So, right there in front of everybody, this woman starts giving Danny head. Her husband is banging on the door. I thought, oh no, I don’t want to be around for this. So, we got her cleaned up and dressed. And the guy had no idea what a slut his wife was. But the band was always doing stuff like that that could get them in trouble. I tried to not be out on the road with them, because some of the things they would do I would take umbrage at. It was not the way I was raised. They were liv- ing the rock and roll lifestyle, and that was fine. But I didn’t take drugs. I didn’t drink alcohol. The whole time I managed them I might have had 4-5 drinks with them. But somebody had to be in charge and be the father figure. I ended up being mother, father, brother, whore, confessor and banker. It was a constant babysitting job.
Tell me about the time when Danny Joe left the band and Jimmy Farrar came in as singer. I have heard conflicting stories. What’s the true story? The true story is Danny was diabetic. He always had his needles and his insulin, and according to how much he wanted to drink that night, he would give himself more insulin to combat it with. He also got to the point where he would take cocaine and put it into his syringe and put water in it and he would stick it under his tongue. Then it got to the point where he could not re-
member lyrics on the stage. He was getting very belligerent with the other band members and get- ting physical with them. They got sick of it. They said “We love Danny but he is not being a good member of the band.” So, then Charlie Brusco (the Outlaws manager) told Danny that he WAS Molly Hatchet. I always say that they fired him, but he quit at the same time. So, it was a mutual decision. The band wanted him out of there. They said what good is it going to do for us to go on- stage if he is going to make us look stupid and in- competent? Danny always wanted it his way. He was the guy that always started the nonsense. Like when he got Prager and Fenton in to do the books. They got the band so far in debt. I had handled over $2 million of their money coming in and there was a $210 discrepancy, and that was in their favor. So, when Prager and Fenton came in to audit, they said, “Well, your money’s not straight. He’s not accounted properly.” So, it was just $210 out of two million. I don’t know what that works out to, but probably a hundredth of a percentage point. And bands usually allowed for 2-3 percent shrinkage in the money. But I was tight, everything had to be accounted for. They hired Prager and Fenton to take care of their money on the road at $100,000 a year, and then they charged them for their in-house accounting. We were recording at Compass Point Studios in the Bahamas and I intercepted a call from Prager and Fenton, Alvin Handwerker, who didn’t know I was there. He said he needed to come down and talk to the guys on Saturday. I pulled Dave Hlubek aside, and one thing I will say about Dave is that he always told me the truth, he would not lie to me. I asked what was going on and he said Alvin is trying to take over as manager for the band. He said they really don’t need you. I asked him what he thought and he said, “Hell no. They couldn’t do what you do. They wouldn’t know how to deal with the record label or the promo- tors or the agency or any of it. Besides, they knew nothing about going in the studio. I was in the studio for every single Molly Hatchet album. I knew them. I’d seen them so many times live and as a bar band, there were times when they’d work up a song and I’d listen and I’d say Dave, you can do better. Duane would come in and have three leads. He would burn them and he’d like one more than the other. Dave would come in and do
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