAD”, “AC/DC” and “CHEAP TRICK” among others), but it was pure coincidence that the band bumped into him. Actually, they had a completely different producer in mind, but unfortunately, that one was already busy with another band at the time. Tony worked in the same agency and after listening to T-HEADs demo tape he approached the band and offered to be their producer. That suited T-HEAD very well, because the management at the time (“BIG BEAT” management) and the record company had expressed the wish to have the record produced in its entirety.

All right, but when they went into the studio together to start recordings, they had to realize that Tony, the producer in question, wasn’t really that easy to get along with, because… “we used to fight”, Henny explains. “And the constant tinkering with the parts was so bad in the end that the whole product had suffered from it. Ultimately, it was Tony’s fault, but I must also say if we had been a bit more experienced and self-confident back then, we would have said right away: ‘stop immediately and start all over again!’ But by the time we finally checked out what was going on, half the money had already been pre-produced, and Tony had already received his advance payment, so there were only two options for us: either to finish the album or to make no album at all. But then we thought: ‘Damn, let’s just finish it. It’ll work out somehow.'”

Production-wise Tony might be an ideal partner for many bands. Thunderhead, on the other hand, is a band that knows exactly what they want, and you can’t easily tell them what, how and where to rearrange things! Who wouldn’t be frustrated when you record a demo, do pre-productions, produce yourself and then it all sounds way, way better than the record itself!?

     Henny: “It did cost us 60,000 DM to have everything banned by an English dork like him!”

Shortly before the mixing was finished, T-HEAD got the message from England that their label Legacy was “finished” as well…

That’s it then! With that news, T-HEAD got rid of their deal in America, Japan and England on one single day! The album came out two months late and only one week before the tour started. – And so: nobody knew the record, nobody bought it, and nobody came to the tour!

Still, “Busted” is a well-done album with fast riffs and very expressive and sensitive lyrics. The attempt of a first cover version of the specially selected “Chicago” classic “25or6to4” was also a success, and not only gave that song a new sound, but also a new name. However, this song was released as a single and video against the band’s will.

     Henny: “The song came up pretty well on our pre-production. “Chicago” recorded this song with horns, and we only did it with guitars; that’s the gag of the thing! – We thought the title was good for our record, but the single release of it was an idea of the record company. “25or6to4″ is good, but it was just a kind of experiment. Quite commercial, that’s probably why the record company chose it.”

— In case you’ve ever wondered why this song was never played live by T-HEAD, the reason is very simple: this good piece was recorded with 12 guitars! —

As already mentioned, the following first headlining tour for T-HEAD – including “Marshall Law” as supporter – went more badly than well.

In general, it seemed as if T-Head wasn’t very lucky this year. Many would probably have thrown in the towel long ago, but not T-Head! It’s precisely these bad experiences and the hard times that welded the band together even more. It never occurred to them to break up with the band or change the line-up. – On the contrary! The consensus was to stay active and show all the people, who had already written T-HEAD off because of the poor sales of “Busted”, how serious they were about Thunderhead with their next album.

Well, and they really succeeded in doing that…!

With the release of “Crime Pays” in 1991, T-HEAD finally achieved the long-deserved breakthrough. The whole pent-up anger at past frustrations can also be clearly heard in the song material. This time Ted, Henny, Ole and Alex had decided to take everything into their own hands – despite initial resistance from the record company.

     “At first they came up with a few suggestions again”, Alex explains, “but we told them very clearly that we wanted to do it all alone this time.”

“Crime Pays” was produced by Alex together with the sound engineer “Chris Heil”. After all, Alex, who had already gained plenty of experiences on many projects, knew best what had to be done to fully bring out the strengths of T-HEAD! With that, T-HEAD succeeded for the first time in capturing the whole live feeling, the power and energy as well as hardness and aggressiveness on record.

“Crime Pays” was sung from the first-person perspective and the photo on the front cover of this album is real. It was taken by a photographer who accompanied the New York police in their work for 2 years and later published a photo book about it, among other things. T-HEAD searched long and hard for a suitable front cover photo, until they finally came across this photographer’s material. Ultimately, his archival images were found to be better than any other artificial material.

— As for the back cover, that was my own (Tina Mönke) idea, but as a drawing version. Unfortunately, my drawing was rejected by the record company, although the band itself thought the idea and my drawing were pretty good and appropriate. Ultimately, the idea was then taken over by the record company with a made-up photo as a “back cover concept”… —

     Henny: “Crime Pays deals with the paradox of those people who live by this principle and always have problems with it.”

At the beginning of ’91, the “Big Beat Management” was replaced by the “Pox Rock Agency”, so that now “Beaker Pox” was responsible for all business affairs of the band. Together with him a 42-day production plan for “Crime Pays” was devised, and the aforesaid new manager always watched over compliance like the famous mother hen over her chicks.

The band spent the following two months with final recordings and mixing in the “Horus Sound Studio”. Towards the end they had to deal with problems again when all the studio equipment suddenly quit service one after the other. But T-HEAD didn’t let that discourage them but thought about a way to continue their work.

At the end of July ’91 all the work was done and “Crime Pays” was presented to all invited journalists at a listening party in Hanover. This time the album was going to be released worldwide, whereupon in Japan there was such a great interest in T-HEAD that the band simply could not resist the tempting offer to fly to Japan for a promotional tour. But before that a tour in Germany with “Gamma Ray” was announced.

After a successful tour with Gamma Ray, Ted & Henny flew over to Japan on December 3rd, 1991 for a 10-day promotional tour.

Even though the guys couldn’t really enjoy their first visit in Japan, because they had around 22 interviews every day, this promotion tour was so successful that a 7-day tour through Japan was planned for March 1992. The band visited Nagoya (March 24th), Osaka (March 25th) and Tokyo (March 27th/28th).

Back in Germany and after three weeks of recovery from “Sushi”, “Sake” and “Jet Lag”, the band was “on the road again” for a second tour in Germany from the 23rd of April till the 21st of May, this time with Crossroads as co-headliner.

After that tour was over too, the band went on a well-deserved vacation trip just to return with lots of new ideas for their fourth album “Killing With Style”. They worked hard and continuously on new song material and were able to present a first demo in November/December ’92.

Before that, however, they separated from the current record company Intercord…

     Henny: “We were never taken seriously there. We called them almost every day and complained, but we were always told that the man responsible for us was on vacation. That annoyed us and so in the end we always drove there personally with Beaker.”

Even before “Crime Pays” was produced, the band already thought about parting with Intercord, but it wasn’t that easy because of the contract they had signed at the time…

     Henny: “We had a contract for 5 records, which meant 5 years for us, because up to now we have always produced one record a year. Although we had received several other offers from different record companies at the time, Intercords offer was simply the best. There was no mistake in signing back then – the only mistake was just signing for so long.”

As time went on, they had to get angry about things that simply shouldn’t have happened. Photos that were just published without the consent of the band or misprints (clearly seen on “Crime Pays”) were only a small part of the whole. The other part consisted of the insufficient promotion and the basic lack of necessary promotion for the band, for new albums, concerts, tours etc. With all these “little” annoyances as well as with the normal things that just didn’t work here, it was clear to everyone that things simply couldn’t and mustn’t have to go on like this!

     Henny: “We drove to Intercord together to put some things in perspective and also to get a little closer together. – But the opposite happened.”

In the end there was a big bang and T-HEAD announced their exit. It was made very clear to the people there how little value one would still attach to any cooperation and other business connections. And with that, the Intercord issue was finally settled for everyone!

But T-HEAD had nothing to celebrate, because the record company didn’t put up with it that easily. And their reaction to that was accordingly. To appear in a good light…

     “…our managing director that time had started a call to all magazines”, Henny explains, “and announced very coolly that he had dropped us.“

According to Intercord, the band was said to have been too stressful, and the sales of their three albums weren’t quite what they would have imagined. Of course, everything was a lie, but T-HEAD was no longer officially connected to Intercord since August 1st, 1992.

At the same time, one of the hardest times ever began for T-HEAD, because Intercord suddenly made high financial demands on the band. And once again they were badly disappointed, because…

     “…we were encouraged by Sony Music to ‘say goodbye’ to Intercord”, Henny says. “They showed quite a lot of interest in us and said that if we said goodbye to Intercord, we could sign with them right away. Well, that wasn’t the case, because when we called them a day later to tell them that we left Intercord, it was like, ‘yeah, well, hmm’ and ‘we could think about it then’ and stuff like that. In the end, of course, the deal didn’t go through.”

Other record labels that had previously shown a keen interest in T-Head were also deterred when, for example, huge sums were asked for the band’s backing catalogue. And then, Henny says… 

     …”the interests of the industry suddenly shifted to our disadvantage. None of us expected to be without a deal for so long. We had already finished the first new songs and were toying with the idea of releasing a live album – well, and then we stood there: without a record deal. It was just frustrating, because each of us invests so much time, money and energy in this band…!”

In the following months the band worked with all the frustration at first. Everyone had their own thoughts about the unfavourable circumstances and about what the future might bring. But what finally holds the band together in such phases, as Henny explained, is…

     …”the fear of having to throw in the towel. – No one dared to start!”

Finally, the tide turned when GUN Records offered them a serious deal around November/December 1992, and they started looking at it a little more closely. Although they had already started to negotiate something with GUN at that time, they were not yet sure whether this could become something.

     Henny: “But then we thought that we wouldn’t have the same problems as before in such a small company. And now we’ll call the boss and he’s always there for us. We’re not a catalogue number or something like that, this company is so small that everything they put in really hurts!”

Under the working title “Young & Useless” (it was later renamed in “Killing With Style”) T-HEAD continued to work diligently on new songs the following weeks. The complete demo for the new album was already finished when the deal with GUN Records was finally closed at the beginning of May ’93. – The GUN got loaded!

The cooperation with GUN Records was looked forward to with confidence and optimism. And so the company took its first step right away and had the songs “Young & Useless” and “Down In Desperation” recorded from the new material of the band at the Mohrmann Studio in Witten. The result of this was very well received by GUN, especially by the big boss, “Wolfgang ‘Wolle’ Funk”, and so it was decided to use these recordings for the upcoming promotion work.

From mid to late May ‘93, T-HEAD locked themselves up into the R.A.S.H. Studio in Gelsenkirchen to record the drum and bass parts of 14 new songs. The “overdubs” were made at the Frida Park Studio in Hanover, i.e. guitars and vocals including backing vocals were played and recorded. The well-known Horus Sound Studio was again chartered for the mixing of the finished recordings.

On July 4th, 1993 there was another big invitation to a listening party, this time it was time to present “Killing With Style”. And every known or unknown music journalist agreed that this time “Alex Scotti” had succeeded in capturing the quality and power of the live sound on that album. Only two days later T-HEAD rode to Hamburg to finish the mastering of their new album as well as a 4-song promo CD.

Shortly before the end of July, on July 23rd, 1993, Ted and Henny had an important meeting with BMG Ariola in Munich, where they supposedly played some of their new songs on acoustic guitars to the bosses wearing a “suit and tie” (!!!). They must have been quite convincing because T-HEAD got new instruments sponsored by the people afterwards!

Ted, Henny and Beaker then flew in from Munich on July 29th, 1993 for the video shooting of “Young & Useless” in Berlin. Ole and Alex arrived together with the crew and all the instruments by car from Hanover. The shooting lasted 3 days and it was very interesting to watch and then realize how complex and tedious a 3:36 min video can be!!

On the first day, the only thing that was initially done was setting up the equipment and lighting the hall.

On the 2nd day in the morning the first shots of the band were completed and of each individual band member. From 5 p.m. the audience was then admitted playing their part in the video. For a total of 5 hours the approximately 50 or so voluntary extras (rocking people) had to headbang, rock and give everything at all! Around 10:00 p.m. they were all relieved and finally allowed to have their first beer of the day. In addition, or rather as a surprise, “Beaker” also gave everyone one of the rare shaped 4-song promotion CDs of T-HEAD, which the band of course personally signed for everyone.

On the 3rd day all the close-ups and solo shots of every single one of T-Head were made, and finally the whole band was filmed acting together again at the end. At the same time the scenes with the killer and the gun were prepared and shot. T-HEAD was already on its way home to Hanover when the gunshot scene and finally the intro to the video were filmed. 

Around 11:30 p.m. all the scenes were finally finished, and the very next day all 8 rolls of film went to the editing studio. And it took only 2 days until the video was edited and ready for screening.

Simultaneously with the video shooting, the “bosses” (GUN) were looking for a good tour package just to present T-HEAD on a larger scale. Initially they thought of “Accept”, but in the end it was “Saxon” that the band would go on tour with. “Saxon” was the ideal tour partner, especially for Ted Bullet, who was really excited about this tour.

Until that tour would start the band used their time for playing various acoustic gigs, giving interviews and autograph sessions in Germanys record stores, such as WOM or Saturn around noon, but also in small clubs and cafés in the evening.

From the 20th till the 22nd of August the POP COMM started in Cologne, where T-HEAD would officially present their new album “Killing With Style” to an enthusiastic audience at the “Luxor” with a successful release party.

Then the band finally went on tour with Saxon

From the 26th of September to the 23rd of October ‘93 both bands conquered all halls and clubs in Germany. Although Saxon initially has been very distant towards T-HEAD, their initial dislike turned into true love during the tour. So that in the end they didn’t want to let T-HEAD go. On the last day of the tour both bands even stood together on stage and played one of the numerous Saxon classic songs to an enthusiastic audience.

For T-Head the year ’94 began with a live show at “Glocksee”, Hanover, not only as a warm-up show for Japan but also to record the very first live album there. All active T-Head fans were invited because the motto here has been: “If you can scream and yell loud enough, you will be on the record”! Despite initial technical problems, everything went smoothly on stage, so that the band showed up at the “Frida Park Studio” the very next day to mix the entire recording.

The single “Movin’ On” was also released in January for the first time in the USA. In February the complete “killer album” has been present for sale over there in all record stores.

Together with “Rage” the band hit the road again on January 24th for a tour in Japan for six shows, which were already sold out around Nov./Dec. ’93. From the 27th to the 29th of January they played in Tokyo, on the 30th of January in Osaka, on February 1st in Nagoya and again in Osaka on the 2nd of February ‘94.

In April ’94 the album “Classic Killers – live” was finally released and anyone who has been waiting impatiently for this album was not disappointed by its quality either. By mostly leaving the entire concert recording in its raw form, T-Head has managed to authentically reproduce one of their numerous and impressive live shows on CD.

     Henny: “In addition, only this one show was used. You don’t get the compilation of several shows, but this single and coherent concert.”

Of course, the choice of songs for the album was chosen not without compromises. A poll for the best and most popular T-Head songs revealed that the Japanese fave list was completely different from the German fave list.

     Henny: “Crime Pays” sold better in Japan than in Germany and so the Japanese naturally wanted to have some of the songs on that live album. But I think we did a good job, even though we’ve already received tons of letters of complaints from the fans and individual journalists that reviewed the album with the words that it was quite good, but it would have been even better with this or that track…”

From the 27th of May till the 1st of June T-Head started another short tour through Germany, this time together with the Swedish quintet “Mental Hippie Blood” as support.

Right afterwards T-Head has been on some festivals from the 2nd till the 6th of June ‘94 with Accept, Vicious Rumors, Kreator, Axxis and the Overdose Kids. Unfortunately, the weather conditions have been quite unfavourable that time with violent storms and thick hailstones. Depending on the weather forecast the organizers had to let one or the other concert start earlier or even shorten it a bit for safety reasons to avoid all storm and hail gusts in time.

The show for T-Head in the “Cult” in Arnsberg-Neheim on August 14th, 1994 was said to be the “only gig in Nordrhein-Westfalen”. The only problem was that most of the few people who showed up there only found out about this show through hearsay. Still, the show went fantastic, the atmosphere was great, and the band was just amazing! In addition to some representatives of well-known music magazines, some musicians were also present, such as RAGE in an almost complete formation.

In September, the more or less well-known music store “P.P.C.” in Hanover, called in for the occasion of their 10th anniversary to a big anniversary celebration in the “Capitol”. In addition to T-Head, the bands “Remain In Silence”, “Backstreet” and “Spice (the latest discovery by the “Pox Rock Agency”!) should ensure a colourful evening, a relaxed atmosphere and even more entertainment.

Unfortunately, there was also some excitement at the beginning due to bad differences between T-Head and their management. While T-Head was only presented here as a second band and thus as support, the new band “Spice” should enjoy this act as a headliner!?! That was not very respectful towards T-Head! And it was for this reason only that the band went on stage with a delay of 40 minutes. – So, it was all on purpose!

Actually, it was planned to release two albums this year: the first one with fast tracks around Oct./Nov. and the second around Christmas time with only ballads, which should contain some new songs in addition to the elder ballads. But GUN then expressed the wish to have the albums recorded in America with the ulterior motive that at the same time a bit of promotion for T-Head would be done there in order to finally increase the level of awareness of the band in the USA.

Prerequisite for this was the support of an American producer, and they had already had someone in mind, namely “Paul O’Neill”, producer of the last “Savatage” album. GUN also managed to get an appointment with the said producer for October 6th.

But unfortunately, the meeting with the producer “Paul O’Neill” didn’t go as they had hoped for, because the first thing this person had in mind was to have one of the new tracks rewritten by the band. Well, as we all know, T-Head reacted particularly allergic to something like that.

Ted should then go through a list of names of American producers and see if there might be someone suitable for T-Head, but of course that was much easier said than done.

The whole topic of “producer” and “recordings in America” was pushed aside for the time being, and the new albums were to be recorded in Hanover after all.

And so T-Head went into the studio in March ’95 to record the album with the fast tracks “Where You Told The Truth About Hell?”. The track “Snap” was released as a video from this album and was shot by the same film team as “Young & Useless” in Berlin (at the Club Marquee) within just two days.

After the release of “Where You Told The Truth About Hell?” the ballad album was tackled almost at the same time. “The Ballads ’88 – ’95” includes not only all the ballads from all the band’s previously released albums but also two newly written and two replayed songs.

The band then went on a tour through Germany with “Pink Cream 69”. And in January 1996 T-Head went on another tour through Japan, this time together with the band “Rage” – what a brilliant package! Of course, the entire tour went just as brilliantly for both bands.

Nevertheless, the situation for T-Head was steadily deteriorating. No matter how much GUN Records believed in the band, the sales figures for their albums were clear: Far too few sales! So, the record company had no choice but to deal with the band and the management about the poor sales figures. Ultimately, it was agreed to separate from each other by mutual agreement. It was a huge blow to the band itself, but what could they have done!?!

Being without a record deal again was tough, but since Japan was still very fond of T-Head, there were hopes of a record deal with them. It also looked pretty good for T-Head to get signed with BMG Japan, but suddenly that tide turned, and the deal didn’t go through.

The time that followed was more than tough for every bandmember. They had a lot of expenses but no income. When they were lucky, they would take a job to at least keep themselves afloat. But of course, the little income was never enough.

This situation was so bad and hopeless for everyone that soon the contact with each other no longer worked properly. Personal differences were fought more and more often and more violently and eventually also led to the band splitting up.

So far, the boys have always been “very good at taking hurdles” (quote from Henny), but unfortunately, they didn’t manage to overcome this hurdle.

Still, the band managed to set signs on the music scene and Thunderhead will always remain a household name for all of us as well as one of the most popular bands of the 90’s.

In 1999 the album “The Whole Dacade”, a best of by Thunderhead including bonus tracks, was released by BMG in cooperation with GUN Records.

— Good things never last … but the memory lives on …!! —

Ted Bullet goes to England in 1999 to record and release an album with the band “Son Of A Bitch” with two ex-Saxon members.

Henny Wolter records a live album in Japan as a guest musician with the Hanoverian melodic rockers “Fair Warning”.

Ole Hempleman founded his own punk band “Amoc” and Alex Scotti started a family. 🙂

At the end of ’99 Henny Wolter joined the Stuttgart-based “Primal Fear” and recorded the albums “Nuclear Fire” and “Black Sun” there.

Ted Bullet, who has been living in England since 2000, is also releasing the album “Ugly Side” in America with three American musicians using the name “Thunderhead”.

In 2003 Ole Hempleman and Henny Wolter together with drummer Alex Scotti – later “Klaus Sperling” – tried to build on the successes of the 1990s with the band “Donnerkopf” and relied on German lyrics. The album “Krachmaschine” was released via “Teuton”.

Since 2012, Henny Wolter has been touring very successful in Germany, France and Switzerland with Klaus Sperling and Claus “Oimel” Larcher and their band “NITROGODS”, which they founded in 2011.

Ole Hempelmann initially acted as a guest musician with the band Running Wild from 2015, but was then recognized as an official band member from 2019.