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8-10 solos and we would edit them and piece them together and say “Here’s your lead, Dave. Learn it.” The next day he would come in and just scorch it. That’s just the difference in how people create their music. So, Danny was expelled from the band at


the same time he was leaving. And the next thing you know, I’m in Orlando in a beautiful condo, and all of the sudden I’ve got three New York at- torneys who come down with Danny. And they say “This is how this is going to go…” And I said “Wait a minute guys. I didn’t breach my agree- ment with Danny. Danny breached his agreement with me.” They said well, you’re going to have to give him back his publishing. I said “Fuck off. This is not going to happen. Get out of my office.” I said you do what you need to do and I’ll do what I need to do. Finally, they realized that I wasn’t an idiot, that I knew what I was doing and had my law degree. I said, “He broke the agreement and you think you are going to come in here and dic- tate the terms? And what’s more, his new man- ager does more drugs than Danny does.” I said I know Charlie Brusco. I’ve been out on the road with him. So, I called up my attorney and put him in touch with Danny’s and he told them, “Look, if you guys want to fight we will fight. But by the time we’re done, all the stories are going to be told about Danny, and nobody is going to want to touch him. I finally signed off and got what I wanted. I did not give him back any of his pub- lishing. I told them most of it he didn’t even earn. We’d be in the studio and Danny would say “I get a third of this song.” Dave and Banner would say, “but Danny, you didn’t write it.” And he’d say, “I don’t give a fuck. You sing it then.” If I’d have been his band mates, I would have taken a Louisville Slugger to his ass a couple of times, but they didn’t. One day I saw Danny coming down the


hallway with a trash can full of ice and water. I saw him go into Dave’s room where Dave was sleeping and he tossed it on him. Dave got up and pounded Danny’s ass. He was infuriated. I watched it. I was not going to interfere. Danny needed his ass beat. And with that he realized he was no longer the alpha male. Onstage the band was incredible, but offstage was a whole other story. That said, it was a babysitting job and I got to be creative in between, but I enjoyed my time


with them. The most fun was taking them from zero to 100 miles per hour. It was just an incredi- ble ride. So many people had said “That’s not gonna happen,” or “you can’t do that,” and I’d say well, I’m gonna try it that way. I’d try it and it would work. I hired Dick Wooley for promotion on the


first album. I told the guy at Epic I needed to hire an independent promotion guy and he said “We don’t do that anymore.” So, I told him, I’ll make you a deal. I will pay the promotion guy, and if he gets us a national breakout and it’s obvious we caused it, you pay me back plus keep the guy on for another two months.” He said you got a deal. So, we did it, and I got Dick Wooley. Dick was in- strumental in the bands career. He said we’ll go up to New York state. It’s a hotbed for the All- mans and Southern Rock. We can go up there and grab a bunch of radio stations to play Molly Hatchet. He did his job well.


Your thoughts on Bobby Ingram and the current Molly Hatchet. If you please. I will tell you what happened. Three different times during the band’s career I tried to get them to form a corporation or a LLC, but they didn’t want to do it. The first time was because they wanted Banner out of the band and they didn’t want him to have a piece of it. As time went on, the last man standing was Duane Roland. He said, “We need some time off. I need some time off. I am the only one who has been here through thick and thin.” He said “I’m having a hip prob- lem and will need surgery so I need six months, maybe even a year off.” I said that’s fine. There are other things we can be doing. Duane and I got really close at that time. Suddenly we got word that Molly Hatchet is playing at so and so, and over here at so and so. And we found out it was Danny and Bobby Ingram. We had brought Bobby in on the last album that Hatchet did for Capitol, Lightning Strikes Twice. Steve Greene was representing them, and he was selling their band as Molly Hatchet without getting releases from anybody. I sent him a Cease and Desist. Well, every five years a band has to file a renewal with the copyright office in Washington, and I knew in the back of my head that I needed to get it done. I went to do it and they said that the name was registered to Danny Joe and Bobby. I


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