From Pretty Maids to Now or Never: Ricky Marx Reflects on Four Decades of Heavy Rock

From Pretty Maids to Now or Never: Ricky Marx Reflects on Four Decades of Heavy Rock

For more than four decades, guitarist Ricky Marx has carved out a place in hard rock history — from his early days with Pretty Maids to his current role as the creative engine behind Now or Never. With the band’s fourth album, The Legacy (out now on Metalapolis Records), Marx and his longtime musical partner Renzo Favaro deliver their heaviest and most ambitious work yet. Mixed by the renowned Jacob Hansen and powered by the soaring vocals of Peer Johansson, the album marks a new chapter for a band that has weathered lineup changes, personal challenges, and a rapidly shifting music landscape.

In this candid conversation, Ricky reflects on the making of The Legacy, the chemistry that has kept Now or Never alive since 2012, his memories of working with Roger Glover on Pretty Maids’ Jump the Gun, and the friendships that have shaped his musical journey. He also shares his hopes for bringing the band to U.S. audiences — and why this new album feels like both a culmination and a fresh start.

We’re here with Ricky from Now or Never (NON). First of all, let’s talk about the new album, The Legacy. Is there an overall story or concept behind that title?
We wrote a song called “Legacy,” and we thought it would make a great album title. Since we started this band, the first album was basically “Number One,” then the second was Two, and the third was Three. But The Legacy felt right. After all these years playing music—we’re all in our late 50s and early 60s, except for our bass player who’s half our age—it felt like the right moment. You reach a point in life where you start passing on what you’ve learned, sharing your experience. And of course, we’re still learning too. But yes, it’s a kind of legacy.

Let’s talk about a few of the songs. “Dive Into the Void”—tell me about that one.
“Dive Into the Void” was actually the last song I wrote for the album. The whole record was mixed and mastered by Jacob Hansen in Denmark—he’s one of the top producers out there. He’s worked with Volbeat, Pretty Maids, Primal Fear… all the big names go to him.

We already had twelve songs, but I thought this one was strong, so we added it as a thirteenth. We asked Italian producer Simone Mularoni—who’s also the guitarist and mastermind behind DGM—to mix that track, and he did a fantastic job.

The idea behind “Dive Into the Void” isn’t dark at all. It’s about taking risks in life. Sometimes you just have to jump, take the chance, and see where it leads. It ended up being the first single, even though it was the last song written.

Let’s talk about “Hide Behind the Screen.” What inspired that one?
It’s about the internet and social media—how you never really know who you’re talking to. There’s a lot of misuse of identity, emotions, even worse things involving kids. The lyrics reflect that: just because you think someone is who they claim to be doesn’t mean it’s true. There are people hiding behind screens, trying to get information or manipulate others. We felt it was an important topic to address.

Tell me about Peer Johansson (Fate, The Grandmaster). How did he become involved with Now or Never?
I used to play in Pretty Maids years ago, and they’re from a small town near Aarhus in Denmark. For our third album, we had a singer, but it didn’t work out—he promised things he couldn’t deliver. Then COVID hit, the album came out, and we couldn’t promote it at all. It was a mess.

So I started looking for a new singer. Peer lives in the same city I used to live in, and I had heard his work with The Grandmaster and Pentakill. I thought, “Damn, this guy has a tremendous voice.” I love old‑school singing, but also the modern approach, and he blends both really well.

We already knew each other through mutual friends in the business, so we connected. We started working together about a year ago, and he did an incredible job on this album. Sometimes he’d send me 20 or 30 vocal tracks—lead vocals, backing vocals, harmonies. He has a very clear vision of what he wants to do. I’m really happy to work with him, and I’ll be even happier to share the stage with him when we start promoting the album.

Tell me about your bassist, Guillaume Surroca, and his background.
We found Guillaume in Geneva, since we’re based in Switzerland. We were looking for a new bass player—our previous one didn’t work out, and Kenn Jackson, who started the band with us and who I played with in the ’90s, had health issues and couldn’t continue.

Guillaume contacted us, and it clicked right away. He’s 33, so he’s much more into the social media world than we are, and he’s also a doctor in IT. He handles all the geeky stuff while we handle… well, the rest. It’s great having someone half our age—it brings a lot of energy and humor.

And then there’s Ranzo, our drummer from the very beginning. He’s my oldest friend—we’ve known each other since we were six. He’s behind all the drum parts and wrote about half the lyrics on the album. The other half was written by my Norwegian friend Mark Ferano from Faith Circus.

There’s a great cohesion in the band right now. Everyone is motivated at the same level, and no one is just sitting back while someone else does all the work. The mood is really good.

Renzo has been in the band since the beginning in 2012. What has made the two of you work so well together for so long? It seems like magic.
Renzo and I have known each other since we were kids. We had a band together in the early ’80s called Sultan, and we’ve basically always played together. We know each other inside out. On this album, for the first time ever, he actually wrote one of the songs. I didn’t write it—I just transposed and rearranged it. He’s been playing more instruments besides drums, and it was great to see him bring something new to the table.

When you have that kind of friendship and chemistry, you merge naturally when you play. You can feel it in the music. I think this fourth album, The Legacy, is going to surprise some people because it’s much more metal than the third one. The previous album was written during or just before COVID, and it had a different vibe. This time we went full-on metal—13 songs, only one ballad, and one mid‑tempo track that leans more progressive than ballad-like.

With Peer’s voice and Renzo’s tight drumming, the rhythm section gave me the freedom to layer guitars like a painter—three, four, sometimes five layers instead of just left and right. I also did all the keyboards on this album, which I’m proud of. It took a lot of time since keyboards aren’t my main instrument, but I’ve played them for years. It was hard work, but the result is strong.

And having Jacob Hansen mix and master the album made a huge difference. The sound is bright, wide, powerful—just amazing.

Has Now or Never ever played in Los Angeles or anywhere in the United States? And would you like to in the future?
We haven’t, but of course we’d love to. Even back in the ’80s and ’90s with Pretty Maids, the States were always something special. It’s like going to Japan—maybe not now, but 30 years ago when you went there, you were treated like kings.

For Now or Never, we’ve never had the structure or resources to make a U.S. tour happen. It’s expensive and requires a lot of organization. But we’d be delighted to do it someday. Maybe the opportunity will come. Who knows.

You’re also celebrating an anniversary—Jump the Gun by Pretty Maids turns 35 this year. When you look back on that album, what comes to mind?
First of all, the music business back then was completely different from what it is now. We were incredibly fortunate. We had Roger Glover as producer, we recorded in one of the top studios in the world, and we had CBS—later Sony—behind us financially. Jump the Gun is still the most expensive album ever made in Scandinavia. It cost nearly four million kroner, which is around 700,000 euros. That’s insane.

It was an amazing time. We were working in studios where Elton John had recorded. TNT, the Norwegian band, also did albums there. And touring was incredible. It was our first time in Japan, and we had a number one over there. For a 23‑year‑old, experiencing all that was unforgettable.

I still talk to the guys. Whenever we can meet—whether in Switzerland, Denmark, or somewhere else—we do. Those friendships are old, but they’re still in my heart.

On that album, what was it like working with Roger Glover of Deep Purple?
It was a fantastic experience. Roger is incredibly nice. We’ve known each other since around 1985, and even now—he hasn’t changed. He’s still cool, still knows exactly what he’s doing.

He came a few weeks before we entered the studio and did pre‑production with us. He made some changes to a few songs, and once we started recording, everything went smoothly. It was like heaven. And he’s just such a genuinely kind person.

We also had some big parties—like his birthday celebration during the sessions. He was great to work with and great to know. I still consider him a friend.

Ronnie Atkins of Pretty Maids had a cancer scare, and I believe he’s now cancer‑free. Were you in touch with him during that time?
Yes, of course. I actually saw him just before he was diagnosed. Pretty Maids played a festival not far from where I live, and we met up there. I’m not sure he’s completely cancer‑free—he’s dealing with stage‑four cancer—but he’s doing well at the moment. He has to go in for checkups every six months or every year, but so far everything is holding steady.

We stayed in touch throughout that period, sending messages back and forth to check on how he was feeling. I was very happy to see him again last year—or maybe two years ago—for the first time after his diagnosis. Even he was surprised he could keep going the way he has, with three solo albums, the Avantasia tours, and now some shows with Pretty Maids again. It takes a huge amount of energy. I’m just really happy he’s feeling good and still has that great voice and great sense of humor.

Joe Amore of Nightmare was the vocalist on your first two albums. What was it like working with Joe?
Joe is a great guy. We met back in the ’90s. After I left Pretty Maids, I formed a band that never really became anything—at least not until Now or Never—but Joe and I stayed in touch. He has this tremendous, natural voice. It just comes out effortlessly.

When I decided to start Now or Never, the first person I called was Ranzo to see if he was in. He was. Then I called Joe because I knew his voice would be perfect, and he immediately said yes. Same with Kenn Jackson from Pretty Maids—he agreed right away.

We had a lot of laughs recording those first two albums, and we toured all over Europe together. Great guy to work with, great guy in general.

You also played a guitar solo on Nightmare’s The Dominion Gate, which is celebrating its 20th anniversary.
Yeah, I’ve put solos on a lot of albums, but I remember that one well. They were recording in the south of France near Marseille, in a studio run by a Norwegian guy. I don’t know if he still has it, but it was a great place and a great memory.

Do you have any messages for Now or Never fans here in the States?
First of all, thank you. I don’t know how many fans we have in the U.S.—the country is so big it’s hard to tell—but the support we do get means a lot. The more support we have, the better the chance we’ll be able to come play live for you in the States or Canada.

For us, just being distributed in the U.S., getting radio play, and knowing people are listening over there is fantastic. So thank you very much for your support, and give The Legacy a spin. You won’t regret it.

IN CONCLUSION

As Now or Never enters this new chapter with The Legacy, Ricky Marx stands as a musician who has weathered eras, genres, and personal crossroads without losing his passion for creating powerful, heartfelt rock. His stories—from early days with Pretty Maids to the deep friendships that fuel his current band—reveal an artist driven as much by loyalty as by creativity. With a revitalized lineup, a heavier sound, and a renewed sense of purpose, Now or Never is poised to reach audiences far beyond Europe. And for fans in the United States, Ricky’s message is clear: keep listening, keep supporting, and the band just might bring The Legacy to a stage near you.

(Interview by Ken Morton)

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