Classic Rock Revisited presents an exclusive interview with...

Michael Sadler conquered alcohol, but the Saga singer now faces a new challenge.

Michael Sadler conquered alcohol but faces new challenges.  "Leaf blowers drive me nuts," laughs Sadler, relaxing - or trying to relax - at his Los Angeles home. 

Having spent the last several weeks touring Europe, the Saga frontman craves peace. But a certain lawn appliance makes that impossible.

"It's always something," says Sadler. "But in the big scheme of things, I feel fortunate to make a living doing what I love and doing it for as long as I have."

For most than 25 years, Sadler has helped push Saga to prog-rock supremacy. The Canadian quintet has amassed a loyal following through tireless touring and uncomprised songcraft, evident on 19 stunning albums.

Since its eponymous debut, Saga has earned respect among peers and adulation among fans. "On The Loose," "The Flyer" and "Cat Walk" flirted with chart success, yet superstardom eluded the band. They always flew under the radar, watching Rush and other countrymen steal their thunder.

"But we've got very loyal fans, very respectful. I wouldn't trade them for anything," says Sadler, grateful not only for his craft, but for his life.

Before recording Network and Clear, respective Saga and solo releases, Sadler battled alcohol. But he

fought back, gaining sobriety and a fresh outlook on life.

Every day looms brighter, food tastes better and Michael Sadler - the artist and the man - is at peace with the world. He views things anew, lucidity evident on Clear, his latest solo project set for imminent release.

"I'm really excited," says Sadler. "I mean, it's quite different than anything I've done with Saga, yet it's still me. I can't wait people to hear it."

Until then, Sadler opens up to Classic Rock Revisited.

- A. Lee Graham, December 2003

Congratulations on Clear. Among solo outings from rock front men, it really stands on its own.

Thanks. I spent a long time on it. The nice thing about it was there were no restrictions in terms of time limits, no obligations on when to deliver it. I worked at my own pace. It was great fun to do. I had lots of freedom.

And it shows. You seem to really come into your own as an artist, without trying to duplicate the Saga sound.

The last thing I wanted to do was make it sound like a Saga record. The most negative comment I heard was it sounds like Saga. Actually, I said it was a backhanded compliment.

I'm always disappointed to hear a solo album if it sounds like someone's main band. Isn't a solo album supposed to be an example of self expression?

Yeah, but fans can't mistake your voice. Of course. The similarities you'll hear is me being one of Saga's principle songwriters for 28 years. You'll see what my influence was as a band member. Writing outside the framework of Saga, that's what you end up with. It's a very personal record.

Your songs remain somewhat ambiguous, despite specific characters and even their names mentioned - Danny and Sally in "Who's Sorry Now," for example. Are you aware of that?

It's a strange situation. Let me preface this by saying I had a crash two and a half years ago from alcohol.

A car crash or an emotional crash?

No, I mean I crashed - from alcohol. And I've been dry since then. I finished the album. Well, most of it was done. It was done before my stay in the big house.

You're talking about Clear?

Yeah. Clear was written when I got sober. When I was done with the whole record, I was perusing the lyrics written in my altered state, as it were, and it was strange. They seemed to be reaching out subconsciously for someone to address the problem with me. Although it's not autobiographical, there's lots of references to what I was going through.

Are characters named in the songs fictitious?

All the names are fictitious, and the scenarios are fictitious, but based a little bit on fact in terms of burnt relationships and abuse, obviously - mental abuse, self abuse, really. "Who's Fooling Who" is a good one in terms of being in a state of denial. It was quite enlightening to see the lyrics written in that state.

For how long had you planned Clear? Aside from Back Where You Belong, it's your only solo disc.

Back Where You Belong was done for fans as a limited release of 1,000 copies. I've been asked for many years when are you going to do a solo album? Back was Clear in the making, really a showing of what I was working on and how far I came with it. It was a precursor to what would become Clear.

The funny thing is there's lots of interest now from people not familiar with Back Where You Belong. They want to get hold of it through downloads or actual copies. They want to hear the before-and-after effect.

They want to hear the affected musician as opposed to the, shall we say, unaffected musician?

(laughs). Right. You could say that.

How did you assemble the musicians? Was everything recorded live?

The keyboards, I took care of. The live phase took place last October in LA. I brought them (the musicians) in during the course of six weeks. I found them through Lino, the guitarist who did most of the acoustic work. A friend of mine and (Saga bassist, keyboardist) Jim Crichton's suggested the drummer, Chris Frazier. He plays with lots of people like Steve Vai. I thought, OK, he's the right guy. He did lots of work with Edgar Winter, who I grew up listening to.

It was exciting having a real drum sound, having all the tracks come to life. I had done some guitar with Marcus Deml in Germany for Back Where You Belong. He was the only recording done in Germany. The bass player was recommended from Lino, as well.

Between Marathon and Network, where did you find the time for a solo project?

It was a matter of using any down time I could (laughs) That was few and far between. It was really finding free time here and there - also not having any preconceived ideas or framework and just the fact of having some free time. It wasn't like I had to do it. I worked any time I felt inspired.

How does Network differ from Marathon?

Marathon was beginning to return to the old sound. Network is true to that state. Network is a live album without an audience. We wrote separately. I took a back seat in the beginning and donned the singer's hat, which I guess I should normally do. I was concerned about melodies from the get-go.

We had bits and pieces of music and brought them down to 20 and then to 10 tracks. We set up gear in the studio. We rehearsed the songs for 10 days and, when ready, we recorded it on analog tape. We did a song a day for 10 days and it was done. We kept it as fresh as possible.

Would you say it followed the direction started by Full Circle in 1999, when the band sort of recaptured its signature sound?

Yeah, but more so in recording, it was a throwback to the first record. We had no idea what we were doing back then. No rigid schedule.

The benefit of not having a specific deadline.

Right, not having a record company breathing down your neck. And no pressure for Clear 2(laughs). I just wanted to create some kind of groundswell and not be in competition with myself.

When Saga did the recent tour, every once in a while someone would pop up a (advance) copy of Clear. And I'd look up and I'd smile and sign it quickly. They'd be very respectful and be quick about asking me a question in front of everyone else. I didn't want to have a general release until Network was done. I didn't want to distract from Saga. I'm now looking at a general release for Clear in January. I'm negotiating with labels.

"Who's Fooling Who" is a veritable stewpot of styles. You've got male and female vocals, an almost tropical, World Music feel and parts that sound almost orchestrated. Are you going for a Peter Gabriel vibe?

Yeah. He was a big influence. The two people musically that have been my big influences were Peter Gabriel and Freddy Mercury. As entertainers, too. As for world music, I wouldn't go that far, but I definitely have a lot of influences.

I see Will Wheaton listed among L.A. choir members. Is that the actor Will Wheaton of Stand By Me and Star Trek: The Next Generation fame?

No. Different guy. Fred White was the connection there (laughs). I called up Fred and asked if he could round up three other singers. It sounded bigger than it was.

Many older artists are pursuing really strong solo careers - Neal Morse, formerly of Spock's Beard, and now you. Is there a certain peace of mind or clarity that comes after fronting a band for so many years that allows you to connect with subject matter you couldn't before?

I suppose you could put it that way. I love leaf blowers (background, laughs). Sorry, where was I? Oh yeah. It goes back to what we were talking about with artistic freedom. Working with other people really does broaden your horizons. It's healthy and brings certain aspects out of your creative process that perhaps you wouldn't have discovered on your own.

With Clear's anticipated release, will you tour for it? And how will promoting Clear figure into your Saga schedule?

You're not the first to ask. (laughs). I got that quite a bit from fans in Europe. I don't know about a tour in the traditional sense. But showcase shows in key cities, sure. I can't say I won't because I don't know what's going to happen. I'd love to play this stuff live. Songs come alive when you do them live. It sounds naive to say that, but they take on a life of their own.

Live versions of songs are sometimes better. People go to concerts expecting to hear exactly what's on record. I don't understand why they go concerts. To me, I go to concerts for a personal experience, almost like you met the person. The song should perhaps be a little different.

Last we spoke, you mentioned a possible U.S. tour. What happened?! We want a Saga tour!

(laughs) I keep getting a dead-end answer or "yeah, working on it" from management. I'm not sure. There's different versions of reasons why we haven't. I still, for the life of me, haven't been satisfied with the answer. Whether a financial reason or not, which doesn't make sense because even if we just break even, that's fine. If you can break even and open the market again, I know there's fans here. I read hits on Web sites. They're all over the place.

I'd just as soon get a package together with Kansas and Dream Theater or Queensryche or whatever. I'm sure we could put together a package. I'd do it tomorrow.

That would be awesome. So how did the European tour go?

Were did 26 shows about five-and-a-half weeks. Lots of fans. It was great.

Going back to Clear, I noticed Elsie Marion Sadler quoted in the CD booklet: "Eloquent conversation can be enjoyed in profound silence." Is she your mother?

She was my grandmother, who passed away last December. That one quote was taken from a line of 40 gems of quotes. I don't now where they came from. I never got to know her that well but she had a great creative writing aspect to her.

Did she influence your work?

As an artist, I don't think so, but she definitely had a subconscious effect on me.

In closing, is there anything you want to say to your fans?

Yes. I'd love to play in America whether with Saga or on my own. I can probably almost guarantee some Clear shows in 2005.

Excellent. We look forward to it.

So do I. Thanks, Lee.