Danny Saber

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Hey all, this is Nashville recording artist Tyler Rich and
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you're listening to the Backstage Pass Brandon exclusively on KKTC
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True Country ninety nine point nine in Tallas, New Mexico.
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And welcome inside the Backstage Pass fresh off the national trip. Well,
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I'm worn out too as well, but you know what,
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we keep on blowing and going. That's just the way
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the entertainment business works. Here in radio two KKTC True
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Country ninety nine point nine, and of course out there
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High Tide Country dot Net and the Sports Guys podcast
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dot com. You can also cuts the show out there
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on iHeartRadio. Brandon Morel here. Yeah, we did fifty six
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interviews in a matter of three days in that Tennessee
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for Country Radio seminar, and please welcome in. You know,
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you guys know I love the artists as much as
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I do the producers and the songwriters here on the show.
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I got a good one today.
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Man.
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This guy's working with Madonna and so many people out
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there in the entertainment industry.
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And Danny on the show, Danny, what's up man? How
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are you bro? It's doing good man.
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We just got through with a lot of interviews there
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in Nashville, Tennessee at fifty six.
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That's crazy, you know.
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Yeah, I know how that goes. Back in the day,
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we used to have to do those like press or
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things where you just do them back to back to
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back to back, and by the fifth or seventh one
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you're just making shut up.
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You know, that's crazy.
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Before we get into the project with Man just talking
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about in access and how much Michael Hutchett's you know,
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meant to the business man for so many years out there.
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I've been gone almost three decades now to love the
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group in excess. I've had Andrew Ferriss here on my
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joke to talk about so many of the great projects
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and all that great music they put back out in
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the eighties too. Let's talk about your background, Man, I
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mentioned you working with Madonna and so many great people
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out there. What kind of drew you Danny to the
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music business and kind of early on in your career,
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what was kind of thriving out there? What what did
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that music bug like, I want to take this from
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a hobby to a career.
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Wow, well, you know, and I'm already old as it is.
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It was gonna make me sound even older. But he
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had been dead for ten years by the time I
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got to him. But I saw I saw poster Jimmy.
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I was about eleven, and I didn't kind of understand
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what it meant. I just saw that image and the
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white strat not my I want that. And I was
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really into sports as a kid, but when it became
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a parent, by like twelve or thirteen that I wasn't
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going to the NBA.
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There's not a ten inch Jews in the NBA.
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I kind of went throughout and Hendricks was really the
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first sort of person that connected me to it and
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like kind of lit the fire. But as a kid
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uses where you're so esusually when you're first getting into
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music and you're young, you're super opinionated, and this guy's
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the best, that guy's the best. There's only but yeah,
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it was really that was what set me off. But
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what was really the kind of I think the thing,
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the pivotal moment in my life or thing in my life.
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And again somehow I just knew to do. This was
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at about fifteen. I got a guitar at thirteen, and
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by fifteen I had got my hands on like you know,
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I had a little mini portas studio and a drum
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machine and a synth, and I was starting to put
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together and as it became available, I could get my
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hands on more gear where by the time I think
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I was about seventeen when I got my first sampler
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and I was one of the first people in LA
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to have one, and most musicians but he done with
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a sampler. Those things are stupid d d d da
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da da da dada. But just something and drew me
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to it because I always more had a knack for
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putting things together, you know than being the world's greatest
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guitar player per saved and though that's what I wanted
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to be, but in same with the sports, I realized
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there was guys around me that were better players. But
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I had a knack for knowing what to play, you
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know what I mean, And that I don't think is
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emphasized as much. That's what's going to take you somewhere.
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There's especially these days you see these kids on YouTube. Man,
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they're unbelievable, these nine year old kids playing like you
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know yyz or Eddie Va Hill for now. You know,
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stick a blank track in front of them, see if
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they come up with Now.
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That was always my.
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Thing, so you know that sort of was it, you know,
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getting into sampling and getting turned down the public enemy,
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but then still being super into rock and just kind
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of having access to all these different styles of music
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out of time when everything was you know, separated, and
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then going to the UK and meeting the you know,
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black rape guys and coming to find out, wow, they
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like me, you know, because if you tried to put
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a drum loop on a rock record in the eighties,
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the band would get you out of the studio with
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a machete.
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Man.
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It's like, we're not putting that shit on our stuff,
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you know.
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And it was with a hip hop side of things,
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where if you wanted to play live instruments and stuff,
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that wasn't really happening either. But then it started to
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sort of there was just this you know sort of
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some people that were kind of see where everything was going.
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And I was really lucky because everyone was very open mind.
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And when I came to realize, you know, the charts
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there are crazy. You could have one hundred different styles
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of music in the top ten. So people just loved music.
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They weren't really caught up and was it RMB, was
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it hip hop?
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You know?
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Which?
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Where are you here? Everything's very metalized. So yeah, that
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was sort of it.
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We talk about this project here with in Excess of
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Michael Hutchins, and I've seen the documentary for Inexcess. You
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mentioned having Andrew Ferris here on the show. But I
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love it, Danny, because this is a cool project talk
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about you know, when he was living and this guy
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was the big time rock star. This guy was like
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living his dream. He did so much. He was revered
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for all his great hits back in the day, like
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the first time day. Oh, like what vibe went through you?
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Because the funny thing with Michael is, you know, and
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you got to put this all in the proper context
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now it's he's he's look onst ceesess of in Excess
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because at one point they were like quote unquote the
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biggest man in the world, like they had that you know,
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it would get the torch would get passed, and I
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think you too, ca him up right behind it took it.
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Never really ever let it go, because I don't know
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if we have that anymore. But by the time the
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way I got to Michael is Michael was very very
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you know, he was just on this mission as an artist,
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like he was constantly trying to push.
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The boundaries of whatever it is he was doing.
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So he was a huge fan of that poster behind me,
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that black Rape record, and that was my first hit record,
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and he had heard it and he just fell in
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love with the production and he reached out to Sean
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right Or, the singer. So I love the sound of
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this record because he had been working on stuff outside
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of in Excess and that was really really important to
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him because I think he felt like within the band.
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I mean again, not knocking the band, but you know,
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he had this other sort of itch he needed to scratch,
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and that's sort of where I came in, and he
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sent me some music to hear. He had been developing
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some stuff with a guy named Andy Go from Gang
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of Four, and I was immediate. I was like, wow,
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this stuff's really really cool. And we got on the
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phone and like you're saying, it's funny because to be honest,
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I wasn't the biggest Inexcess fan, like going into it.
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If you're of my age is I think I had
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over the years at least two or three girlfriends that
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were in love with him. So you know, it took
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all of about fifteen seconds to fall in love with
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the guy on the phone, and Michael was very he
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was very direct. It's like what you saw was what
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you got, and there was no games. And if he
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was happy, he lets you know. He was unhappy, he
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lets you know. And he was a real, real just
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it was I was very lucky because it was again
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it was I was sort of I had just had
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a number one record and I was just sort of
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like coming into the world and I kind of had
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him as like a big brother, just sort of, you know,
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show me the ropes a bit, so to speak. And
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he was dealing with a ton of you know, stress
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and drama because we were in London and the tabloid
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press was just relentless because of his relationship with Paula,
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So he had a lot of stuff going on outside
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of the music. And I think the music we were
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making was like one of the It was like a
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bit of an oasis in that desert for him, you know.
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So I love it.
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And let's talk about this project too, because these were
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like songs he left behind too. This is like cool
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vibe here, man. These are like reallyposthumous singles that are
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there two new ones one way and of course saved
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my life, which we're gonna play a little bit to
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work on this, Like how all this came about? And
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like in his catalog of songs to like leave behind Too,
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How did you get involved with this project to produce
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these two songs?
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Well, yeah, I mean it goes back to when he
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was alive.
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So we had been working on a record and.
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We had about twelve So we had twelve songs finished
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before he died, and they were basically done. I mean
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we had even done some mixes and you know, we
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had started. What had happened was him and Andy had
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a really you know, sort of solid foundation because he
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had been working with different people trying to find that
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right person that he could work on his solo stuff with.
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And he he went through a few different things and
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he was trying to and they kind of got traction
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and they had about six or seven songs, and then
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I got brought into the picture really initially to focus
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more on the sound. He still felt like something was missing,
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but he liked what was there. It was obvious that
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they were on something really cool. And then we sort
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of our relationship kind of took on a life of
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its own, and then we started writing together. We were just.
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I mean, he was literally here. We were writing songs
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up until a few days before he died, and then
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he went back and I think if he had a
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live we would have continued. We probably would have tried
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to get a couple more in the can and looked
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at what we had and at some point, you know,
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figured out, Okay, what do you want to do with
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this record, and maybe go out and promote it and
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do all that stuff. But it didn't go down that way,
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so he passed away, and in ninety nine the record
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was licensed to V two. Because what's important to understand,
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and they'll give you some insight into how and much
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this meant to Michael.
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He self financed everything he did all and there's reasons
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for that.
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You know, but the bottom line is that's what's put
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me in the position I'm in today to be able
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to put it out. Because he self financed it, he
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was in control of everything. He wanted to get the
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music right. Then he could figure out what to do
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with it, so to speak, which in those days he
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could have got a you know, six figure record deal
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without blanket, you know. But so to do it that
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way then, I mean, now it does sound like a
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big deal. It's what everybodchu you have to do. But
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in those days where somebody of his stature, he could
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have got a you know, he could have had an
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advance and you know, et cetera, et cetera.
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So that's that's really what it was about for him.
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It was about getting it right creatively and finding this
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sounding was chanting. And we put the record out on
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V two in ninety nine, and you know, and in
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fairness to the label, I think it was their second release,
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but they had the Moby Records, so they knew how
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to put a record out because that record was that
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one came out right before us, I think, but outside
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of Australia and the Light a Day. And then cut
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to about ten years later, I got a phone call
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from from a guy who was running the estate and
249
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the day to day stuff for his trust, and it
250
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turned out there were all these songs. There was just
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tape and a tape locker didn't know what was on them.
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So I'm like, you know, all right, well let's see
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if there's even anything there, because we've got to kind
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of listen to the stuff.
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And it was like most of it was just on
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two inch tapes.
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So it had to get transferred and just I had
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to open these sessions up and like kind of go
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through this shit. But we figured it out really quickly
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that there was material there, There was some stuff of value.
261
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There were about thirty ideas, and I think I ultimately
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got about seven things the public can year out of them.
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So this is the result of that. And then the
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other kind of piece to it was that, well, hey,
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you know, there's no point in just putting another record
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out without some way to market it, because we just
267
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did that ten years ago and it didn't do much.
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Let's let's preating get a documentary made that could like
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sort of centerund the discovery of the songs and you know,
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finishing them, and then we can weave in some of
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Michael's story because nothing had been done at this point.
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We're talking in two thousand and eight cut you know,
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going through a bunch of different directors. It took about
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eight years, and we finally in twenty seventeen got channels
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in Australia to do The Last Rock Star and it
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only aired in Australia and New Zealand, and was you know,
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recut the film for an international release and then we
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would release.
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These music shi anise of the film.
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For a bunch of reasons, it didn't shake out that
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way and cut to like a late twenty three early funny, like,
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you know, the fans knew about this music because there
283
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were little bits and.
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Pass of it in the Last Rock Star. Let's get
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it out there. Let's start to get it out there
286
00:12:29.360 --> 00:12:33.879
and build some momentum, you know, the hopeful release. And
287
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that's why we did the final because I didn't stick
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00:12:36.440 --> 00:12:38.879
it on Spotify and do a digital release and I
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00:12:38.919 --> 00:12:42.320
didn't have the resources to promote that. And it's worked
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out fantastic. You know, I think the I'm really proud
291
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of everything we've done. I mean, the quality of the product,
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00:12:47.919 --> 00:12:50.600
and you know, I've have a long relationship with the
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fan base, and I know the fan base is very
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very you know, high on what we've done. And you know,
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00:12:56.120 --> 00:12:58.039
it's all sold out. As I said, we got something
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new coming down the pike though we can talk about
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00:13:00.039 --> 00:13:02.039
a minute, but all the vinyls gone.
298
00:13:02.279 --> 00:13:04.799
You know, it's all been sold. And I know Michael
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would dig that. I know he did.
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The fact I'm I'm talking on a podcast and you know,
301
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it's really the d music world.
302
00:13:12.919 --> 00:13:17.000
And the independent alternative media that's really champion this. I
303
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haven't really got any mainstream support from anybody, and you
304
00:13:20.200 --> 00:13:23.559
would think Michael Hutchinson excess, but it's you guys that
305
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have really allowed this thing to kind of.
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Live in the ether. So I really appreciate.
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00:13:29.480 --> 00:13:32.600
It, man, We appreciate it as much, like I said,
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as much as a fan as I am a media
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host too. At the same time, Dude, this guy, like
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I said, gone nearly three decades, gone too soon. But
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I'll tell you, man, anytime you watch the documentary, and
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like I said, I've had Andrew Ferriss here on the
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show to talk everything in access to Man, it's it's
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00:13:46.480 --> 00:13:49.320
it's it's cool to to just chat with somebody who's
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passionate about their work and passionate about what we do. Hey, Danny,
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00:13:52.000 --> 00:13:53.519
which one should I play first? And we'll give you
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the choice, Saved My Life or one way?
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What are we gonna do.
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Let's play saved my Life? Uh, you know, because one
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00:14:00.240 --> 00:14:03.080
way's gotten most of the focus. And then we'll talk
321
00:14:03.120 --> 00:14:05.080
about what's coming down the pipe. There's a there's a
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00:14:05.240 --> 00:14:08.480
there's a CD that's coming out that's in about a
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month a month and a half or so and uh
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yes go we go with play Saved my Life.
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Daddy said Danny Saber.
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Here will be now produced here the backstage Pass to
327
00:14:17.279 --> 00:14:20.399
get powered by the Sports Guys podcast dot com. It's
328
00:14:20.440 --> 00:14:22.519
a grand slam of music and sports. Here and Saved
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00:14:22.519 --> 00:14:26.120
my Life. Michael hutchins here inaxcesse Here on the backstage
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past k k t C True Country ninety nine point nine.
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Back in the Flash, Stay.
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Tuned, God Logic, Come down another tune?
333
00:15:00.840 --> 00:15:12.799
Why all this up? Go so.
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Sami Life.
335
00:15:22.960 --> 00:15:33.559
Again, Say Sami Life again?
336
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To tell me you never see why, tell me you
337
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can give it to me.
338
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To me, to me.
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Fall okay ba.
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Again, Semi okay, say.
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Semi again.
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Never to be Saturdays five a Ride five, Want to
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be rain Fin so never could be Alive to nine,
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Take Game to nine me.
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Take care seven night Okay, seven night.
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00:18:41.240 --> 00:18:43.839
Hey guys, I'm Tiffany Woyce and you're listening to the
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00:18:43.880 --> 00:18:49.680
award nominated Backstage Pass exclusively on KKTC True Country ninety
348
00:18:49.759 --> 00:18:50.480
nine point nine.
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00:18:52.039 --> 00:18:54.839
The Caiden Gordon Show is a two hour show playing
350
00:18:54.880 --> 00:18:57.680
the best in country music. So check it out at
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00:18:57.680 --> 00:19:01.079
the Caiden Goordonshow dot com. Again and that is the
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00:19:01.400 --> 00:19:05.960
Cadan Gordon Show dot com.
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00:19:06.039 --> 00:19:08.799
Hi guys, this is twenty here and you're listening to
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00:19:09.000 --> 00:19:13.039
the backstage Pass on True Country ninety nine point nine
355
00:19:13.119 --> 00:19:14.559
in Tails, New Mexico.
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00:19:15.519 --> 00:19:17.960
Hey Mack, you were Danny Saber on the backstage pass
357
00:19:18.000 --> 00:19:21.039
world renown producer here kk see True Country ninety nine
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00:19:21.039 --> 00:19:23.599
point nine, the Sports Guys podcast dot com and High
359
00:19:23.640 --> 00:19:26.960
Tide Country dot netf youst need those interviewers at Country
360
00:19:27.079 --> 00:19:30.400
Radio Seminar fifty six of them up now right there too.
361
00:19:30.440 --> 00:19:32.039
iHeartRadio and of course out there too.
362
00:19:32.119 --> 00:19:35.759
We'll have replace on KKTC True Country ninety nine point
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00:19:35.839 --> 00:19:38.480
nine in Taus, New Mexico. So you mentioned that catalog
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00:19:38.559 --> 00:19:40.799
of songs Danny he left behind there. I love the
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00:19:40.799 --> 00:19:43.799
fact that saved my life. Can really this is gonna
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be one of those songs that really rejuvenates somebody.
367
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Wow, that's cool. I appreciate.
368
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Yeah.
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I mean because remember too, like I was sort of
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finishing these you know, these have been an on and
371
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off again sort of ongoing process. But saved my life
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in particular was really you know, I hadn't the bat
373
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on my mind. We were we I was working on
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it while we were making the film, or at least
375
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finishing it. So it's very cinematic, you know, in the
376
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way if the last rocks are I'm sure a lot
377
00:20:08.640 --> 00:20:10.279
of the fans have seen it and it lives online
378
00:20:10.319 --> 00:20:13.359
and stuff. It really is effective. I mean it's really emotional,
379
00:20:13.440 --> 00:20:16.559
and you know, I want to mention Bernard Feller and
380
00:20:16.640 --> 00:20:19.599
he's saying on you know, like Herbie Cancock, he's one
381
00:20:19.640 --> 00:20:23.240
of the most amazing vocalists of all time. He's doing
382
00:20:23.279 --> 00:20:25.559
all the choral arrangements on there. So he came in
383
00:20:25.640 --> 00:20:27.799
and helped me just like sort of beef it up
384
00:20:27.799 --> 00:20:29.799
a bit. But it's all obviously Michael singing all the
385
00:20:29.839 --> 00:20:32.880
lead vocals, and yeah, I appreciate that, man. I mean
386
00:20:32.920 --> 00:20:35.759
it was just again just trying. You know, Michael left
387
00:20:35.799 --> 00:20:40.480
me with a pretty good you know, he left me
388
00:20:40.519 --> 00:20:42.839
with a good sense of like what would have flown
389
00:20:42.880 --> 00:20:44.559
because we had done a lot of stuff together and
390
00:20:44.799 --> 00:20:47.839
and our only sort of thing was, you know, we're
391
00:20:48.680 --> 00:20:51.839
we're gonna, we're gonna we're gonna let the music take it,
392
00:20:52.240 --> 00:20:54.960
take us wherever it wants to take us. We're not
393
00:20:54.960 --> 00:20:57.559
gonna rule anything out, you know, and you know, when
394
00:20:57.599 --> 00:20:59.119
it's working, and you know what it is and and
395
00:20:59.680 --> 00:21:01.599
you know, so he left me with a really strong
396
00:21:01.799 --> 00:21:06.680
sense like you know what would have sort of own
397
00:21:06.839 --> 00:21:09.160
creatively between the two of us because it was easy
398
00:21:09.160 --> 00:21:09.480
for us.
399
00:21:09.519 --> 00:21:12.200
We just sort of connected and that was it.
400
00:21:12.240 --> 00:21:16.759
When we're off and running. But you know, I appreciate
401
00:21:17.319 --> 00:21:19.000
that a lot's gone on.
402
00:21:19.000 --> 00:21:22.279
It's a lot, a lot of years, a lot of work.
403
00:21:22.759 --> 00:21:26.000
A lot of you know, nipping and tucking and so
404
00:21:26.119 --> 00:21:28.599
to speak. And so yeah, I appreciate that.
405
00:21:28.640 --> 00:21:31.640
Man, oh dude, it's awesome too. You mentioned y'all were
406
00:21:31.680 --> 00:21:34.160
sold out, but I love that too, because you were talking.
407
00:21:34.440 --> 00:21:36.759
We were just kind of chit chatting for the show
408
00:21:36.759 --> 00:21:38.759
that standard black and the White and it would be
409
00:21:38.799 --> 00:21:41.319
a Boss Sonics and of course out there there was
410
00:21:41.359 --> 00:21:45.400
also another version of it and read via the Deco Entertainment.
411
00:21:45.400 --> 00:21:47.200
So you guys had sold out because this was like
412
00:21:47.279 --> 00:21:50.680
April ninth of last year, when that stuff's been gone.
413
00:21:51.319 --> 00:21:52.720
To give us an up there, there's going to be
414
00:21:52.720 --> 00:21:54.920
more out there since fantas Plan.
415
00:21:55.880 --> 00:21:58.880
Well, well yeah, I mean like the idea too, you know,
416
00:21:59.359 --> 00:22:01.440
I mean, we didn't do massive numbers, but we did
417
00:22:01.440 --> 00:22:03.920
respectable I mean, let's let's remember it's a ten inch
418
00:22:04.680 --> 00:22:09.240
picture disc. Double side says, it's like very but I
419
00:22:09.279 --> 00:22:12.160
wanted to make something there was I wanted it to
420
00:22:12.160 --> 00:22:14.519
be collectable. I wanted to get even if you don't
421
00:22:14.519 --> 00:22:18.759
have a record player, you can still you know, buy
422
00:22:18.839 --> 00:22:21.079
this thing as a fan. And it's a really cool
423
00:22:21.119 --> 00:22:23.599
thing just to have. And you know that be Pirate
424
00:22:23.640 --> 00:22:28.119
Press that did the actual it exceeded my even remotest expectations,
425
00:22:28.160 --> 00:22:32.559
just as far as the quality of the product and
426
00:22:33.480 --> 00:22:36.359
Deco did. We established it with the black and white
427
00:22:36.359 --> 00:22:39.279
and just did that direct on the bossonics dot com site,
428
00:22:39.640 --> 00:22:42.200
and then Deco picked it, picked it up for like
429
00:22:42.279 --> 00:22:47.000
you know distribution, I mean Amazon where everywhere, Walmart and
430
00:22:47.279 --> 00:22:50.079
and all those were shipped out and then we did
431
00:22:50.519 --> 00:22:52.160
it was funny because we did it. We did the
432
00:22:52.279 --> 00:22:54.960
run of Red, and before all the red were even gone,
433
00:22:55.039 --> 00:22:56.880
they were asking for more. So then we decided to
434
00:22:56.920 --> 00:22:59.400
do a little bit of another run of blue. So
435
00:22:59.440 --> 00:23:02.359
there's Red Blew and the two things, you know, along
436
00:23:02.440 --> 00:23:05.359
with you know, keeping the quality up and just making
437
00:23:05.400 --> 00:23:09.039
sure anything we do lives up to the standard like
438
00:23:09.200 --> 00:23:13.000
Michael set with and without his band. I mean they
439
00:23:13.119 --> 00:23:16.039
set a very high standard, so you can't do anything
440
00:23:16.039 --> 00:23:18.200
to take away from that because ultimately the whole point
441
00:23:18.240 --> 00:23:21.680
here is to remind the world of his greatness and hopefully,
442
00:23:21.759 --> 00:23:25.000
you know, ship the narrative people thinking about how great
443
00:23:25.000 --> 00:23:27.319
of a performer he was and a front man, and
444
00:23:27.559 --> 00:23:29.640
because he was like you were saying earlier, he's really
445
00:23:29.720 --> 00:23:34.799
super respected, you know, especially by other frontmen, and all
446
00:23:34.880 --> 00:23:38.599
the press has been super positive and just everything around
447
00:23:38.640 --> 00:23:41.960
it has been positive. So you know, we also got
448
00:23:42.039 --> 00:23:45.359
a lot of you know, communicating with the fan base
449
00:23:45.799 --> 00:23:49.240
because there's a really strong community, especially face book. You know.
450
00:23:49.279 --> 00:23:49.720
The thing is.
451
00:23:52.640 --> 00:23:55.440
The people that admin the fan pages got I've.
452
00:23:55.319 --> 00:23:57.720
Got along with a bunch of them, so a lot
453
00:23:57.759 --> 00:23:58.240
of them.
454
00:23:58.079 --> 00:24:02.240
Asking for a CD, which in twenty twenty four I
455
00:24:02.279 --> 00:24:06.079
was like, wow, people still want CDs. We're gonna do
456
00:24:06.160 --> 00:24:09.799
a Maxi single and it's got a It's pretty cool
457
00:24:09.839 --> 00:24:11.759
because it's gonna have One Way and saved my life
458
00:24:11.839 --> 00:24:18.240
on it. I've got a remix with uh these remixers
459
00:24:18.279 --> 00:24:21.759
called Mason Boss who do like sort of these really
460
00:24:21.839 --> 00:24:25.720
sort of like high energy, you know, electronica remixes. So
461
00:24:25.759 --> 00:24:27.079
there's one of those in One Way.
462
00:24:27.440 --> 00:24:31.039
Then there's an alternative version of One Way that Nick McKay,
463
00:24:31.160 --> 00:24:33.519
the original guitar player from the Verb and I were.
464
00:24:33.359 --> 00:24:37.640
Pretty friendly, and while I was sort of finished tracks,
465
00:24:38.000 --> 00:24:40.119
I hooked up with Nick and I sent him one
466
00:24:40.119 --> 00:24:43.119
way because I was there was something specific I asked
467
00:24:43.200 --> 00:24:44.759
him to do and he did it. So we did
468
00:24:44.759 --> 00:24:48.200
a Nick mckab at it where it's all Nick's guitar parts,
469
00:24:48.359 --> 00:24:49.000
kind of the Verb.
470
00:24:49.039 --> 00:24:52.319
You're gonna dig that, and then you know, I did
471
00:24:52.359 --> 00:24:53.359
another version.
472
00:24:53.160 --> 00:24:56.119
Just a sort of tightened up version of my table,
473
00:24:56.200 --> 00:24:58.119
so it's got you know, it's it's there's a lot
474
00:24:58.160 --> 00:25:01.920
on there and it's coming out a main man through MVD,
475
00:25:02.359 --> 00:25:04.960
so it's going to be just like the similar to
476
00:25:05.000 --> 00:25:05.680
the deck or release.
477
00:25:05.720 --> 00:25:07.680
It'll be everywhere. Everyone will be able to find it,
478
00:25:08.119 --> 00:25:10.480
and it's The street date is April twenty fifth. But
479
00:25:10.559 --> 00:25:13.599
one of the things I'm veryl to do or is
480
00:25:13.640 --> 00:25:17.400
talk about a anything until it's like one hundred percent,
481
00:25:17.680 --> 00:25:21.160
because that's been a long road and there's been a
482
00:25:21.200 --> 00:25:23.559
couple of false starts back in the day, and now
483
00:25:23.599 --> 00:25:24.519
that I'm sort of.
484
00:25:24.480 --> 00:25:27.960
At the helm, I've tried to make sure everything I do.
485
00:25:28.640 --> 00:25:32.160
I say I'm gonna do as far as things coming
486
00:25:32.160 --> 00:25:35.279
out happens. So you know, this is one hundred percent.
487
00:25:35.400 --> 00:25:38.359
It's it's it's the it's in the works and it's
488
00:25:38.400 --> 00:25:41.880
coming out through main Man m v D April twenty fifth.
489
00:25:42.440 --> 00:25:44.160
I look forward to man, look forward to that.
490
00:25:44.400 --> 00:25:46.480
Maybe before I played one Way on Your Danny, I'll
491
00:25:46.480 --> 00:25:48.519
tell you man, you know, we talked about this. Over
492
00:25:48.640 --> 00:25:54.440
fifty million records worldwide, biggest selling Australian act ever out
493
00:25:54.440 --> 00:25:58.160
there too, and man, just you know again, I still
494
00:25:58.160 --> 00:26:01.039
play those like a playlist. We make those because the
495
00:26:01.160 --> 00:26:03.480
music hit so many people in so many different ways.
496
00:26:03.480 --> 00:26:05.359
You're talking about this, not just these songs were playing
497
00:26:05.400 --> 00:26:09.039
here on the show today in your mind because you
498
00:26:09.119 --> 00:26:11.119
know him very well, and I mean you talked to Michael,
499
00:26:11.160 --> 00:26:13.839
you knew his passion, Like you said, he self funded this,
500
00:26:13.839 --> 00:26:15.599
this whole thing, you know, in his career and things
501
00:26:15.680 --> 00:26:20.400
like that. What made in Excess, you know, that band
502
00:26:20.440 --> 00:26:22.200
that you could just turn on back in the eighties
503
00:26:22.200 --> 00:26:24.160
and it was like great music to listen to. How
504
00:26:24.160 --> 00:26:25.480
did they why did they jail so well?
505
00:26:25.480 --> 00:26:29.359
In your opinion, it's funny because in the process of
506
00:26:29.440 --> 00:26:32.680
making Getting the Last Rockstar made, one of the things
507
00:26:32.720 --> 00:26:35.039
that happened was that we the first director we got
508
00:26:35.119 --> 00:26:38.119
traction with was Julian Temple and he did the Fuilt
509
00:26:38.160 --> 00:26:40.519
and the Fury and he did a Joe Strummer uh,
510
00:26:41.200 --> 00:26:43.519
you know, the Future is Unwritten. That's where I met
511
00:26:43.599 --> 00:26:44.200
him because I.
512
00:26:44.200 --> 00:26:44.480
Was in that.
513
00:26:45.119 --> 00:26:47.039
I was really tight with Joe Strummer as well.
514
00:26:47.880 --> 00:26:51.400
And he didn't end up directing the film board of
515
00:26:51.680 --> 00:26:54.519
you know, pre before everything was on YouTube. So we
516
00:26:54.559 --> 00:26:59.440
brought a researcher and we literally ended up with you know,
517
00:26:59.559 --> 00:27:02.480
a hundred of DVDs. I can't even guess how many
518
00:27:02.519 --> 00:27:06.960
hours of everything of in excess that's ever been anywhere,
519
00:27:07.000 --> 00:27:10.920
you know, MTV Asia, just every sort of piece of
520
00:27:11.039 --> 00:27:13.640
media you can imagine. So my job was to go
521
00:27:13.680 --> 00:27:15.240
back through and really more to get rid of the
522
00:27:15.279 --> 00:27:18.000
stuff that wasn't relevant. And I went back through and
523
00:27:18.039 --> 00:27:21.519
it took like a month probably to watch everything. So
524
00:27:22.480 --> 00:27:27.519
as I was doing that, it really really hit me
525
00:27:28.119 --> 00:27:30.920
a bunch of things. To answer your question. One, how
526
00:27:30.960 --> 00:27:31.599
good they.
527
00:27:31.480 --> 00:27:34.720
Were, I mean just as a band, you know, like and.
528
00:27:34.720 --> 00:27:36.759
It all starts with the songs, dude, I mean this,
529
00:27:37.559 --> 00:27:39.720
you know, And I think what it's sort of a
530
00:27:39.759 --> 00:27:43.160
double edged sword because they were the first and maybe
531
00:27:43.240 --> 00:27:48.640
the best to really take dance beats and dance energy
532
00:27:49.079 --> 00:27:50.920
but I mean they were as funky as hell, but
533
00:27:50.960 --> 00:27:54.079
then they had that they were a rock band, right,
534
00:27:54.319 --> 00:27:58.559
but everything was wrapped in dance music. So Michael's lyrics
535
00:27:58.599 --> 00:28:03.119
where he's singing about it, inter racial relationships, and his lyrics
536
00:28:03.119 --> 00:28:07.400
were never just like throwaway sort of disposable garbage. He
537
00:28:07.440 --> 00:28:10.319
was always singing about pretty heavy shit, but it never
538
00:28:10.400 --> 00:28:14.440
really gets recognized because of the package it was wrapped
539
00:28:14.480 --> 00:28:17.240
in sort of, so to speak. You know, So I
540
00:28:17.279 --> 00:28:20.240
think what those are the keys a the songs him
541
00:28:20.240 --> 00:28:26.039
and Andrew were unbelievable songwriters, you know, those couple of things.
542
00:28:26.440 --> 00:28:28.920
It just makes them They have their own sort of
543
00:28:29.039 --> 00:28:31.920
like piece of musical real estate, so to.
544
00:28:31.880 --> 00:28:34.559
Speak, and nobody's done it better since you know.
545
00:28:35.319 --> 00:28:38.480
O man, that never tears apart and I mean need
546
00:28:38.519 --> 00:28:44.319
you tonight, what you need, don't change, Suicide, Blonde, Devil Inside,
547
00:28:44.359 --> 00:28:46.720
I mean disappear. These were all songs that really just
548
00:28:46.839 --> 00:28:49.440
I mean world wide, like you said, fifty mini copies
549
00:28:49.440 --> 00:28:51.519
sold and of course one of the greatest Australian acts,
550
00:28:51.519 --> 00:28:53.200
if not the greatest ever. And I know there's a
551
00:28:53.200 --> 00:28:55.160
lot of talent out there too, man, But to separate
552
00:28:55.200 --> 00:28:58.039
themselves based on the body of working. Like you said,
553
00:28:58.079 --> 00:29:01.200
the catalog of songs, it is definitely inseparable out there.
554
00:29:01.240 --> 00:29:01.880
All right, we'll tell you what.
555
00:29:01.920 --> 00:29:03.559
We got to play a little one way here, Danny,
556
00:29:03.559 --> 00:29:04.960
So go ahead and take it away and introduce this
557
00:29:05.000 --> 00:29:05.680
one for the crowd.
558
00:29:06.920 --> 00:29:08.640
Cool. Yeah, we're gonna do the Are we playing the
559
00:29:08.680 --> 00:29:11.279
original version of the or the Mason Boss Remix?
560
00:29:11.759 --> 00:29:13.640
I think I got the Boss Remix?
561
00:29:14.359 --> 00:29:14.640
Cool?
562
00:29:15.039 --> 00:29:17.160
This is the Mason Boss Remix. So you guys can
563
00:29:17.160 --> 00:29:18.960
get a little taste of what's coming on the CD
564
00:29:19.200 --> 00:29:23.880
and uh, you know, put it on and do some spinning.
565
00:29:23.119 --> 00:29:27.319
A TC True Country not a nine point nine out there,
566
00:29:27.319 --> 00:29:29.960
and of course the sports Guys podcast dot com Stay
567
00:29:29.960 --> 00:29:32.559
Tuned coming back will renown producer Danny Saber on the
568
00:29:32.559 --> 00:30:48.279
show Stay Tuned, I'm.
569
00:30:48.119 --> 00:30:52.160
Gonna go freedom and drive it around. Take all my friends.
570
00:30:52.559 --> 00:30:54.359
Can't mess up this town.
571
00:30:54.799 --> 00:30:58.200
If you got the last Fmanda, just let yourself in.
572
00:30:59.079 --> 00:31:01.839
Keep from Nika.
573
00:31:02.720 --> 00:31:07.119
You will to this only will.
574
00:31:09.799 --> 00:32:00.240
This cack cack cack away now coming.
575
00:31:53.480 --> 00:32:00.640
Wait, coming out, Hey ya. This is a recording artists
576
00:32:00.680 --> 00:32:03.599
Dusty Black and you're listening to the Backstage Past podcast
577
00:32:03.759 --> 00:32:08.160
exclusively on KKTC. True Country ninety nine point nine.
578
00:32:08.319 --> 00:32:11.359
That Caden Goordon Show Today's Best Country Mix is a
579
00:32:11.359 --> 00:32:15.119
two hour show playing independent and mainstream country.
580
00:32:14.839 --> 00:32:16.319
Music you know and love.
581
00:32:16.680 --> 00:32:19.519
Be sure to check it out at the Kangordonshow dot
582
00:32:19.559 --> 00:32:24.119
com for more information on the show. Hey, y'all, this
583
00:32:24.279 --> 00:32:27.440
is Nashville recording artists Aaron get me and you're listening
584
00:32:27.480 --> 00:32:32.039
to the Backstage Pass exclusively on KKTC True Country ninety
585
00:32:32.079 --> 00:32:32.599
nine point.
586
00:32:32.519 --> 00:32:35.720
Nine and that right there was one Way here the
587
00:32:35.799 --> 00:32:39.839
Sports Guys podcast dot com a grand slam music of course,
588
00:32:39.880 --> 00:32:42.799
coming off that big mix trip to Nashville, Tennessee right
589
00:32:42.839 --> 00:32:45.640
their Country radio siminar. Next time in Nashville CMA Week
590
00:32:45.680 --> 00:32:48.240
coming up in June. We'll take over the Music City
591
00:32:48.279 --> 00:32:50.480
Center out there too as well and have another slew
592
00:32:50.480 --> 00:32:53.160
of interviews with all the great country artists too. To
593
00:32:53.319 --> 00:32:56.160
back here with the world renown producer Danny Saber. Danny
594
00:32:56.200 --> 00:32:57.480
knows we get ready to close the show.
595
00:32:57.519 --> 00:32:59.119
Man. I gotta say, dude, you're one of.
596
00:32:59.119 --> 00:33:02.920
The best guests I've ever had, knowledgeable on music to
597
00:33:03.039 --> 00:33:06.119
work with all these greats, not just Michael, but you
598
00:33:06.119 --> 00:33:09.000
know you two and Madonna and all these great things. Man,
599
00:33:09.240 --> 00:33:11.640
you know, it's crazy how the music business has changed
600
00:33:11.720 --> 00:33:14.319
over the last you know, thirty forty years, and you know,
601
00:33:14.359 --> 00:33:15.839
one of the reasons we go out there and take
602
00:33:15.839 --> 00:33:17.160
the show on the road is to go to those
603
00:33:17.200 --> 00:33:20.759
seminars to learn and educate in advance our career, you know,
604
00:33:20.799 --> 00:33:23.759
at radio, and of course get the latest happenings in
605
00:33:23.920 --> 00:33:26.160
media out there too, and have all these conversations with
606
00:33:26.240 --> 00:33:30.279
people about how the industry has changed too. Man, for you, you've
607
00:33:29.759 --> 00:33:31.279
been doing this a long time as a producer. I
608
00:33:31.279 --> 00:33:34.599
wanted to get your thoughts on just how much good
609
00:33:34.720 --> 00:33:37.440
or bad streaming has changed the industry in your mind.
610
00:33:38.480 --> 00:33:41.640
Wow, Well yeah, I mean for me, you know, personally.
611
00:33:43.279 --> 00:33:45.160
And look, you never want to come off like the
612
00:33:45.240 --> 00:33:49.559
old get them curmudgeon guy, but you know, I mean, hey,
613
00:33:49.640 --> 00:33:56.000
it demonetized recordings, man. I mean, it's it's completely you know,
614
00:33:56.039 --> 00:33:59.160
and it's interesting because we're in the process of developing
615
00:33:59.160 --> 00:34:02.000
a new documentary around this stuff, and hopefully we'll get
616
00:34:02.000 --> 00:34:04.079
it to across the line and get it made. But
617
00:34:04.160 --> 00:34:06.400
big part of what I want to hopefully focus on
618
00:34:06.599 --> 00:34:13.039
is parallels and because when Michael was you know, sort
619
00:34:13.079 --> 00:34:16.320
of the things he was getting like crucified in the
620
00:34:16.400 --> 00:34:20.159
nineties celebrity for artists or whatever you may want to
621
00:34:20.199 --> 00:34:24.159
call it, We're your worst nightmare. Empires are built off
622
00:34:24.199 --> 00:34:26.679
of that now. And I think the whole what's held
623
00:34:26.760 --> 00:34:29.519
up as the standard, and it's not just in music,
624
00:34:29.599 --> 00:34:33.159
I mean in politics and everything has changed so much,
625
00:34:33.880 --> 00:34:36.559
you know, and for good, bad or indifferent. You know.
626
00:34:36.599 --> 00:34:38.719
I think it's like anything, you can see good in
627
00:34:38.760 --> 00:34:41.119
it and you can see bad in it. But you know,
628
00:34:41.159 --> 00:34:44.800
as far as like just the music business itself, it
629
00:34:45.039 --> 00:34:49.599
just seems it really feels like the the you know,
630
00:34:50.000 --> 00:34:54.519
the pie. There's just a few big pieces of the
631
00:34:54.559 --> 00:34:57.239
pie for a handful of people, and it's just.
632
00:34:57.320 --> 00:35:01.119
Like squeezed a lot of people out of.
633
00:35:01.000 --> 00:35:04.079
The quote unquote mainstream, and it's really really a fight
634
00:35:05.280 --> 00:35:09.559
just you know, survive. And then the problem for me is,
635
00:35:09.599 --> 00:35:11.920
you know, and that's what I'm hoping, Michael. You know,
636
00:35:11.960 --> 00:35:14.440
whatever attention we get helps to remind the world of
637
00:35:14.719 --> 00:35:16.920
like what greatness really looks like. You know, not to
638
00:35:16.960 --> 00:35:21.480
knock anybody else, but you know, there there, that's the
639
00:35:21.519 --> 00:35:22.840
whole standard what's held up.
640
00:35:23.000 --> 00:35:23.119
You know.
641
00:35:23.239 --> 00:35:24.360
I think a lot of that has to do with
642
00:35:24.400 --> 00:35:28.360
the fact that you know, American idol came along and
643
00:35:28.800 --> 00:35:32.519
Allen Shell paradigm is what kids have seen for the
644
00:35:32.599 --> 00:35:36.960
last two generations. That's what's held up as what you'd
645
00:35:36.960 --> 00:35:40.440
be striving for, which is completely different to you know,
646
00:35:40.519 --> 00:35:44.559
the Rolling Stones and James Brown and Stevie Wonder and
647
00:35:45.199 --> 00:35:48.400
you know you two and even cold Play. I mean
648
00:35:48.480 --> 00:35:51.639
with you like you keep mentioning Madonna. What's interesting is
649
00:35:51.679 --> 00:35:55.360
my that's sort of my first break was Madonna launched
650
00:35:55.400 --> 00:35:58.920
Maverick and I was in the first band that got
651
00:35:58.960 --> 00:36:01.599
signed to Maverick, which was a big deal. Like our
652
00:36:01.679 --> 00:36:06.360
signing was announced on MTV news and she was on
653
00:36:06.440 --> 00:36:09.159
our city Hall talking about I signed this band. And
654
00:36:09.519 --> 00:36:13.000
you couldn't escape a Madonna or a Prince in those days,
655
00:36:13.000 --> 00:36:14.840
whether you wanted to or not. There was sort of
656
00:36:14.880 --> 00:36:18.880
this collective consciousness that everyone was tuned into. And now
657
00:36:18.880 --> 00:36:21.679
we live in all these parallel universes and it's that.
658
00:36:21.639 --> 00:36:24.639
Are massive that you may never have even heard.
659
00:36:24.400 --> 00:36:26.159
Of, you know, because they've got their own sort of
660
00:36:26.199 --> 00:36:27.800
little worlds that they all live in.
661
00:36:27.880 --> 00:36:30.599
And I think that's sort of the other thing that's
662
00:36:30.679 --> 00:36:31.440
changed so much.
663
00:36:31.480 --> 00:36:35.239
So it's hard to say. I mean, you know, I
664
00:36:35.239 --> 00:36:39.280
think the bottom line is I was very close with
665
00:36:39.360 --> 00:36:43.039
Jim Brown, the football player, and he you know, when
666
00:36:43.039 --> 00:36:45.239
you're young and you see things from the rest, it's
667
00:36:45.320 --> 00:36:50.039
like you're not able to really appreciate and gage like
668
00:36:50.079 --> 00:36:54.119
it's ancient history. But he always used to say, greatness
669
00:36:54.159 --> 00:36:57.840
transcends eras, and it doesn't matter if and there's greatness
670
00:36:57.840 --> 00:37:01.039
in this era, you know, if there's as much of it,
671
00:37:01.119 --> 00:37:03.519
but it's there. But if you go back to the
672
00:37:03.559 --> 00:37:05.840
past and look at all the all time greats, they
673
00:37:05.880 --> 00:37:09.559
just they transcend time, you know. And I think that's
674
00:37:09.639 --> 00:37:13.079
ultimately what matters. And that's that's what Michael does. You know,
675
00:37:13.159 --> 00:37:15.599
he try it doesn't matter. You could look it out.
676
00:37:15.679 --> 00:37:17.880
He looked, he doesn't look dated. He's just like to
677
00:37:18.039 --> 00:37:20.719
drop him right in right, he'd still be amazing, you know,
678
00:37:20.760 --> 00:37:23.639
and he'd still rule the world. So I think that's
679
00:37:23.719 --> 00:37:25.920
ultimately what matters. He's just trying to live up to
680
00:37:25.960 --> 00:37:29.440
that and put some good music out and hopefully, yeah,
681
00:37:29.559 --> 00:37:38.840
you know what it'll be, what it'll be, Man's.
682
00:37:36.159 --> 00:37:37.280
That's what a lot of it is.
683
00:37:37.480 --> 00:37:40.280
Put that music out there and hopefully you're touching somebody
684
00:37:40.280 --> 00:37:41.960
in the very positive way out there too. It's going
685
00:37:42.000 --> 00:37:44.880
to reach somebody out there too and hopefully turn turn
686
00:37:44.960 --> 00:37:47.280
their life around for all the crap they're going through
687
00:37:47.320 --> 00:37:50.159
to out there on the everyday blue collar workers out
688
00:37:50.159 --> 00:37:51.679
there too, and every day life. Let me ask you
689
00:37:51.679 --> 00:37:55.079
about this. We'll finish with this one. It's a fantastic project.
690
00:37:55.119 --> 00:37:55.679
I love this.
691
00:37:56.159 --> 00:37:57.719
I think you guys hit the nail on the head
692
00:37:57.719 --> 00:37:59.280
when he came down to it. I can't wait for
693
00:38:00.880 --> 00:38:02.239
get a copy of this. Man, you'll have to send
694
00:38:02.239 --> 00:38:03.440
me one too. If you don't want to love to
695
00:38:03.440 --> 00:38:07.400
get a copy of this, I'm gonna I'm.
696
00:38:07.400 --> 00:38:10.000
Just sniffing around. I think there's gonna be a there's
697
00:38:10.039 --> 00:38:11.679
a few might be able to do one more, a
698
00:38:11.679 --> 00:38:15.400
little push and you know, up a few blues and
699
00:38:15.440 --> 00:38:17.719
a few reds and do one more, sort of like
700
00:38:18.320 --> 00:38:20.519
we got all the pieces in place, and because I
701
00:38:20.559 --> 00:38:22.000
know there's still a lot of people out there that
702
00:38:22.320 --> 00:38:23.360
want to get their hands on them.
703
00:38:23.400 --> 00:38:25.800
And again, I wanted to make sure too for the collectors.
704
00:38:25.840 --> 00:38:28.320
I'm not gonna like pull the rug under that, because
705
00:38:28.320 --> 00:38:31.280
the other great thing about this project was just the
706
00:38:31.320 --> 00:38:34.800
people that are still passionate about music are really into it,
707
00:38:34.880 --> 00:38:38.159
especially the vinyl community. I mean, there's an huge community
708
00:38:38.159 --> 00:38:39.199
of collectors out.
709
00:38:39.000 --> 00:38:41.480
There, you know, so they know they got their heads
710
00:38:41.519 --> 00:38:41.920
on one.
711
00:38:42.119 --> 00:38:42.519
That's it.
712
00:38:42.639 --> 00:38:43.239
They got it.
713
00:38:43.440 --> 00:38:45.320
We do anything, it's definitely different.
714
00:38:45.679 --> 00:38:47.840
But I can scratch a few more up and maybe
715
00:38:47.840 --> 00:38:51.280
do one more push and get them, you know, because
716
00:38:51.320 --> 00:38:52.840
I know there's some laying around somewhere.
717
00:38:52.880 --> 00:38:54.960
There's got to be Let me ask you about this.
718
00:38:55.039 --> 00:38:57.559
I mentioned Madonna and of course everybody you've worked with
719
00:38:57.559 --> 00:38:59.400
with you too, But I gotta ask you for the
720
00:38:59.519 --> 00:39:01.559
for the fan out here in the listening audience. Any
721
00:39:01.599 --> 00:39:05.760
good for what you can say out there's something you
722
00:39:05.760 --> 00:39:08.599
probably can't. But working with the Stones, there's got to
723
00:39:08.639 --> 00:39:11.880
be a good Rolling Stones like road story or some
724
00:39:12.000 --> 00:39:14.159
kind of phone call that came through that was like,
725
00:39:14.280 --> 00:39:16.679
you know what, this changed my life. It was kind
726
00:39:16.719 --> 00:39:18.760
of cool to hear this from them, kind of let
727
00:39:18.760 --> 00:39:21.119
the cat out of the bag. Any good Rolling Stone stories.
728
00:39:20.800 --> 00:39:24.119
Be cons there's a thousand of them. I try not
729
00:39:24.159 --> 00:39:25.639
to well, not a thousand of them. But I was
730
00:39:25.840 --> 00:39:29.199
very fortunate because and funny enough, the way I met
731
00:39:29.199 --> 00:39:32.239
the Road, the way that whole thing went down, was
732
00:39:32.519 --> 00:39:35.079
it all started with that first trip to London working
733
00:39:35.119 --> 00:39:37.360
with Michael. And you know, it was like after the
734
00:39:37.400 --> 00:39:40.280
first or second day in the studio and Michael, you know,
735
00:39:40.320 --> 00:39:42.599
we have to do the whole rock star thing. We
736
00:39:42.639 --> 00:39:45.320
went out dinners and then night clubs and we went
737
00:39:45.360 --> 00:39:48.840
to this place called Brown's in London and we're in
738
00:39:48.840 --> 00:39:51.800
this you know, club and it's like very it's a
739
00:39:51.840 --> 00:39:54.119
pretty intimate place, but it was like a bar really,
740
00:39:54.440 --> 00:39:56.760
and there's you know, all these famous people there. Mick
741
00:39:56.800 --> 00:39:58.840
and Ronnie would come walking in, you know, and I'm
742
00:39:58.880 --> 00:40:01.679
like shitting myself because the closest I had ever been
743
00:40:01.719 --> 00:40:05.039
to Mick Jagger my first concert was the Coliseum in
744
00:40:05.119 --> 00:40:10.239
eighty one. I was two years old, no and famously
745
00:40:10.360 --> 00:40:14.039
opening Rudolf say so I'm talking to Mick Jagger, you know,
746
00:40:14.119 --> 00:40:15.639
and him and Michael are sort of talking.
747
00:40:15.760 --> 00:40:18.440
Mick had been doing a solo record and Michael was
748
00:40:18.519 --> 00:40:20.199
raving about me to him, Oh, you got to hook
749
00:40:20.280 --> 00:40:22.480
up with Danny, because Mick was sort of complaining about
750
00:40:22.920 --> 00:40:24.920
he was having sort of a rough time on his
751
00:40:24.960 --> 00:40:25.800
solo project.
752
00:40:25.880 --> 00:40:29.320
And that's how, you know, generous and gracious Michael was,
753
00:40:30.159 --> 00:40:33.199
you know. But cut to the whole thing of going
754
00:40:33.239 --> 00:40:36.280
through all of that, and I was lucky enough to
755
00:40:36.320 --> 00:40:40.920
get I got, you know, I had a good relationship
756
00:40:40.960 --> 00:40:43.960
with a lady named Nancy Barry, at Virgin Records and
757
00:40:44.039 --> 00:40:45.920
she's like, Danny, you know you got to come out
758
00:40:45.920 --> 00:40:48.920
to opening night of Soldier Field. It was Soldier Field
759
00:40:48.960 --> 00:40:51.320
opening night of the Bridges of Avalon tour. Now I
760
00:40:51.360 --> 00:40:54.519
hadn't seen any of the band or anything into since
761
00:40:54.599 --> 00:40:56.360
we had finished the record, which has probably been at
762
00:40:56.440 --> 00:40:59.960
least six months. And Nancy said, just get to Chica
763
00:41:01.480 --> 00:41:03.320
and stay will don't have for word about anything else.
764
00:41:03.519 --> 00:41:05.679
So I show up at the venue the night before
765
00:41:05.800 --> 00:41:10.159
it's opening night of the US tour of the Stones.
766
00:41:10.159 --> 00:41:11.599
I mean it was a big deal. They took the
767
00:41:11.639 --> 00:41:14.719
whole city over right, So I don't know what how
768
00:41:14.840 --> 00:41:17.480
was he doing here or what? You know? And I mean,
769
00:41:17.840 --> 00:41:19.760
he's so good to see you. Da da da da da.
770
00:41:19.880 --> 00:41:23.159
So Mick asked me, He's like, Daanny, how you getting
771
00:41:23.199 --> 00:41:25.000
to the show tomorrow? And I'm like, I don't know.
772
00:41:25.320 --> 00:41:27.480
He goes meet me at the service elevator at eleven
773
00:41:27.519 --> 00:41:29.559
o'clock whatever it was, So I go and meet him.
774
00:41:29.639 --> 00:41:32.599
I got to go down the service elevator and we
775
00:41:32.639 --> 00:41:35.440
got to the underneath the hotel and the whole staff
776
00:41:35.519 --> 00:41:38.480
of the hotel was all lined up waiting to see them.
777
00:41:38.599 --> 00:41:42.039
Under the ground. There was like a police escort, you know,
778
00:41:42.199 --> 00:41:44.400
and I got to ride in the opening night of
779
00:41:44.440 --> 00:41:46.960
the Stones US tour, you know, in the car with Mick.
780
00:41:47.039 --> 00:41:48.000
I mean stuff like that.
781
00:41:48.119 --> 00:41:51.199
It's just like I remember being in New York work
782
00:41:51.880 --> 00:41:52.639
when some.
783
00:41:53.280 --> 00:41:55.559
Prost was out. It was the same thing the Stones.
784
00:41:55.599 --> 00:41:58.280
That record always reminds me of New York. Miss she
785
00:41:58.440 --> 00:42:01.280
was on the radio NonStop and just they were like,
786
00:42:01.480 --> 00:42:03.760
we were staying in this hotel on Central Park. You know,
787
00:42:03.760 --> 00:42:05.960
I was a kid, I was eleven, and they knew this.
788
00:42:06.159 --> 00:42:08.360
We knew the Stones were in the Plaza hotel. They
789
00:42:08.360 --> 00:42:10.519
were like a few hotels down. Just the fact they
790
00:42:10.519 --> 00:42:13.519
were in New York. And I remember Magic got out
791
00:42:13.559 --> 00:42:16.079
with the Rolling Stones, you know, and I got to
792
00:42:16.119 --> 00:42:17.840
actually do that, you know. I got to hang out
793
00:42:17.840 --> 00:42:20.000
with them in New York too. So I went on
794
00:42:20.039 --> 00:42:22.760
the road of you know, a couple of cities and
795
00:42:22.840 --> 00:42:26.119
hung out. And you know, it's just like they live
796
00:42:26.239 --> 00:42:28.880
up to everything you could imagine about the Rolling Stones,
797
00:42:29.360 --> 00:42:31.800
like being in their inner circle. They live up to
798
00:42:31.840 --> 00:42:32.679
it and exceed it.
799
00:42:32.760 --> 00:42:33.199
Like Keith.
800
00:42:33.280 --> 00:42:35.800
You know, it's like getting to be around Keith, you know.
801
00:42:35.840 --> 00:42:37.719
But I think what's interesting is when they go into
802
00:42:37.760 --> 00:42:40.320
a hotel they'll take that. They take over the two
803
00:42:40.400 --> 00:42:43.119
top floors, right, So the second from the top is
804
00:42:43.159 --> 00:42:45.559
the managers. It's like a buffer, and then the top
805
00:42:45.599 --> 00:42:46.480
floors is.
806
00:42:46.400 --> 00:42:48.159
You know, Kee's in a room, Mixed in a room,
807
00:42:48.639 --> 00:42:50.960
Ronnie's in a room, and each room has its own
808
00:42:51.000 --> 00:42:55.679
culture to it, you know, like Pirate Ship. It's all dudes,
809
00:42:55.719 --> 00:42:59.119
and it's like listening to Barry and ACDC, and you know,
810
00:42:59.199 --> 00:43:02.360
Ronnie's more a fane at least on that tour, you know,
811
00:43:02.400 --> 00:43:04.159
and then Nick kind of has his thing going on.
812
00:43:04.360 --> 00:43:07.280
It was amazing, man. You know, I can't say enough.
813
00:43:07.320 --> 00:43:11.320
It's just to give them something back creatively after.
814
00:43:11.079 --> 00:43:13.920
Everything I got from them was just it's it's just
815
00:43:13.960 --> 00:43:15.679
one of those things you can't even really it almost
816
00:43:15.719 --> 00:43:17.719
sounds like I don't even tell people.
817
00:43:17.519 --> 00:43:21.400
About it because it sounds so stupid, you know, like
818
00:43:21.440 --> 00:43:22.039
I'm lying.
819
00:43:22.119 --> 00:43:23.360
Nobody believes you.
820
00:43:24.280 --> 00:43:24.360
Right.
821
00:43:24.559 --> 00:43:27.440
That's you know, good stories right here too. Love this
822
00:43:27.559 --> 00:43:30.280
project with Michael Hutches. Like I said, yo know, those
823
00:43:30.280 --> 00:43:33.119
songs to make people feel something out there too. We
824
00:43:33.199 --> 00:43:34.679
got to play a couple here on the show today
825
00:43:34.679 --> 00:43:36.639
too as well. And looking forward to that date April
826
00:43:36.639 --> 00:43:40.079
twenty fifth, remind people about April twenty fifth again and
827
00:43:40.880 --> 00:43:43.440
just this cool project for one way, man, I love
828
00:43:43.519 --> 00:43:46.079
this And of course you mentioned that CD and everything
829
00:43:46.079 --> 00:43:47.800
else remind people about April twenty fifth.
830
00:43:47.800 --> 00:43:48.280
Will we close?
831
00:43:48.559 --> 00:43:53.280
Yeah, So so through main Man Records MVD distributors were
832
00:43:53.320 --> 00:43:57.239
dropping a MAXI single with a you know remixes well
833
00:43:57.280 --> 00:44:00.000
the original versions in one way and saved my life
834
00:44:00.119 --> 00:44:04.000
said boss remakes a cool Nick McKay kind of guitar
835
00:44:04.039 --> 00:44:07.480
player from the verb amazing guitar player urban M's. I
836
00:44:07.480 --> 00:44:10.159
know that would have made Michael really happy because they
837
00:44:10.199 --> 00:44:11.719
were actually in the studio when we were in the
838
00:44:11.719 --> 00:44:15.000
studio at Real World doing record at the same time,
839
00:44:15.079 --> 00:44:16.880
So I know that would have really pleased him that
840
00:44:17.000 --> 00:44:20.320
Nick's on the record. And yeah, April twenty fifth is
841
00:44:20.360 --> 00:44:22.639
going to be everywhere, so keep an eye out for that,
842
00:44:23.400 --> 00:44:25.199
you know, and there's gonna be more to come.
843
00:44:25.760 --> 00:44:28.360
Just you know, the wheels are in motion and when
844
00:44:28.519 --> 00:44:29.320
something's you.
845
00:44:29.239 --> 00:44:31.639
Know, solid, you'll be first to know. My basics. But
846
00:44:31.719 --> 00:44:32.840
I appreciate you bringing me on.
847
00:44:33.599 --> 00:44:35.719
Oh dude, hey man, my playsure are having you too
848
00:44:35.719 --> 00:44:37.119
as well. Man, And like I said, you know, it's
849
00:44:37.119 --> 00:44:39.760
always cool to promote, you know, stuff like this, man,
850
00:44:39.800 --> 00:44:42.239
when it comes to like legendary stuff with a legendary
851
00:44:42.320 --> 00:44:44.840
rock group who were icons in the industry, and like
852
00:44:44.880 --> 00:44:47.599
I said, I'll say that again over fifteen million albums
853
00:44:47.639 --> 00:44:50.599
sold worldwide. That does not happen by accident. If your
854
00:44:50.599 --> 00:44:53.039
stuff is good, people are gonna flock to it. And
855
00:44:53.079 --> 00:44:55.039
when they do, man, like I said, it becomes projects,
856
00:44:55.039 --> 00:44:57.840
and those projects really bring it to life. Danny Saber
857
00:44:57.840 --> 00:44:59.320
out there, make sure you check his work out out
858
00:44:59.320 --> 00:45:01.519
there across all the digital streaming platforms, and of course
859
00:45:01.559 --> 00:45:03.800
look for that out with those two songs One Way
860
00:45:03.840 --> 00:45:06.480
and Saved My Life. April twenty fifth, Danny, appreciate the
861
00:45:06.480 --> 00:45:07.960
time here on the show. Thanks for dropping us a
862
00:45:08.000 --> 00:45:09.679
fine dues for swinging from me and telling us all
863
00:45:09.679 --> 00:45:10.679
about this great project.
864
00:45:11.079 --> 00:45:11.880
We appreciate it.
865
00:45:11.920 --> 00:45:14.000
And dude, if I can ever do anything to promote
866
00:45:14.000 --> 00:45:16.719
the work man, I'm here on the Sports Guys podcast
867
00:45:16.800 --> 00:45:19.960
dot com and of course KKTC True Country ninety nine
868
00:45:19.960 --> 00:45:23.119
point nine. Appreciate your time, and hey man, continue success
869
00:45:23.119 --> 00:45:25.559
going forward. Man for somebody's legendaries you we appreciate it.
870
00:45:26.400 --> 00:45:29.360
Thanks, my man, I appreciate it. Right back at you
871
00:45:29.400 --> 00:45:29.679
got it.
872
00:45:29.760 --> 00:45:32.239
Danny Saber here on the Backstage Past, of course, Brandley
873
00:45:32.239 --> 00:45:34.519
Gilbert coming up here in a few weeks, and the
874
00:45:34.599 --> 00:45:38.000
Warren Treaty coming up here on KKTC True Country ninety
875
00:45:38.079 --> 00:45:40.199
nine point nine, with some shows coming out in Santa Fe,
876
00:45:40.239 --> 00:45:42.480
New Mexico, and our market out there too. Thanks to
877
00:45:42.519 --> 00:45:45.719
the Cadengordonshow dot com, today's best sure to making a
878
00:45:45.719 --> 00:45:47.679
fe you guys on the show coming up tomorrow. You
879
00:45:47.760 --> 00:45:50.079
shure and check out Danny's work online out there. Danny
880
00:45:50.079 --> 00:45:53.039
Saber as well and Greer, renowned producer who's worked with
881
00:45:53.039 --> 00:45:55.119
some of the biggest icons in the industry. And of
882
00:45:55.159 --> 00:45:58.119
course Michael, we love your brother. I'm sure in heaven
883
00:45:58.199 --> 00:45:59.920
you can tell on this project. Two great songs you
884
00:46:00.039 --> 00:46:03.039
we got the feature here on KKTC True Country ninety
885
00:46:03.079 --> 00:46:05.400
nine point nine. More coming up here, more great music.
886
00:46:05.679 --> 00:46:07.400
Stay tuned right there in Tauas, New Mexico.
887
00:46:07.519 --> 00:46:08.000
See you soon.
888
00:46:08.800 --> 00:46:11.519
Hey, y'all, this is Nashville recording artist Noah Thompson and
889
00:46:11.559 --> 00:46:14.920
you're listening to the Backstage Past podcast powered by the
890
00:46:14.920 --> 00:46:18.960
Sports Guys Podcast dot Com, exclusively on KKTC True Country
891
00:46:19.039 --> 00:46:21.760
ninety nine point nine in Taos, New Mexico.