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Speaker 1: Quest Love Supreme is a production of iHeartRadio, Ladies and gentlemen.

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Speaker 1: This is Quest Love Supreme. Today marks the conclusion of

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Speaker 1: what I feel is an instant classic episode. As I

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Speaker 1: expressed in the previous recording that I personally like one

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Speaker 1: on one qls's meaning one artist to the show as

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Speaker 1: opposed to group scenarios.

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Speaker 2: So that way, you know, it's always you get two sides.

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Speaker 1: Of a story of the same story, sometimes where you

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Speaker 1: get the same identical story. But previous episode we talked

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Speaker 1: to one half one of my favorite duos and the

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Speaker 1: music one of the most successful duos and music. And

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Speaker 1: now we are given the honor and the pleasure of

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Speaker 1: speaking to the voice the soundtrack, I mean, the personal

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Speaker 1: soundtrack of my childhood. And I'm, you know, a Philadelphian.

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Speaker 1: So this episode is doing me some pride right now.

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Speaker 1: What else can I say? But the one and only

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Speaker 1: Daryl Hall, he slept Supreme. Welcome start all right, by

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Speaker 1: the way.

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Speaker 2: Team Supreme.

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Speaker 1: I'm sorry I didn't even acknownce you how damn he

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Speaker 1: was waiting for that.

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Speaker 3: I was gonna say, it's okay, it's Darryl Hall. We're

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Speaker 3: all a little fanned out it's.

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Speaker 1: Fine, no, no, no, but in my mind I'm still feeling

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Speaker 1: like this is a continuation of the episode.

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Speaker 2: But yes, we can let the world know that a

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Speaker 2: week or two went by and uh, you know. Yes,

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Speaker 2: So how are you doing?

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Speaker 4: Like you?

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Speaker 3: I'm doing great, I'm ready, I'm so good. This is yeah,

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Speaker 3: life is complete.

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Speaker 5: Man.

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Speaker 1: Really, I got to ask some personally, even though this

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Speaker 1: is inconsequential to our viewers who could only hear us

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Speaker 1: and not see us, but I feel like every time

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Speaker 1: you do an episode, you're doing it from another part

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Speaker 1: of your house or I see it.

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Speaker 4: I said, this is actually my studio house.

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Speaker 3: Oh yeah, this is mine too, Okay, exactly, that's what

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Speaker 3: it is, a mere it's my studio house.

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Speaker 1: All right. Well no, I'm just I'm impressed with every

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Speaker 1: episode you seem to be in a new part of

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Speaker 1: your house that I've never seen before.

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Speaker 3: And it's the way I think my quest love Supreme

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Speaker 3: Brothers to truly come to my house. So yeah, this

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Speaker 3: is the way I'm doing it. Maybe one day y'all come.

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Speaker 1: Okay, well one of us will have to agree to

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Speaker 1: get on a plane, but that will say that for

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Speaker 1: another episode. Okay, baby Bill, Yes, how's it going, sir.

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Speaker 1: Fantastic congratulations to you you.

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Speaker 2: I'm great man.

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Speaker 6: You've been winning awards like handover whatever that expression is.

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Speaker 6: And we have to do some flowers a beer flowers

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Speaker 6: for a beer.

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Speaker 2: Congratulations. Yes, thank you, thank you for that deflection. Thank you.

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Speaker 7: Well.

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Speaker 1: You know. Also, you fin you finished a milestone in

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Speaker 1: your the show that you're working on, Testame Street. You

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Speaker 1: finally finished. I guess season fifty. I assume we.

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Speaker 6: Finished just last week season fifty three. I think fifty three.

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Speaker 2: Season fifty three.

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Speaker 1: Also, wait, this is what I do want to know,

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Speaker 1: because I'm not an active watcher of Sesame Street now

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Speaker 1: that I'm fifty one years old as I was when

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Speaker 1: I was a kid. But the death of mister del

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Speaker 1: Gato aka Luis on Sesame Street, was he still an

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Speaker 1: active character on the show even or did he leave beforehand?

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Speaker 6: He left but came back a little while ago. He

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Speaker 6: was back and forth, but he was like a definite presence.

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Speaker 6: All of the humans sort of humans, the humans, all

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Speaker 6: of the actors on that show sort of are always

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Speaker 6: sort of omnipresident. I play it's Bob and so like.

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Speaker 1: Maria, Bob and Susan and Gordon like, they're still occasionally

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Speaker 1: come back on the show to do stuff.

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Speaker 6: Yeah, like most recently they around for season We had

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Speaker 6: a big reunion for season fifty a couple of years ago,

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Speaker 6: and they were definitely there for that. And I saw

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Speaker 6: him at that and he's a fantastic like Emelio, like

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Speaker 6: played the guitar really well and saying really well, and

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Speaker 6: it was just a consumt a musician and a wonderful

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Speaker 6: human being.

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Speaker 1: It's really sad, but yeah, when you put when you

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Speaker 1: put me on the float, I think I got to

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Speaker 1: meet some of them and that was really cool.

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Speaker 6: You make it seem like I physically placed you upon

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Speaker 6: the Thanksgiving Day float, and I will take full credit

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Speaker 6: for that.

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Speaker 2: Well, you know, I'm trying to.

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Speaker 1: Give you props, Bill because I don't want people to

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Speaker 1: think that you're just like the Flavor of Flace sidekick,

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Speaker 1: Like you're.

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Speaker 2: You're a major staple in the circle. Man you are.

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Speaker 1: You know, you're writing brought hit Broadway shows and producing

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Speaker 1: my platinum albums.

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Speaker 6: And just for the record, I'd be happy to be

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Speaker 6: a Flavor Flap sidekick. I'm totally fine with that. But

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Speaker 6: that's very nice.

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Speaker 1: I'm I'm throwing some flowers back to you, sugar steans

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Speaker 1: you okay, even though you're upgrading your computer right now,

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Speaker 1: you're doing this on your telephone.

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Speaker 4: I'm really good. Thanks for asking.

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Speaker 8: I actually wont a Schmuky award last night, and I'm

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Speaker 8: thinking about buying my own paper airplane.

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Speaker 2: Okay, like like it, don't.

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Speaker 1: Step on my punchlines in front of Daryl Hall.

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Speaker 3: I'm sorry. You know you heard me.

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Speaker 9: I'm sorry anyway, fon Tikeolo good So I'm good, brother,

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Speaker 9: I'm good, man, I'm good. Congratulations to you, man. I

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Speaker 9: was happy to see that straight. I appreciate that. Yeah,

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Speaker 9: now we can finally.

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Speaker 1: Get to the business. First of all, Sir Daryl Hall,

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Speaker 1: are you in the world famous Darris House right now?

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Speaker 4: I'm in I'm in my studio house.

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Speaker 1: Okay, explain that this is different than the Daras house

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Speaker 1: that I've seen on television.

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Speaker 4: Yeah, it's a different house and age.

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Speaker 2: That is bullershit. I like this.

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Speaker 1: I like where this is going already, if you, if

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Speaker 1: you guys can see what we see right now, like

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Speaker 1: maybe besides Will Smith, I've not seen a person be

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Speaker 1: so imaginative with their surrounding.

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Speaker 2: Yes, this is this is this is a next.

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Speaker 5: Room man to Imaginative one one Light.

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Speaker 1: So so as I so, as I said on on

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Speaker 1: the top of the show, we we talked to your

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Speaker 1: your partner for over five I don't know, maybe six

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Speaker 1: decades John Oates about his experience musical experiences in his life.

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Speaker 1: And and now's your turn, because you know, although you

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Speaker 1: too share common ground, you two also have done different endeavors,

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Speaker 1: and so I kind of wanted to make this more

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Speaker 1: one on one instead of like the the group project.

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Speaker 1: So for you right now, like where where do you?

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Speaker 1: Where do you call home? Where do you reside?

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Speaker 4: Right?

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Speaker 5: I'm in Connecticut right here? I I you know, I

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Speaker 5: have a house in London too, So I kind of

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Speaker 5: go back and forth.

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Speaker 2: Nice what party in London?

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Speaker 4: Uh? In Kensington?

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Speaker 7: Nice?

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Speaker 2: Okay?

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Speaker 1: I used to live in Kinsistown. Okay, all right, yeah,

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Speaker 1: Kinnistown in London. When when did you cop a spot

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Speaker 1: in London?

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Speaker 4: When I've been since the seventies?

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Speaker 7: Oh? What forever?

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Speaker 2: So you're a dual citizen.

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Speaker 4: Right sort of.

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Speaker 2: Wow London? What made you choose to go over there?

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Speaker 5: I just I had an affinity for it, just from

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Speaker 5: the very beginning. It kind of it reminded me of Philadelphia.

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Speaker 5: It's so crazy play.

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Speaker 3: Oh wow, we are a little cleaner than that.

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Speaker 4: Well yeah, well some parts, some parts.

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Speaker 1: No, no, no, but you know what, he he has

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Speaker 1: a point because the roots coming from Philly. We had

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Speaker 1: to choose somewhere in Europe to live and it was

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Speaker 1: definitely something like should we move to Paris and we

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Speaker 1: moved to d And it was something about London that

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Speaker 1: called us and so.

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Speaker 4: There's something familiar about it, you know, very much.

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Speaker 2: So so that's okay, Well that that's that's cool to hear, Like.

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Speaker 1: Are you in a city part of London London or

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Speaker 1: is it more like a quiet place or like what?

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Speaker 1: Because I know oftentimes artists will have their city residents

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Speaker 1: and then they'll have a spot that you know, is

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Speaker 1: more quieter.

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Speaker 2: I mean I understand that now.

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Speaker 1: Like I never thought I'd be a person that would

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Speaker 1: get a farm, but I just got a farm because

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Speaker 1: I actually felt I'm more creative when I'm isolated and

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Speaker 1: then silence. So for you, is having a dual housing

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Speaker 1: situation more about like getting a spot that's quiet and

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Speaker 1: then a part that's immersed in the city or just

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Speaker 1: or just to have a city in Europe just in

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Speaker 1: case you just want to Well.

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Speaker 5: It's it's actually kind of the same thing. I you know,

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Speaker 5: I live out in the country here and when I'm

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Speaker 5: in America and then my city house is a London

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Speaker 5: and I mean I have a it's like a tell

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Speaker 5: it's you know, row house, townhouse.

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Speaker 4: Same.

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Speaker 1: Okay, yeah, So is it important as a creative for

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Speaker 1: you to have a spot that's that's quiet and more

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Speaker 1: isolated and allows you to be creative or like again,

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Speaker 1: as as a newbie person that just purchased his spot,

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Speaker 1: I mean, I did it because the pressure of the

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Speaker 1: pandemic forced me to do it. But you know, otherwise,

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Speaker 1: I'd never understood artists that were like, yo, man, I

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Speaker 1: need the country life is important, Like, I mean, I

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Speaker 1: get the importance of silence now. But obviously you got

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Speaker 1: this house that you're now way before the pandemic. So

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Speaker 1: what was the attraction of, Like, you know, I'm thinking

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Speaker 1: like rock stars wouldn't want to be so isolated outside

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Speaker 1: of the chaos and the hustle and bustle of what

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Speaker 1: the industry was. So what was your decision to get

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Speaker 1: a country spot.

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Speaker 5: I don't know, man, I've always sort of had one

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Speaker 5: foot in the country. I went for the city I

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Speaker 5: grew up.

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Speaker 4: I grew up.

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Speaker 5: I didn't grow up in Philadelphia. I grew up in Pottstown,

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Speaker 5: you know, out in Chester County, and uh, you.

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Speaker 1: Know I considered that, Yeah, Phillly adjacent.

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Speaker 4: It is, but what I hey, I'm an old guy.

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Speaker 4: You know it was. It was in those days. It

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Speaker 4: was really good and uh, you know, I grew up in.

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Speaker 5: A colonial house, so all that kind of stuff, you know,

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Speaker 5: I mean it was as I grew up in that world.

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Speaker 4: You know. My family were farmers and you know, and

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Speaker 4: so I grew up that way.

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Speaker 5: But I was also part of the city. It's always been.

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Speaker 5: It's always been kind of schizophrenic with me. It's this

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Speaker 5: city and country together, and I sort of need both

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Speaker 5: of them. I need one to balance out the other side.

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Speaker 1: Do you remember what your very first musical memory was.

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Speaker 5: Probably seeing my what my mother and father both were musicians.

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Speaker 5: See my mother in a band, I mean, my mother

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Speaker 5: was in it was in a band in post Town,

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Speaker 5: and I was like, yeah, from the age of two

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Speaker 5: years old, I'd watched the band and I always wanted

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Speaker 5: to be the band leader, you know, the guy that

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Speaker 5: had the he had like a white coat on.

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Speaker 4: Everybody else had red coats on. He had a white

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Speaker 4: coat on. So yeah, I was I wanted to be

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Speaker 4: that guy.

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Speaker 3: What does Daryl Hall's mom's voice sound like? What is

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Speaker 3: her singing voice?

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Speaker 5: She was a soprano. She's ninety eight years old now

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Speaker 5: and up man, she's still six, but yeah, she she's

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Speaker 5: amazing singer, amazing soprano. And my father was in a

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Speaker 5: gospel group, a vocal group, and so I learned harmonies

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Speaker 5: from from him and his brothers and his friends and

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Speaker 5: all that. So I, you know, I grew up in

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Speaker 5: that the whole that whole world.

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Speaker 1: Were they closer to do wop or more Mills brothers

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Speaker 1: or like harmony?

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Speaker 4: Like what was their church harmony? You know, like gospel harmony?

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Speaker 1: Okay, but when you say quartet, I'm thinking of I'm

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Speaker 1: thinking of below, you know, right? Okay, what's your siblings situation?

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Speaker 1: How many are you? How many brothers and sisters do you?

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Speaker 4: I have once?

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Speaker 5: I have a sister, one sister. She lives up here

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Speaker 5: in Connecticut too.

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Speaker 1: And she musically inclined as well, she.

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Speaker 4: Is, but she's an artist.

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Speaker 5: She does all my visuals, you know, she does everyally,

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Speaker 5: from my album covers to my T shirts to everything.

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Speaker 4: Yeah.

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Speaker 1: Really, how long has she been collabing with you?

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Speaker 4: Well, as long as we've been alive.

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Speaker 1: So even in the days of like she was like

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Speaker 1: she was.

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Speaker 5: She was the visual artist and I was the singer.

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Speaker 5: You know, we both do both things. But that's how

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Speaker 5: it sort of panned out even we were kids.

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Speaker 1: I know that I've seen you as a keyboard player.

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Speaker 1: I believe I've seen you play guitar once or twice.

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Speaker 1: But what was your your first weapon of choice growing

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Speaker 1: up as far as the instrument that you use Jano?

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Speaker 5: Yeah, when I was like five years old, I started

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Speaker 5: taking piano lessons, but I was a singer before that.

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Speaker 5: You know, my mom taught me how to think because

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Speaker 5: she was sort of a vocal teacher too, and she

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Speaker 5: taught me how to sing from age zero, you know.

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Speaker 4: I mean I was always okay.

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Speaker 1: Yeah, Well, I know that you have sort of history

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Speaker 1: and Philadelphia proper, So can you tell me what, like

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Speaker 1: when you started gravitating towards metropolitan Philadelphia as opposed to

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Speaker 1: outside of Pottstown. At what time did you start going

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Speaker 1: to Philadelphia proper?

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Speaker 4: Short of when I was a teenager, I would go

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Speaker 4: I would go in because they used to have trains

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Speaker 4: in those days from Pottstown.

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Speaker 5: So I used to goin and my friends were in there,

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Speaker 5: and and I moved right out of high school.

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Speaker 4: I moved to Philadelphia.

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Speaker 1: Okay, so you're talking about like the R five or

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Speaker 1: the R three, like those high speed trains that Septa.

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Speaker 4: Yeah, there was like the Reading Reading railroad and all

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Speaker 4: that stuff.

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Speaker 6: Yeah.

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Speaker 1: Even even when we asked John about the time that

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Speaker 1: you guys put in during those those years in the

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Speaker 1: sixties in Philadelphia, he said that you would have more

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Speaker 1: intricate stories because of your involvement with like Gamble and

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Speaker 1: huff and like all those groups around. But could you

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Speaker 1: could you basically describe to me what the Philly environment was.

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Speaker 1: I guess you know, your teen years was in the sixties,

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Speaker 1: so you know, if you wanted to see your like

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Speaker 1: of the acts of the day that you saw, like

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Speaker 1: where where would you see them? And what acts would

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Speaker 1: you see of the day.

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Speaker 4: I used to go to the Uptown. I mean I

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Speaker 4: I I.

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Speaker 5: Lived in the Uptown basically, and I would see everybody

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Speaker 5: there and and I was I got involved right away

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Speaker 5: with with Kenny and Leon I actually did a talent

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Speaker 5: show at the Uptown with the group I had, the Temptones, and.

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Speaker 4: We won the talent show.

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Speaker 5: So I got a I got a deal, and I

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Speaker 5: went to Virtue Studios and did a and did a

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Speaker 5: record with the with the Romeos with Kenny Gamble.

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Speaker 7: What year was this?

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Speaker 4: Around nineteen sixty seven?

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Speaker 7: Sixty seven? Got you?

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Speaker 3: You must have been a crazy extrovert, not very shy

308
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Speaker 3: like you sound like you were crazy confident from the jump,

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Speaker 3: because to go into Philly and just dive in and

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Speaker 3: just talk.

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Speaker 4: To folks, you know what I have? I always had

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Speaker 4: confidence in the music area. I'm not exactly.

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Speaker 5: I wouldn't call myself an extrovert by any means, but

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Speaker 5: you get when you get into music, then yes, suddenly

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Speaker 5: I shine. I you know, I do have confidence.

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Speaker 1: Indeed, was it unusual for you in the late sixties,

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Speaker 1: because I'm assuming that you're you're kicking it with the

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Speaker 1: brothers in terms of like, you know, if you're at

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Speaker 1: the you know, having met like Danny and the Juniors

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Speaker 1: and and the Dovels and those other like Philly doo

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Speaker 1: wop legends that were kind of around my father's era,

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Speaker 1: Like you know, I'm not hearing them telling these stories about.

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Speaker 2: Yeah, man, we just always good to own town whatever whatever.

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Speaker 1: But for you, was there not a novelty factor? But

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Speaker 1: was it unusual for people to see a white guy

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Speaker 1: be so immersed in soul in the mid to late sixties.

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Speaker 4: It didn't seem so unusual. Believe it or not, it

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Speaker 4: was it was it was a different time.

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Speaker 5: I don't know, man, I mean, will you talk about

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Speaker 5: Dovel's they all went Overbrook. I mean, those guys, they

331
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Speaker 5: were they were in it big time.

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Speaker 1: Really, I'll be honest with you, because like a lot

333
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Speaker 1: of my education just comes from like the revival shows

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Speaker 1: that they were doing in the seventies and eighties, like

335
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Speaker 1: past the I don't know if I have a visual

336
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Speaker 1: of of of any of the Philly legends in their prime,

337
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Speaker 1: you know, late fifties, sixties, because obviously I wasn't born then.

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Speaker 5: Guys really well, okay, so Lenny, Mike Freeda and Lenny

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Speaker 5: Barry really close friends of mine, and yeah, yeah, they

340
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Speaker 5: were real.

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Speaker 4: Man, I mean they came from they came from the

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Speaker 4: real thing.

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Speaker 1: Well, I got to ask an eyewitness, have you ever

344
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Speaker 1: seen my dad before? This is one of the weirdest

345
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Speaker 1: questions on this show.

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Speaker 4: One of the first records I ever bought was your dad.

347
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Speaker 2: Really see again? Only I only know that dad.

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Speaker 1: I only know my dad from the second phase of

349
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Speaker 1: his career, because there really was a documentation of, you know,

350
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Speaker 1: of his career before then.

351
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Speaker 2: So I can only go on word of mouth of.

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Speaker 3: Oh, I used to see your dad's stories. Then I

353
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Speaker 3: want to know.

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Speaker 1: Well, yeah, so okay, Like, can you tell me what

355
00:17:14,040 --> 00:17:18,680
Speaker 1: a typical lineup was in if you were going to

356
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Speaker 1: to the Uptown in Philadelphia, which for our listeners out there,

357
00:17:22,960 --> 00:17:24,520
Speaker 1: you know, there are a few there are a few

358
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Speaker 1: houses for black acts that were quote unquote upscale in

359
00:17:30,560 --> 00:17:33,480
Speaker 1: the Chiplan Circuit. If you're in New York, the Apollos

360
00:17:33,520 --> 00:17:37,159
Speaker 1: a Highlight. If you're in d C, the Howard. If

361
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Speaker 1: you're in Chicago, Uh, is it the State Theater?

362
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Speaker 4: I believe, Yeah, Yeah, I.

363
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Speaker 2: Think it's the State. Yeah.

364
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Speaker 1: And if you're in Philadelphia, you're you're you're at the Uptown.

365
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Speaker 1: Could you explain like what a typical bill would look

366
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Speaker 1: like like is it hosted by Georgie Woods?

367
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Speaker 2: Is it you know, is it an all day thing?

368
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Speaker 4: Like?

369
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Speaker 1: Do you go there twelve in the afternoon, you stay

370
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Speaker 1: till all the shows are over.

371
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Speaker 5: I used to do that occasionally. Yeah, I mean it

372
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Speaker 5: was it was whoever was popular at the time. You know,

373
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Speaker 5: it would be anybody for like Billy Stewart, Demand Lads

374
00:18:12,040 --> 00:18:15,960
Speaker 5: to Well Gladys Slade and the Pips and the Temps

375
00:18:16,000 --> 00:18:20,360
Speaker 5: obviously and everything in between. I mean, it just depended

376
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Speaker 5: who was, you know, who was touring at the time.

377
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Speaker 2: You know, my generation.

378
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Speaker 1: If you go see Okay Run DMC, you're expecting an

379
00:18:30,160 --> 00:18:33,760
Speaker 1: hour or so of just that act. But I mean,

380
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Speaker 1: was there ever an act that I mean, I know

381
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Speaker 1: that James Brown was his own self contained unit, but

382
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Speaker 1: even he had a variety show.

383
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Speaker 2: But was it just expected for like.

384
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Speaker 1: An act to come out and do fifteen to twenty

385
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Speaker 1: minutes and then that's it and you're out.

386
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Speaker 4: Yeah, that was usually the way it was. People didn't

387
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Speaker 4: do long shows. It was it was usually some kind

388
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Speaker 4: of review, you know, in a mixture of people. For sure.

389
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Speaker 3: Okay, I never knew this what review meant, thank y'all.

390
00:19:02,600 --> 00:19:04,040
Speaker 3: I kind of knew that it meant. It was a

391
00:19:04,080 --> 00:19:06,520
Speaker 3: time limit. When you say review referring to a.

392
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Speaker 1: Show, Yeah, like you know, just from the days of

393
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Speaker 1: like well, I meant most people sight yeah, or even

394
00:19:14,000 --> 00:19:18,480
Speaker 1: like modern the modern era of like where Mom Rainey's yeah,

395
00:19:18,560 --> 00:19:22,239
Speaker 1: Mom Rainey's traveling circus and then that sort of you know,

396
00:19:22,480 --> 00:19:26,640
Speaker 1: morphed into vaudeville, which then morphed into the review, which

397
00:19:26,720 --> 00:19:29,200
Speaker 1: I mean at the time only Motown and James Brown

398
00:19:29,320 --> 00:19:33,440
Speaker 1: really had a strong enough presence to carry you know,

399
00:19:33,760 --> 00:19:34,560
Speaker 1: other people with them.

400
00:19:34,600 --> 00:19:37,119
Speaker 2: Multiple Yeah. Back in the day, it was it was

401
00:19:37,240 --> 00:19:38,080
Speaker 2: the radio guy.

402
00:19:38,359 --> 00:19:41,240
Speaker 1: It was the Georgie Wood, you know, the funk reflex

403
00:19:41,320 --> 00:19:44,760
Speaker 1: of that period that would throw these shows and whatnot.

404
00:19:45,240 --> 00:19:48,800
Speaker 1: So were you ever in a house band situation, like

405
00:19:49,000 --> 00:19:52,439
Speaker 1: usually if we talked to New York guys and they say, like,

406
00:19:52,560 --> 00:19:54,640
Speaker 1: you know, I played I was a back and band

407
00:19:54,680 --> 00:19:56,880
Speaker 1: in the Apollo, Like, were you ever in a house

408
00:19:56,920 --> 00:19:59,560
Speaker 1: band situation having to back these acts up when they.

409
00:20:01,320 --> 00:20:04,359
Speaker 5: I didn't do it at the Uptown I did it

410
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Speaker 5: at a couple other places in the Philadelphia area. I

411
00:20:06,680 --> 00:20:09,320
Speaker 5: would do like I I would play with the Stylistics

412
00:20:09,400 --> 00:20:11,800
Speaker 5: or somebody like that, But I didn't do I didn't

413
00:20:11,840 --> 00:20:15,720
Speaker 5: do a lot of background play. No, I was no, no, okay.

414
00:20:15,800 --> 00:20:19,159
Speaker 1: So if you're playing with the stylistics, you know, today,

415
00:20:19,440 --> 00:20:23,040
Speaker 1: it's it's easier for acts to because of the Internet.

416
00:20:23,359 --> 00:20:26,600
Speaker 1: I can easily google something, I can easily easily reference something.

417
00:20:27,119 --> 00:20:31,040
Speaker 1: But in your day, how easy is it to pick

418
00:20:31,119 --> 00:20:35,160
Speaker 1: up someone's music? Or is this just a thing where

419
00:20:35,240 --> 00:20:36,840
Speaker 1: like you hear in the radio a few times and

420
00:20:36,920 --> 00:20:39,720
Speaker 1: you instantly know what the chords are? Like, do you

421
00:20:39,720 --> 00:20:42,240
Speaker 1: get enough prep time to I'm just trying to figure

422
00:20:42,280 --> 00:20:44,320
Speaker 1: out the mind state of a person that is.

423
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Speaker 4: I mean we used to do I did.

424
00:20:46,680 --> 00:20:48,919
Speaker 5: I worked at Sigma a lot, and you know, I

425
00:20:48,960 --> 00:20:53,240
Speaker 5: did a lot of recording with people and just record charts.

426
00:20:53,640 --> 00:20:55,480
Speaker 5: I mean that was how you did it, all.

427
00:20:55,480 --> 00:20:57,920
Speaker 1: Right, So you're a court chart reading Can you name

428
00:20:58,000 --> 00:21:01,320
Speaker 1: some of the singles that you played on and those

429
00:21:01,400 --> 00:21:02,119
Speaker 1: like early.

430
00:21:03,440 --> 00:21:05,120
Speaker 5: I can't even remember. I used to work a lot

431
00:21:05,160 --> 00:21:07,440
Speaker 5: with Norman Harris. He was one of the guys, the

432
00:21:07,720 --> 00:21:12,840
Speaker 5: guitar player and m mfs B you know whatever, and

433
00:21:12,960 --> 00:21:17,679
Speaker 5: uh uh uh, man, I can't you know. I I

434
00:21:18,440 --> 00:21:21,240
Speaker 5: so long ago, man, I I did, Like I remember

435
00:21:21,280 --> 00:21:24,000
Speaker 5: getting to remember doing a Clyde MCFA record, you know

436
00:21:24,000 --> 00:21:26,919
Speaker 5: what I mean, Like that's stick in my mind. We

437
00:21:26,960 --> 00:21:28,720
Speaker 5: did a lot of stuff where we would do demos

438
00:21:28,760 --> 00:21:31,199
Speaker 5: and and it wouldn't even get anywhere. It was this

439
00:21:31,240 --> 00:21:33,440
Speaker 5: guy George Tinley. I used to work with him. Uh,

440
00:21:33,960 --> 00:21:36,200
Speaker 5: I think I played. I think I played on the

441
00:21:36,240 --> 00:21:38,600
Speaker 5: Delphonics record.

442
00:21:39,600 --> 00:21:40,080
Speaker 1: Was it was?

443
00:21:40,080 --> 00:21:40,399
Speaker 2: It?

444
00:21:40,480 --> 00:21:43,240
Speaker 1: Was it a good living? As I mean for you

445
00:21:43,359 --> 00:21:45,760
Speaker 1: like in that time period? Was it was it for you?

446
00:21:45,800 --> 00:21:46,720
Speaker 2: Like? Is it a good living?

447
00:21:46,800 --> 00:21:49,960
Speaker 1: Like Okay, I'm I'm assessing musician or did you instantly

448
00:21:50,040 --> 00:21:52,960
Speaker 1: know Nah, it's it's in front of the microphone, like

449
00:21:53,040 --> 00:21:55,520
Speaker 1: that's where the real that's where I want to be.

450
00:21:56,240 --> 00:21:58,399
Speaker 5: Yeah, it was it was I I wanted to be

451
00:21:58,440 --> 00:22:00,719
Speaker 5: in front of the microphone. I liked doing it, and

452
00:22:00,760 --> 00:22:02,880
Speaker 5: it was it was an experience and I learned it

453
00:22:03,119 --> 00:22:04,880
Speaker 5: and I would be like, you know, I was never

454
00:22:05,480 --> 00:22:08,239
Speaker 5: I was like third string or whatever, you know, but

455
00:22:08,320 --> 00:22:12,080
Speaker 5: I was, you know, I'm still in school and uh

456
00:22:11,800 --> 00:22:15,400
Speaker 5: uh I you know. I did a lot of writing too,

457
00:22:15,520 --> 00:22:18,680
Speaker 5: you know. It was it was sort of a combination

458
00:22:18,760 --> 00:22:21,200
Speaker 5: of studio work and writing at the same time I worked.

459
00:22:21,359 --> 00:22:24,920
Speaker 5: I worked with this guy John Madera. We talk about

460
00:22:25,000 --> 00:22:27,639
Speaker 5: Danny and the Juniors. He wrote he wrote out the

461
00:22:27,680 --> 00:22:30,040
Speaker 5: hop you know, and he really yeah, he was in

462
00:22:30,119 --> 00:22:31,760
Speaker 5: the Schubert building and.

463
00:22:31,480 --> 00:22:35,760
Speaker 4: And and gamble and Huff were like a couple floors down.

464
00:22:36,040 --> 00:22:38,400
Speaker 4: Tommy Bell was in there, so we all knew each

465
00:22:38,440 --> 00:22:40,520
Speaker 4: other and hung out together.

466
00:22:40,880 --> 00:22:43,600
Speaker 5: And uh so it was a combination of being to

467
00:22:43,880 --> 00:22:46,120
Speaker 5: being in the studio and writing at the same time.

468
00:22:46,280 --> 00:22:51,359
Speaker 1: Yeah, well at the time period where Gamble and Huff

469
00:22:51,440 --> 00:22:54,800
Speaker 1: sort of or at least they dropped the anchor as

470
00:22:54,880 --> 00:22:59,760
Speaker 1: the the alphas in this in this Sound of Philadelphia thing,

471
00:23:00,000 --> 00:23:04,000
Speaker 1: which always confused me because you know, I'm assuming that

472
00:23:05,320 --> 00:23:09,120
Speaker 1: you know, not having the aid of liner notes when

473
00:23:09,160 --> 00:23:16,080
Speaker 1: I'm listening to either their work or you know, or

474
00:23:16,119 --> 00:23:19,840
Speaker 1: the work of Dexter Wanzel or any of the other

475
00:23:19,960 --> 00:23:24,000
Speaker 1: second string Philly international people. I'm assuming that you know

476
00:23:24,080 --> 00:23:27,800
Speaker 1: this is all under the guise of Gamble and Huff,

477
00:23:27,880 --> 00:23:31,399
Speaker 1: only later to find out that they were just all

478
00:23:31,560 --> 00:23:34,119
Speaker 1: using the same session musicians and had nothing to do

479
00:23:34,160 --> 00:23:38,439
Speaker 1: with each other. But sonically it all sounded like the

480
00:23:38,480 --> 00:23:41,160
Speaker 1: Sound of Philadelphia and Gamble and Huff. Did you ever

481
00:23:41,480 --> 00:23:44,440
Speaker 1: at one point like try to approach them and say like, hey,

482
00:23:44,480 --> 00:23:47,680
Speaker 1: I produce an I singer song, right like.

483
00:23:47,640 --> 00:23:48,600
Speaker 2: Can I join the fray?

484
00:23:48,880 --> 00:23:52,639
Speaker 1: Or was it instantly like I want to establish my

485
00:23:52,720 --> 00:23:55,720
Speaker 1: own thing and not be under Yeah.

486
00:23:55,400 --> 00:23:58,720
Speaker 5: That's what happened actually is Kenny actually said to me,

487
00:23:58,880 --> 00:24:03,399
Speaker 5: would you like to him to Philly International and write

488
00:24:03,480 --> 00:24:06,439
Speaker 5: and do whatever you know, the record and and that

489
00:24:06,600 --> 00:24:08,760
Speaker 5: was just when I was get ready to leaf for

490
00:24:09,520 --> 00:24:11,480
Speaker 5: to go to to move to New York with John.

491
00:24:12,119 --> 00:24:15,399
Speaker 5: And I said, well, you know, I was tempted, I

492
00:24:15,440 --> 00:24:17,960
Speaker 5: got to say, but I figured that what we wanted

493
00:24:17,960 --> 00:24:21,560
Speaker 5: to do what became the Hall and Oaks sound or

494
00:24:21,600 --> 00:24:22,280
Speaker 5: whatever it was.

495
00:24:22,359 --> 00:24:22,680
Speaker 4: It was.

496
00:24:22,880 --> 00:24:25,040
Speaker 5: It was a Philly sound, but it wasn't the gamble

497
00:24:25,040 --> 00:24:27,000
Speaker 5: and hoofs sound, you know. And I wanted to do

498
00:24:27,080 --> 00:24:29,560
Speaker 5: my own thing, just what you said. I wanted to

499
00:24:29,560 --> 00:24:33,640
Speaker 5: to create my own version of Philly music. And so

500
00:24:34,200 --> 00:24:35,840
Speaker 5: I turned that idea down.

501
00:24:35,920 --> 00:24:45,840
Speaker 1: You know, John had casually mentioned how you two had met,

502
00:24:46,119 --> 00:24:50,520
Speaker 1: but I got to hear the details. He he mentioned

503
00:24:50,520 --> 00:24:53,600
Speaker 1: that I guess a fight had broken out at a

504
00:24:53,640 --> 00:24:55,160
Speaker 1: show and that's how you met.

505
00:24:55,200 --> 00:24:57,480
Speaker 2: But could you tell us how you met.

506
00:24:59,119 --> 00:25:02,080
Speaker 5: We've told that story so many times, I mean singlely

507
00:25:02,160 --> 00:25:02,959
Speaker 5: and together.

508
00:25:03,400 --> 00:25:05,680
Speaker 2: Uh, I mean listeners have not heard that.

509
00:25:05,760 --> 00:25:07,680
Speaker 5: I guarantee you there was a record hop out in

510
00:25:07,960 --> 00:25:10,240
Speaker 5: the Adelphi Ballroom in West Philly.

511
00:25:10,440 --> 00:25:13,720
Speaker 4: And the Second Street, Yeah, and that's where it was.

512
00:25:13,880 --> 00:25:17,360
Speaker 4: And and uh, I forget who was on the bill.

513
00:25:17,400 --> 00:25:20,040
Speaker 5: I remember our tate was on the bill and and

514
00:25:20,160 --> 00:25:23,920
Speaker 5: uh five stair steps and and and then they had

515
00:25:23,960 --> 00:25:26,040
Speaker 5: you know the bottom of the bill was the Temptones

516
00:25:26,080 --> 00:25:30,120
Speaker 5: and John's band and uh and uh.

517
00:25:29,720 --> 00:25:31,480
Speaker 4: We you know, we were waiting to go on.

518
00:25:31,720 --> 00:25:35,480
Speaker 5: We were and and you know those days, ship happened

519
00:25:35,800 --> 00:25:38,280
Speaker 5: and in some kind of fight broke out and they

520
00:25:38,400 --> 00:25:41,000
Speaker 5: and they closed the whole thing down and it was up.

521
00:25:41,280 --> 00:25:43,080
Speaker 5: It was on a second floor, so we had to

522
00:25:43,080 --> 00:25:45,200
Speaker 5: get in an elevator to go downstairs to go to

523
00:25:45,440 --> 00:25:47,720
Speaker 5: go to the street. And that's how I met John.

524
00:25:47,800 --> 00:25:49,480
Speaker 5: He was in the elevator with me, you know, and

525
00:25:49,520 --> 00:25:52,120
Speaker 5: I said, hey, when you go to Temple University blah

526
00:25:52,160 --> 00:25:57,119
Speaker 5: blah blah, and uh uh we we started kind of

527
00:25:58,240 --> 00:25:59,840
Speaker 5: being friends, you know, hanging out.

528
00:26:00,680 --> 00:26:01,000
Speaker 1: What was it?

529
00:26:01,080 --> 00:26:05,960
Speaker 2: Where was your major at Temple Music? Okay? Did they

530
00:26:06,000 --> 00:26:08,639
Speaker 2: have an RTF program backman? Or was that?

531
00:26:08,720 --> 00:26:08,800
Speaker 4: Like?

532
00:26:09,640 --> 00:26:12,520
Speaker 5: Yeah, John was RTF. I believe he was a journal

533
00:26:12,680 --> 00:26:14,480
Speaker 5: He was a journalism of RTF.

534
00:26:14,240 --> 00:26:16,320
Speaker 4: Kind of major. But I was a music major.

535
00:26:16,560 --> 00:26:16,959
Speaker 2: First of all.

536
00:26:17,000 --> 00:26:19,360
Speaker 1: How many members were the Temptones? I know, you guys were.

537
00:26:20,600 --> 00:26:22,800
Speaker 1: It was an imitations and influence, but.

538
00:26:23,680 --> 00:26:25,800
Speaker 5: It was a revolving We call it Temptones because of

539
00:26:25,840 --> 00:26:28,040
Speaker 5: Temple University now because of Temptations.

540
00:26:28,680 --> 00:26:31,760
Speaker 2: Oh wow, Okay, see okay, I thought it was.

541
00:26:32,640 --> 00:26:37,040
Speaker 5: But yeah, it was revolving, but it was basically at

542
00:26:37,040 --> 00:26:38,840
Speaker 5: the same time singing it would be four people.

543
00:26:39,520 --> 00:26:42,479
Speaker 2: Yeah, I get it.

544
00:26:42,560 --> 00:26:46,600
Speaker 1: So what was the deciding factor that that told you like, okay,

545
00:26:46,600 --> 00:26:50,680
Speaker 1: well let me try this out, you know, leaving it

546
00:26:50,760 --> 00:26:53,760
Speaker 1: like it's the Temptones only thing. It's like casual school stuff,

547
00:26:53,800 --> 00:26:56,680
Speaker 1: casual Philadelphia stuff. And they weren't serious about it or

548
00:26:56,960 --> 00:26:58,440
Speaker 1: were you more serious than they were?

549
00:26:59,240 --> 00:27:03,359
Speaker 5: Well, yeah, probably, I probably was. But it all just

550
00:27:03,359 --> 00:27:06,280
Speaker 5: came out of street corner music. I mean that's how

551
00:27:06,320 --> 00:27:09,840
Speaker 5: it all started, you know, digging together and then we

552
00:27:10,080 --> 00:27:13,399
Speaker 5: decided to call it something, and it was various people

553
00:27:13,400 --> 00:27:17,879
Speaker 5: coming in and out, and and then we eventually we

554
00:27:17,920 --> 00:27:20,760
Speaker 5: got we got a little rhythm section to back us

555
00:27:20,800 --> 00:27:23,600
Speaker 5: up and event and John wound up being one of

556
00:27:23,600 --> 00:27:26,520
Speaker 5: those people at the very very end, and that's how

557
00:27:27,040 --> 00:27:30,480
Speaker 5: sort of continued, you know, the whole it kind of

558
00:27:30,600 --> 00:27:34,960
Speaker 5: morphed into just being John working together and writing songs.

559
00:27:35,280 --> 00:27:38,160
Speaker 1: I was like as a singer at least back then

560
00:27:39,400 --> 00:27:43,280
Speaker 1: like who who was your north star? Who? As far

561
00:27:43,359 --> 00:27:47,640
Speaker 1: as like who you idolized as a singer? And then

562
00:27:47,720 --> 00:27:49,520
Speaker 1: I guess who were you not emulating?

563
00:27:49,560 --> 00:27:50,760
Speaker 2: But who do you felt like.

564
00:27:50,760 --> 00:27:52,840
Speaker 1: Influenced your your your vocal style?

565
00:27:53,119 --> 00:27:58,160
Speaker 5: I mean I was trying and you know Smokey loves

566
00:27:58,359 --> 00:28:00,320
Speaker 5: and then I and I loved all the same are

567
00:28:00,320 --> 00:28:03,520
Speaker 5: the Temptatians. I was really into all that stuff. But

568
00:28:03,600 --> 00:28:06,320
Speaker 5: a lot of street corner people. You know, uh, your

569
00:28:06,320 --> 00:28:10,840
Speaker 5: father man, I loved him later, you know Felipe Winn

570
00:28:11,440 --> 00:28:11,760
Speaker 5: you know.

571
00:28:12,119 --> 00:28:14,520
Speaker 7: Uh yeah, Spinners and.

572
00:28:16,320 --> 00:28:19,080
Speaker 5: These are the people that I idolized and I I

573
00:28:19,119 --> 00:28:21,880
Speaker 5: will Yeah, I guess when I was a kid emulate,

574
00:28:22,000 --> 00:28:22,720
Speaker 5: Yes for sure.

575
00:28:23,240 --> 00:28:25,920
Speaker 8: Well, I mean just in terms of influence, That's all

576
00:28:26,680 --> 00:28:31,320
Speaker 8: I was going to say. Costello mentioned mister Wynd also

577
00:28:31,359 --> 00:28:35,960
Speaker 8: from the Spinners as his his all time you know,

578
00:28:36,119 --> 00:28:37,240
Speaker 8: vocal idol.

579
00:28:38,720 --> 00:28:39,480
Speaker 2: Now he's a monster.

580
00:28:39,880 --> 00:28:42,160
Speaker 3: Darryl. Can I just ask what your parents have are

581
00:28:42,200 --> 00:28:44,240
Speaker 3: thinking on your journey, Like did they expect you to

582
00:28:44,360 --> 00:28:46,360
Speaker 3: just be an art I mean it's a blessing that

583
00:28:46,400 --> 00:28:48,280
Speaker 3: you had two parents there were artists, But were they

584
00:28:48,280 --> 00:28:49,480
Speaker 3: thinking that's where you were going to go? And were

585
00:28:49,480 --> 00:28:50,320
Speaker 3: they happy about it?

586
00:28:51,040 --> 00:28:56,040
Speaker 5: They always supported me, always supported me. There was never

587
00:28:56,080 --> 00:28:59,240
Speaker 5: any question about it. To tell you the truth. They

588
00:28:59,280 --> 00:29:01,680
Speaker 5: wanted to make sure I was going to like do

589
00:29:01,880 --> 00:29:04,800
Speaker 5: something that I would make some money yet right hopefully,

590
00:29:05,320 --> 00:29:08,600
Speaker 5: But it was you know, they always supported me, always, always.

591
00:29:09,080 --> 00:29:09,960
Speaker 7: That's so dope, man.

592
00:29:10,360 --> 00:29:14,360
Speaker 8: With John was the chemistry with you guys, honest, mostly

593
00:29:14,360 --> 00:29:17,600
Speaker 8: on the songwriting tip or was it a musical thing

594
00:29:17,880 --> 00:29:19,960
Speaker 8: or vocal vocal harmony kind of thing.

595
00:29:20,480 --> 00:29:23,760
Speaker 5: It was sort of songwriting more than anything. I was

596
00:29:23,840 --> 00:29:26,840
Speaker 5: interested in what he was doing because he was he

597
00:29:27,040 --> 00:29:29,800
Speaker 5: was way out of my realm of experience.

598
00:29:29,880 --> 00:29:30,040
Speaker 4: You know.

599
00:29:30,080 --> 00:29:32,800
Speaker 5: He liked bluegrass music and all the stuff that I

600
00:29:32,880 --> 00:29:36,000
Speaker 5: had never heard of, you know, or heard I heard of,

601
00:29:36,160 --> 00:29:40,240
Speaker 5: but I never heard and I was sort of you know,

602
00:29:40,320 --> 00:29:42,360
Speaker 5: I was in my student mode, so I was learning

603
00:29:42,360 --> 00:29:45,280
Speaker 5: about all these things, and so I was really interested

604
00:29:45,320 --> 00:29:47,440
Speaker 5: with what he brought to the table that way. So

605
00:29:47,760 --> 00:29:50,120
Speaker 5: it was more of a friendship than anything else, tell

606
00:29:50,160 --> 00:29:50,680
Speaker 5: you the truth.

607
00:29:50,800 --> 00:29:51,840
Speaker 4: I mean, we.

608
00:29:51,840 --> 00:29:54,720
Speaker 5: Decided we were going to share a stage but be

609
00:29:54,880 --> 00:29:57,440
Speaker 5: very separate, which we've never changed. You know, he has

610
00:29:57,480 --> 00:29:59,800
Speaker 5: his own musical style. I got my own one week

611
00:30:00,120 --> 00:30:03,040
Speaker 5: somehow put it together when we when we work together.

612
00:30:03,160 --> 00:30:07,720
Speaker 5: But yeah, it was more. It really evolved from a

613
00:30:07,760 --> 00:30:10,240
Speaker 5: friendship to something a little more than that.

614
00:30:11,000 --> 00:30:15,400
Speaker 1: The original al Cast, original mob.

615
00:30:16,320 --> 00:30:19,320
Speaker 8: Yeah, you both write music and you both wrote lyrics,

616
00:30:19,400 --> 00:30:21,400
Speaker 8: and it was how did that work?

617
00:30:21,840 --> 00:30:25,280
Speaker 5: Occasionally we would work together, That's how it worked, Like

618
00:30:25,360 --> 00:30:30,160
Speaker 5: said the song She's Gone, that's h I would call

619
00:30:30,200 --> 00:30:32,360
Speaker 5: it exception to the rule, if you want the truth.

620
00:30:33,920 --> 00:30:36,680
Speaker 5: John John writes his own kind of songs, and and

621
00:30:37,080 --> 00:30:42,480
Speaker 5: I write mine, and occasionally we would collaborate on lyrics,

622
00:30:43,160 --> 00:30:45,800
Speaker 5: and I would throw things at him. And I also

623
00:30:45,880 --> 00:30:49,040
Speaker 5: collaborate with other people like this. The Allen sisters Sarah

624
00:30:49,120 --> 00:30:52,680
Speaker 5: Allen and her sister Jennau wrote a lot of songs

625
00:30:52,680 --> 00:30:55,960
Speaker 5: with with me and and I would jump into that too.

626
00:30:55,960 --> 00:31:01,240
Speaker 1: Sometimes, are you protective of your work to the point

627
00:31:01,320 --> 00:31:07,520
Speaker 1: where you're not easily persuaded or persuadable when it comes

628
00:31:07,560 --> 00:31:10,840
Speaker 1: to like, Okay, if you submit a song, is it

629
00:31:11,680 --> 00:31:11,960
Speaker 1: you know?

630
00:31:12,200 --> 00:31:15,239
Speaker 2: This is this? Is it? Or is it? Hey? Why

631
00:31:15,240 --> 00:31:16,360
Speaker 2: don't you try this idea?

632
00:31:16,440 --> 00:31:16,560
Speaker 4: No?

633
00:31:16,440 --> 00:31:17,440
Speaker 1: No no, no, no.

634
00:31:17,040 --> 00:31:18,080
Speaker 2: No fix that around.

635
00:31:18,240 --> 00:31:21,280
Speaker 1: I mean I could see the producer doing that. I

636
00:31:21,320 --> 00:31:24,800
Speaker 1: mean in terms of like if Todd's producing or whatever.

637
00:31:24,880 --> 00:31:27,600
Speaker 1: But like with you and Daryl, like are you too,

638
00:31:27,880 --> 00:31:33,680
Speaker 1: allowed to offer unsolicited suggestions of a.

639
00:31:33,800 --> 00:31:38,880
Speaker 5: You know, absolutely the reason I love collaboration. I like

640
00:31:38,960 --> 00:31:45,840
Speaker 5: bouncing off ideas back and forth. John's participation in my

641
00:31:46,000 --> 00:31:47,960
Speaker 5: songs is more like, what do you think of this?

642
00:31:48,240 --> 00:31:50,480
Speaker 5: And then he say, well, once you try that? Or

643
00:31:50,560 --> 00:31:51,200
Speaker 5: is singing that?

644
00:31:51,360 --> 00:31:55,040
Speaker 4: Or do that? And I would generate the song or

645
00:31:55,080 --> 00:31:59,280
Speaker 4: sometimes one of the like Janna Allen would bring a

646
00:31:59,320 --> 00:32:03,000
Speaker 4: song in and I would do that with her. You know,

647
00:32:03,160 --> 00:32:04,920
Speaker 4: works like that. Yeah, very flexible.

648
00:32:05,120 --> 00:32:07,360
Speaker 3: Very you mentioned she's gone, but I don't think we

649
00:32:07,440 --> 00:32:09,880
Speaker 3: got to hear you when you broke down the workflow

650
00:32:10,280 --> 00:32:11,000
Speaker 3: of that song.

651
00:32:11,520 --> 00:32:14,440
Speaker 5: We sat and wrote that. John came up with a

652
00:32:14,520 --> 00:32:19,560
Speaker 5: chorus and it was sort of a more folky kind

653
00:32:19,560 --> 00:32:21,640
Speaker 5: of style, and I said, okay, why don't we do

654
00:32:21,680 --> 00:32:23,800
Speaker 5: it this way? And I started playing that piano riff

655
00:32:24,040 --> 00:32:27,040
Speaker 5: that is the signature of the song. And then and

656
00:32:27,160 --> 00:32:30,000
Speaker 5: I did all that, and then we sat down and

657
00:32:30,000 --> 00:32:32,000
Speaker 5: we wrote lyrics about it. I mean, that was a

658
00:32:32,040 --> 00:32:38,040
Speaker 5: real whole song. We sort of pulled our experiences. There

659
00:32:38,080 --> 00:32:40,280
Speaker 5: were things that were going on with both of us

660
00:32:40,480 --> 00:32:42,720
Speaker 5: separately at the time, and we kind of mixed it

661
00:32:42,800 --> 00:32:46,680
Speaker 5: together and turned it into the what the lyrics are

662
00:32:46,800 --> 00:32:50,680
Speaker 5: that song and then we took it to Atlantic when

663
00:32:50,760 --> 00:32:53,000
Speaker 5: we played it for a reef, He's the one that

664
00:32:53,080 --> 00:32:55,640
Speaker 5: put those that crazy modulation idea into it.

665
00:32:56,200 --> 00:33:02,000
Speaker 1: How does a group pursue a record deal in the seventies?

666
00:33:03,360 --> 00:33:05,320
Speaker 1: You know, now we're in a time where you can

667
00:33:05,360 --> 00:33:09,000
Speaker 1: go viral on YouTube. Someone sees it and chances are

668
00:33:09,040 --> 00:33:11,479
Speaker 1: they'll stalk you and see what your situation is and

669
00:33:12,080 --> 00:33:14,840
Speaker 1: signed to me. But how do you how do you

670
00:33:14,840 --> 00:33:18,880
Speaker 1: gain the attention of the industry? Like when you when

671
00:33:18,920 --> 00:33:21,360
Speaker 1: you and John are like, all right, we're going to

672
00:33:21,440 --> 00:33:23,920
Speaker 1: do this. What's the what's the step in the process

673
00:33:23,920 --> 00:33:25,000
Speaker 1: of getting a record deal?

674
00:33:25,840 --> 00:33:30,360
Speaker 5: We you know, we knocked on doors in New York

675
00:33:30,400 --> 00:33:35,160
Speaker 5: City and everybody liked us, and then we get the word,

676
00:33:35,280 --> 00:33:37,680
Speaker 5: well they liked you, but you know they turned us down,

677
00:33:38,360 --> 00:33:41,080
Speaker 5: so we we want long story show. We actually went

678
00:33:41,120 --> 00:33:45,760
Speaker 5: to la and uh we we went out there and

679
00:33:45,800 --> 00:33:48,920
Speaker 5: we were knocking around. We were introduced to some people

680
00:33:49,240 --> 00:33:51,480
Speaker 5: and I was introduced John and I were introduced to

681
00:33:51,560 --> 00:33:57,040
Speaker 5: this guy named Earl McGrath who had this tiny label

682
00:33:57,760 --> 00:34:01,760
Speaker 5: that was an indie label subsidiary of Atlantic. It was

683
00:34:01,800 --> 00:34:06,200
Speaker 5: called Clean Clean Records, and Earle wanted to sign us.

684
00:34:06,280 --> 00:34:09,560
Speaker 5: He liked what he heard and he said, okay, I'll

685
00:34:09,600 --> 00:34:13,640
Speaker 5: sign you and then he he took it back to

686
00:34:13,719 --> 00:34:20,040
Speaker 5: New York and we auditioned for Ahmed and and a

687
00:34:20,080 --> 00:34:25,120
Speaker 5: Reef and I remember I had the flu man. They

688
00:34:25,160 --> 00:34:28,120
Speaker 5: gave me this piano where all the notes were sticking

689
00:34:28,160 --> 00:34:31,000
Speaker 5: on it, and it was it was the worst audition

690
00:34:31,080 --> 00:34:35,279
Speaker 5: in the world. And whatever happened, a Reef really liked it,

691
00:34:35,320 --> 00:34:37,959
Speaker 5: Amon really liked it. So they basically stole it from Earl.

692
00:34:38,080 --> 00:34:40,160
Speaker 5: They stole us from Earl, and we wound up going

693
00:34:40,160 --> 00:34:41,480
Speaker 5: to Atlantic and that's how we did it.

694
00:34:42,120 --> 00:34:47,040
Speaker 1: My dad mentioned what what we commonly say as a showcase.

695
00:34:47,440 --> 00:34:50,040
Speaker 1: I don't know showcases are as common now as they

696
00:34:50,120 --> 00:34:50,880
Speaker 1: were back then.

697
00:34:51,360 --> 00:34:53,520
Speaker 2: But when you're saying we audition, is it a.

698
00:34:53,520 --> 00:34:56,840
Speaker 1: Thing where you book a gig at the bottom line

699
00:34:56,920 --> 00:34:59,759
Speaker 1: or a club and they come see you. Or are

700
00:34:59,800 --> 00:35:03,520
Speaker 1: you in a confined s I R. Situation or I know,

701
00:35:03,600 --> 00:35:07,279
Speaker 1: like Atlantic has their own facility and room like that,

702
00:35:07,360 --> 00:35:09,400
Speaker 1: Like do you set up there and then you just

703
00:35:09,480 --> 00:35:13,799
Speaker 1: performed for ten suits in a room? Is it is

704
00:35:13,800 --> 00:35:17,680
Speaker 1: that process more jarring and weird like to.

705
00:35:18,719 --> 00:35:20,080
Speaker 4: Yeah, it was. It was.

706
00:35:20,320 --> 00:35:24,440
Speaker 5: It was really like I said, I all the all

707
00:35:24,480 --> 00:35:25,800
Speaker 5: the conditions were the worst.

708
00:35:25,960 --> 00:35:27,600
Speaker 4: We were in this little room with this.

709
00:35:27,719 --> 00:35:32,839
Speaker 5: Shitty panel, I mean, with with the keysticks stuck and uh,

710
00:35:33,360 --> 00:35:37,359
Speaker 5: and we had and across from me on the other

711
00:35:37,400 --> 00:35:40,720
Speaker 5: side of the room was Ahmed a Reef and uh,

712
00:35:40,840 --> 00:35:42,799
Speaker 5: I don't think it might have been Jerry Wexler, I

713
00:35:42,800 --> 00:35:46,120
Speaker 5: can't remember, but they were watching us and it was

714
00:35:46,160 --> 00:35:49,319
Speaker 5: just being John and I'm playing playing like I can't

715
00:35:49,320 --> 00:35:53,040
Speaker 5: even remember what I played. And I thought it went terribly,

716
00:35:53,120 --> 00:35:56,239
Speaker 5: but I guess they saw something, you know, they they

717
00:35:56,280 --> 00:35:58,680
Speaker 5: saw through it all and that's how it was. It

718
00:35:58,719 --> 00:35:59,840
Speaker 5: was really personal.

719
00:36:00,000 --> 00:36:06,080
Speaker 1: Addition, he talk about like, uh, you know, mister Martin

720
00:36:06,440 --> 00:36:09,640
Speaker 1: is one of my idols because one of my favorite

721
00:36:09,640 --> 00:36:12,839
Speaker 1: groups ever was the Average White Band. So having read

722
00:36:12,840 --> 00:36:16,520
Speaker 1: his name on you know, on Average White Band and

723
00:36:16,840 --> 00:36:20,440
Speaker 1: Wreatha Franklin and Donnie Hathaway, can you talk about working

724
00:36:20,480 --> 00:36:24,480
Speaker 1: with Reef Martin as far as his production style and

725
00:36:24,560 --> 00:36:25,480
Speaker 1: what was it like for you?

726
00:36:25,920 --> 00:36:28,399
Speaker 5: He was he was the greatest producer man. I mean,

727
00:36:29,920 --> 00:36:32,480
Speaker 5: in my opinion, a Reef and Quincy are the two

728
00:36:32,480 --> 00:36:37,560
Speaker 5: great producers of all the of the era. And he

729
00:36:37,719 --> 00:36:42,279
Speaker 5: allowed a Reef allowed the artist to do. He was

730
00:36:42,320 --> 00:36:46,719
Speaker 5: so flexible. I can't even describe it. It was he

731
00:36:46,880 --> 00:36:50,160
Speaker 5: allowed you to shine. He had this uncanny ability to

732
00:36:50,200 --> 00:36:52,200
Speaker 5: figure out what it is that you were good at doing,

733
00:36:52,320 --> 00:36:57,000
Speaker 5: and where where where the spark was, and developing that spark.

734
00:36:57,120 --> 00:36:59,440
Speaker 5: And he could add all kinds of He had no

735
00:36:59,520 --> 00:37:04,399
Speaker 5: boundary at all. He would mix genres, He he would

736
00:37:05,800 --> 00:37:10,200
Speaker 5: mixed eras and everything all at once together whatever you

737
00:37:10,239 --> 00:37:15,239
Speaker 5: whatever the the song needed or he thought it would

738
00:37:15,360 --> 00:37:17,920
Speaker 5: it would need, he would just add it. And he

739
00:37:18,120 --> 00:37:23,080
Speaker 5: had an incredible, like an encyclopedic knowledge of of every

740
00:37:23,160 --> 00:37:25,320
Speaker 5: kind of music. And it was it was a really

741
00:37:25,360 --> 00:37:28,360
Speaker 5: amazing And he was such a a gentle guy, but

742
00:37:28,480 --> 00:37:31,960
Speaker 5: yet he knew he knew how to drive the bus.

743
00:37:32,400 --> 00:37:36,640
Speaker 5: And he he was an amazing producer as he That's

744
00:37:36,680 --> 00:37:37,880
Speaker 5: all I can say about it.

745
00:37:38,000 --> 00:37:42,520
Speaker 1: Was he uh hands on in terms of soup the nuts,

746
00:37:43,719 --> 00:37:48,160
Speaker 1: as far as far as picking the songs, picking the mix,

747
00:37:48,280 --> 00:37:52,680
Speaker 1: the mixer, staying there for the mix, Yeah, sequencing your album,

748
00:37:53,360 --> 00:37:56,920
Speaker 1: suggesting singles. Like when he takes on a project, is

749
00:37:56,960 --> 00:38:02,040
Speaker 1: he literally watching every iota of it or is it like, okay, guys,

750
00:38:02,200 --> 00:38:05,160
Speaker 1: I won't be here next week, but that like Jerry's

751
00:38:05,160 --> 00:38:05,920
Speaker 1: going to sit in for me.

752
00:38:05,960 --> 00:38:07,680
Speaker 2: I got to work with the RIFA for this thing.

753
00:38:07,760 --> 00:38:10,440
Speaker 1: And or is it like once he's on your project,

754
00:38:10,480 --> 00:38:13,680
Speaker 1: it's just you and you alone, or are you scheduled

755
00:38:13,719 --> 00:38:14,720
Speaker 1: in between other stuff?

756
00:38:15,320 --> 00:38:16,319
Speaker 4: No, it was he.

757
00:38:16,239 --> 00:38:18,880
Speaker 5: Would do it one at a time. And you mentioned

758
00:38:18,920 --> 00:38:23,080
Speaker 5: Average White Band, who are good friends of mine. He

759
00:38:23,160 --> 00:38:26,799
Speaker 5: went directly. He went directly from Carly Simon to Hall

760
00:38:26,840 --> 00:38:29,200
Speaker 5: and Oates to Average White Band. That was the three

761
00:38:29,680 --> 00:38:32,680
Speaker 5: three things that a row he did okay that period

762
00:38:32,719 --> 00:38:35,759
Speaker 5: of time, and but he would devote whatever it was

763
00:38:35,880 --> 00:38:37,560
Speaker 5: to each one. He didn't mix and match.

764
00:38:39,160 --> 00:38:41,760
Speaker 1: And because I was wondering if he if he loses

765
00:38:41,800 --> 00:38:44,640
Speaker 1: his ears, like if he's working with you on Thursday

766
00:38:45,160 --> 00:38:47,399
Speaker 1: and then he has to you know, start doing pick

767
00:38:47,480 --> 00:38:50,120
Speaker 1: up the pieces tomorrow, Like is it possible for him

768
00:38:50,120 --> 00:38:51,000
Speaker 1: to lose his ears?

769
00:38:51,120 --> 00:38:56,080
Speaker 5: Or well, I don't think it was, because he's he

770
00:38:56,280 --> 00:38:57,480
Speaker 5: had the ability to do that.

771
00:38:57,560 --> 00:39:00,720
Speaker 4: He would just switch projects. But he didn't.

772
00:39:00,760 --> 00:39:03,960
Speaker 5: He you mentioned before, he didn't have nothing to do

773
00:39:04,040 --> 00:39:05,600
Speaker 5: with picking singles.

774
00:39:05,200 --> 00:39:07,320
Speaker 4: Or he would an r it. He would.

775
00:39:07,640 --> 00:39:09,960
Speaker 5: I'd sit there and play songs for him, and he said,

776
00:39:10,000 --> 00:39:12,960
Speaker 5: well this is a good one. Okay, let's walk and

777
00:39:13,000 --> 00:39:17,240
Speaker 5: he would do that. But uh, and then to develop

778
00:39:17,320 --> 00:39:20,440
Speaker 5: the song from beginning to end. But then once the

779
00:39:20,480 --> 00:39:22,680
Speaker 5: song was done, then that that was that it was over.

780
00:39:22,800 --> 00:39:24,480
Speaker 5: You know, he didn't he had nothing to do with

781
00:39:24,600 --> 00:39:27,040
Speaker 5: like this is a good single that was for other people,

782
00:39:27,200 --> 00:39:29,000
Speaker 5: which is the way it should have been, to tell

783
00:39:29,040 --> 00:39:29,480
Speaker 5: you the truth.

784
00:39:29,880 --> 00:39:33,440
Speaker 1: So a song like She's Gone, which is full of drama. Yeah,

785
00:39:33,640 --> 00:39:37,280
Speaker 1: and of course once you get to the payoff key

786
00:39:37,480 --> 00:39:41,320
Speaker 1: of that modulation build, you gotta sell that She's gone.

787
00:39:42,320 --> 00:39:44,200
Speaker 2: Like how how is he?

788
00:39:44,680 --> 00:39:47,120
Speaker 1: Is he nurturing as a producer in terms like that

789
00:39:47,320 --> 00:39:49,040
Speaker 1: or is it like do it again?

790
00:39:49,280 --> 00:39:50,400
Speaker 2: Do it again? Do it again?

791
00:39:50,520 --> 00:39:50,600
Speaker 1: Like?

792
00:39:51,280 --> 00:39:51,360
Speaker 4: No?

793
00:39:51,560 --> 00:39:56,040
Speaker 5: He that that particular one that was just what can

794
00:39:56,080 --> 00:39:58,440
Speaker 5: I say? That was just inspiration from me. I just

795
00:39:58,520 --> 00:40:01,000
Speaker 5: did that, you know, I just opened my mouth.

796
00:40:00,800 --> 00:40:03,959
Speaker 4: And that's okay. I can't even don't know what anymore about.

797
00:40:04,520 --> 00:40:08,560
Speaker 1: But and he lets you, and he lets you suggest

798
00:40:08,600 --> 00:40:10,040
Speaker 1: things and let it happen.

799
00:40:10,200 --> 00:40:12,200
Speaker 4: He let it happen. He went and to keep one.

800
00:40:12,360 --> 00:40:15,120
Speaker 4: Oh that was rudy good. You know he afterward he

801
00:40:15,239 --> 00:40:17,279
Speaker 4: was saying, yeah, that was the ship. He didn't he

802
00:40:17,320 --> 00:40:19,640
Speaker 4: didn't even say even think about saying, can you do

803
00:40:19,680 --> 00:40:24,880
Speaker 4: that again? He just it was it was there, It was.

804
00:40:24,520 --> 00:40:27,440
Speaker 1: I know the story She's gone is that, you know.

805
00:40:27,840 --> 00:40:31,640
Speaker 1: Not many people know that the Tavares brothers from Boston

806
00:40:32,920 --> 00:40:35,480
Speaker 1: actually took that song to the top ten before you

807
00:40:35,520 --> 00:40:39,000
Speaker 1: guys did, even though your version is and now in

808
00:40:39,040 --> 00:40:42,799
Speaker 1: our minds, the definitive version. But were you kind of

809
00:40:42,840 --> 00:40:46,640
Speaker 1: confused or perplexed that your first hit single was actually

810
00:40:47,280 --> 00:40:48,719
Speaker 1: a cover song of your song?

811
00:40:49,320 --> 00:40:52,279
Speaker 4: Yeah, it was a weird thing. It was.

812
00:40:52,760 --> 00:40:55,399
Speaker 5: I was boy, you know, it's a long time ago.

813
00:40:55,440 --> 00:41:03,160
Speaker 5: But our enthusiasm right over over rode our frustration, if

814
00:41:03,200 --> 00:41:03,799
Speaker 5: you know what I mean.

815
00:41:03,840 --> 00:41:07,919
Speaker 1: But is it like seeing your girlfriend with another guy

816
00:41:08,840 --> 00:41:10,439
Speaker 1: or is it just like, hey, I'm in the top

817
00:41:10,480 --> 00:41:12,719
Speaker 1: ten and I wrote this song, so here comes the month.

818
00:41:13,280 --> 00:41:15,960
Speaker 5: Yeah, I mean, I just I can't say I was

819
00:41:15,960 --> 00:41:18,520
Speaker 5: pissed off because I just felt that was the way

820
00:41:18,520 --> 00:41:21,560
Speaker 5: of the world at the time, and I didn't have

821
00:41:21,560 --> 00:41:24,720
Speaker 5: any expect I didn't have any expectations whatever happened.

822
00:41:24,800 --> 00:41:27,560
Speaker 4: I just I rode the horse with whatever direction was

823
00:41:27,600 --> 00:41:27,960
Speaker 4: going in.

824
00:41:28,520 --> 00:41:31,640
Speaker 5: And if Tavares has a hit with it, okay, well

825
00:41:32,080 --> 00:41:34,560
Speaker 5: I wish it was me, but it was them.

826
00:41:34,760 --> 00:41:36,359
Speaker 4: So that's all I can say. You know.

827
00:41:41,000 --> 00:41:44,560
Speaker 1: What was the decision behind working with Todd on the

828
00:41:44,840 --> 00:41:48,319
Speaker 1: War Babies record and not staying with a wreath to

829
00:41:48,360 --> 00:41:50,040
Speaker 1: see if you guys can go further with it.

830
00:41:50,239 --> 00:41:51,600
Speaker 4: I just I.

831
00:41:51,520 --> 00:41:54,320
Speaker 5: Felt that I wanted to do something completely different. I

832
00:41:54,680 --> 00:41:58,120
Speaker 5: don't know what my mindset was in those days. I

833
00:41:58,200 --> 00:42:01,120
Speaker 5: moved to New York City. I wanted to sort of

834
00:42:01,200 --> 00:42:07,000
Speaker 5: like expand my musical world outside of the my sort

835
00:42:07,040 --> 00:42:12,439
Speaker 5: of my Philadelphia, you know, that the Philly sound thing,

836
00:42:13,000 --> 00:42:15,440
Speaker 5: and I wanted to go completely different. I don't know

837
00:42:15,440 --> 00:42:18,160
Speaker 5: why I did, but I did. And I thought that

838
00:42:18,320 --> 00:42:21,000
Speaker 5: maybe working with Todd would be a good thing because

839
00:42:21,040 --> 00:42:23,360
Speaker 5: he did the same thing. He's a Philly guy that

840
00:42:23,480 --> 00:42:27,040
Speaker 5: left New York and created his own musical world. And

841
00:42:27,080 --> 00:42:29,160
Speaker 5: I thought that it would it would be interesting to

842
00:42:29,520 --> 00:42:32,920
Speaker 5: see what would happen if we if he would get

843
00:42:32,920 --> 00:42:35,319
Speaker 5: together with us, and what would come out of it,

844
00:42:35,400 --> 00:42:37,280
Speaker 5: and that that was really what it was all about.

845
00:42:38,239 --> 00:42:40,960
Speaker 1: And were you an immense fan of his early records

846
00:42:40,960 --> 00:42:43,400
Speaker 1: and or the albums that he was doing at the time.

847
00:42:43,760 --> 00:42:46,120
Speaker 5: Yeah, I liked what he was doing. I really liked

848
00:42:46,120 --> 00:42:47,880
Speaker 5: what he was doing at the time with Utopia. It

849
00:42:47,920 --> 00:42:50,040
Speaker 5: was it was really okay.

850
00:42:50,080 --> 00:42:54,440
Speaker 1: Well, having having discovered his disciography twenty years after the fact,

851
00:42:54,520 --> 00:42:57,600
Speaker 1: you know, I discovered him once. It's already established that

852
00:42:57,640 --> 00:43:00,279
Speaker 1: this guy is like a crazy genius. But at the

853
00:43:00,320 --> 00:43:04,200
Speaker 1: time when it's coming out, you know, was it unusual

854
00:43:04,360 --> 00:43:10,800
Speaker 1: because Todd Todd's whole cannon is really it was forward

855
00:43:10,840 --> 00:43:14,160
Speaker 1: thinking for the time period, because he's like one of

856
00:43:14,200 --> 00:43:17,000
Speaker 1: the examples of what we now call the bedroom musician.

857
00:43:17,160 --> 00:43:20,600
Speaker 1: Of course we're used to it now post prints and

858
00:43:20,640 --> 00:43:23,799
Speaker 1: now anyone practically today is a bedroom musician. But that

859
00:43:23,920 --> 00:43:27,360
Speaker 1: was like really unusual back then. And he will push

860
00:43:27,400 --> 00:43:31,480
Speaker 1: the buttons, create creatively on all of his records. Was

861
00:43:31,480 --> 00:43:35,960
Speaker 1: he ever trying to pass his zany ideas onto you guys, like,

862
00:43:36,880 --> 00:43:39,440
Speaker 1: you know, to really push the edge of art as

863
00:43:39,440 --> 00:43:40,200
Speaker 1: far as it can go?

864
00:43:40,760 --> 00:43:41,319
Speaker 4: Well, I was.

865
00:43:41,560 --> 00:43:43,480
Speaker 5: I was into that headspace, so he didn't have to

866
00:43:43,520 --> 00:43:45,200
Speaker 5: push me.

867
00:43:47,400 --> 00:43:47,640
Speaker 7: I was.

868
00:43:47,800 --> 00:43:50,000
Speaker 4: I was right there with him. I said, how far

869
00:43:50,080 --> 00:43:50,719
Speaker 4: can we go?

870
00:43:51,040 --> 00:43:55,200
Speaker 1: That was the whole idea, And how how receptive was

871
00:43:55,360 --> 00:43:57,040
Speaker 1: at the time.

872
00:43:57,320 --> 00:43:59,000
Speaker 4: Not that perceptive? Receptive?

873
00:44:01,280 --> 00:44:03,480
Speaker 1: Okay, Hence.

874
00:44:05,400 --> 00:44:05,799
Speaker 4: I get it.

875
00:44:06,239 --> 00:44:06,719
Speaker 2: I get it.

876
00:44:07,360 --> 00:44:11,280
Speaker 1: Can you talk about Sarah Smile and just the inspiration

877
00:44:11,400 --> 00:44:12,600
Speaker 1: behind it?

878
00:44:12,719 --> 00:44:14,200
Speaker 2: It's one of your most loved songs.

879
00:44:14,239 --> 00:44:18,320
Speaker 5: You know, Sarah Allan, me and John were sharing an apartment,

880
00:44:18,960 --> 00:44:24,040
Speaker 5: a two bedroom apartment in Yorkville, and I had I had,

881
00:44:24,080 --> 00:44:26,080
Speaker 5: I had a keyboard and I just played the song.

882
00:44:26,200 --> 00:44:28,359
Speaker 5: You know, I was writing the song. It just came

883
00:44:28,400 --> 00:44:32,000
Speaker 5: out of real life. I mean, I can't say more

884
00:44:32,040 --> 00:44:34,680
Speaker 5: than that. I just wrote the song about what was

885
00:44:34,719 --> 00:44:35,440
Speaker 5: going on around me.

886
00:44:36,040 --> 00:44:40,520
Speaker 1: I mean, was he receptive in these flowers that you're

887
00:44:40,880 --> 00:44:44,920
Speaker 1: I'm now mocking on paid Bill? Was he receptive or

888
00:44:44,920 --> 00:44:47,200
Speaker 1: was it like cringey like a man, like now you're

889
00:44:47,200 --> 00:44:49,799
Speaker 1: going to mortalize me for the rest of the Like

890
00:44:49,880 --> 00:44:53,960
Speaker 1: what was there feeling towards this song? And actually, can

891
00:44:54,000 --> 00:44:56,200
Speaker 1: you how did you guys meet?

892
00:44:56,520 --> 00:45:01,640
Speaker 5: We met at Philadelphia. John metter and and and introduced

893
00:45:01,640 --> 00:45:04,759
Speaker 5: me to her and and uh we all we all

894
00:45:04,840 --> 00:45:08,279
Speaker 5: sort of uh she she worked for a charter airline

895
00:45:08,800 --> 00:45:11,400
Speaker 5: and that's where Vegas Turnaround came from.

896
00:45:11,840 --> 00:45:15,319
Speaker 4: And uh uh and we all decided to move to

897
00:45:15,400 --> 00:45:18,799
Speaker 4: New York at the same time. It was could she sing?

898
00:45:19,640 --> 00:45:22,480
Speaker 4: She could sing? She's not she could sing, and she

899
00:45:22,680 --> 00:45:24,480
Speaker 4: she's actually a really good songwriter.

900
00:45:25,320 --> 00:45:29,239
Speaker 3: Wow, in retrospect, since we know, since you didn't know

901
00:45:29,280 --> 00:45:30,840
Speaker 3: it was gonna be such a hit song. Would you

902
00:45:30,920 --> 00:45:34,160
Speaker 3: have changed the name if you would have known you'd

903
00:45:34,160 --> 00:45:35,480
Speaker 3: be singing the song so often?

904
00:45:36,280 --> 00:45:38,000
Speaker 4: Oh, I don't know, you know.

905
00:45:38,920 --> 00:45:40,920
Speaker 5: After saying and I split up, man, she says she

906
00:45:40,920 --> 00:45:42,520
Speaker 5: couldn't go to the supermarket for bet.

907
00:45:43,000 --> 00:45:46,360
Speaker 2: Yeah, that's what I'm saying. How is it, how.

908
00:45:48,040 --> 00:45:50,160
Speaker 1: Like I'll never sing that song again if you guys

909
00:45:50,160 --> 00:45:51,160
Speaker 1: break up and you know.

910
00:45:52,000 --> 00:45:55,960
Speaker 5: Yeah, but you know that song, that song transcends relationships

911
00:45:55,960 --> 00:46:00,200
Speaker 5: and all that. It's you know, it's it's a bigger

912
00:46:00,239 --> 00:46:01,280
Speaker 5: than that, you know.

913
00:46:01,440 --> 00:46:03,440
Speaker 3: And every Sarah in the world, and it's just about her.

914
00:46:03,520 --> 00:46:04,320
Speaker 3: So it's great.

915
00:46:04,680 --> 00:46:06,200
Speaker 4: True, that's true.

916
00:46:07,280 --> 00:46:09,960
Speaker 2: So the time period between.

917
00:46:11,520 --> 00:46:15,520
Speaker 1: The I'm about to say the silver cover of the

918
00:46:15,880 --> 00:46:21,560
Speaker 1: Darrel Hall and John Notes self title record with Sarah

919
00:46:21,600 --> 00:46:26,799
Speaker 1: on it. Yeah, between that and you know, between I

920
00:46:26,840 --> 00:46:30,600
Speaker 1: think Faces, you know, there was kind of a period

921
00:46:31,200 --> 00:46:34,680
Speaker 1: or not Face's voices forgive Me in eighty that.

922
00:46:34,719 --> 00:46:36,920
Speaker 2: That five year period where.

923
00:46:38,120 --> 00:46:43,920
Speaker 1: You know, you guys weren't exactly sticking in terms of

924
00:46:45,520 --> 00:46:48,920
Speaker 1: finding an audience that's recepted to you. Just between that period,

925
00:46:49,320 --> 00:46:51,320
Speaker 1: what was it like between seventy five.

926
00:46:51,120 --> 00:46:51,960
Speaker 2: And eighty.

927
00:46:53,960 --> 00:46:57,440
Speaker 4: Well, we had rich Girl first, Well yeah, I mean yeah.

928
00:46:57,840 --> 00:47:01,840
Speaker 5: Yeah, but but it was you know, in music, it

929
00:47:01,920 --> 00:47:05,319
Speaker 5: was a transitional time. There was that weird shit going on,

930
00:47:05,800 --> 00:47:08,839
Speaker 5: you know, rock versus disco and all that, and man,

931
00:47:08,920 --> 00:47:11,839
Speaker 5: that that put that put that put us in a

932
00:47:11,960 --> 00:47:18,040
Speaker 5: really strange place because I you know, it was a

933
00:47:18,080 --> 00:47:21,719
Speaker 5: time of categorization and and what's cool and what's not

934
00:47:21,920 --> 00:47:25,640
Speaker 5: cool and all this stuff, and it was a hard

935
00:47:25,880 --> 00:47:30,319
Speaker 5: it was a hard hard to figure out how to

936
00:47:30,440 --> 00:47:32,000
Speaker 5: how to maneuver through all that.

937
00:47:32,239 --> 00:47:32,520
Speaker 4: It was.

938
00:47:32,600 --> 00:47:36,239
Speaker 5: It was a really strange time. And it seemed like

939
00:47:36,960 --> 00:47:40,920
Speaker 5: in nineteen eighty it turned around and something else happened.

940
00:47:41,040 --> 00:47:46,880
Speaker 5: Also we started producing ourselves and that changed. I don't know,

941
00:47:46,960 --> 00:47:48,439
Speaker 5: I think the world changed.

942
00:47:48,080 --> 00:47:48,840
Speaker 4: And we changed.

943
00:47:49,520 --> 00:47:53,840
Speaker 1: So, having spoken with our previous QLs guess Denise Williams

944
00:47:53,880 --> 00:48:00,760
Speaker 1: about her experiences, I know that David Foster produced the Along,

945
00:48:00,840 --> 00:48:05,120
Speaker 1: the red Ledge Record and the Static record. What was

946
00:48:05,160 --> 00:48:06,640
Speaker 1: it about? What was it one?

947
00:48:06,680 --> 00:48:08,320
Speaker 2: What was it like working with David Foster?

948
00:48:08,880 --> 00:48:13,440
Speaker 1: And you know, I'm trying to it's weird because whenever

949
00:48:13,680 --> 00:48:18,920
Speaker 1: David Foster enters the picture for any artist, at least

950
00:48:18,960 --> 00:48:22,920
Speaker 1: between the period of like the late seventies to the

951
00:48:22,960 --> 00:48:28,040
Speaker 1: mid eighties, it's rather controversial. But you know, as far

952
00:48:28,080 --> 00:48:32,120
Speaker 1: as his work with Earth, Wind and Fire Denise Williams, Chicago,

953
00:48:33,520 --> 00:48:36,239
Speaker 1: Like whenever there's a documentary, it's always like and then

954
00:48:36,320 --> 00:48:39,800
Speaker 1: David Foster came in, it's like that, and he always

955
00:48:39,880 --> 00:48:44,279
Speaker 1: drastically changes the sound. So one, why did you guys

956
00:48:44,400 --> 00:48:47,360
Speaker 1: choose David Foster? And you know what was that experience

957
00:48:47,400 --> 00:48:48,360
Speaker 1: like working with them?

958
00:48:48,440 --> 00:48:51,080
Speaker 4: Well, actually Tommy Mattola chose him.

959
00:48:51,600 --> 00:48:57,000
Speaker 1: So okay, well livingly ask you well at the time,

960
00:48:57,040 --> 00:48:59,200
Speaker 1: I mean, he wasn't the time of Watola. I grew

961
00:48:59,280 --> 00:49:03,520
Speaker 1: up knowing like the established CBS, you know, executive.

962
00:49:03,880 --> 00:49:05,560
Speaker 2: How did you guys discover Timmy went.

963
00:49:06,800 --> 00:49:10,000
Speaker 4: I've known Tommy since he was twenty twenty years old?

964
00:49:10,560 --> 00:49:12,680
Speaker 4: He uh, he.

965
00:49:12,719 --> 00:49:14,840
Speaker 5: Was working at Chapel Music. He was our first manager.

966
00:49:15,000 --> 00:49:18,400
Speaker 5: We were a trio. It was Mattola, me and John

967
00:49:18,560 --> 00:49:22,560
Speaker 5: and and and and that's I mean, he was our manager.

968
00:49:22,719 --> 00:49:22,959
Speaker 4: True.

969
00:49:23,000 --> 00:49:25,920
Speaker 2: I can't imagine Tom Rattola is a teenager.

970
00:49:26,400 --> 00:49:28,240
Speaker 4: He was pretty much the same, just younger.

971
00:49:28,800 --> 00:49:30,760
Speaker 3: And how is he good enough to be your manager

972
00:49:30,920 --> 00:49:32,480
Speaker 3: as a team? Like, how did you see that as

973
00:49:32,520 --> 00:49:33,040
Speaker 3: a teenager?

974
00:49:33,120 --> 00:49:34,200
Speaker 4: Yeah? What did he show? Y'all?

975
00:49:34,280 --> 00:49:37,120
Speaker 5: Yeah, he's one of those people just acts like a manager,

976
00:49:37,200 --> 00:49:43,360
Speaker 5: even if Yeah.

977
00:49:40,960 --> 00:49:44,320
Speaker 1: So when did he was he managing guys from the beginning,

978
00:49:44,400 --> 00:49:45,080
Speaker 1: the very beginning.

979
00:49:45,640 --> 00:49:48,239
Speaker 4: Yeah, we were his first project or whatever you want

980
00:49:48,280 --> 00:49:49,600
Speaker 4: to call it. We were a team.

981
00:49:49,840 --> 00:49:53,920
Speaker 5: It was me, John Mey and Tommy and it was

982
00:49:53,960 --> 00:49:56,600
Speaker 5: that way all the way up till he discovered Mariah

983
00:49:56,680 --> 00:49:58,120
Speaker 5: Man and then he don't mean.

984
00:50:00,719 --> 00:50:02,920
Speaker 1: Wow sound by for Yeah, it's okay.

985
00:50:03,400 --> 00:50:06,799
Speaker 8: Everybody's always talking about Hall and Oates albums, and rightfully so,

986
00:50:06,920 --> 00:50:11,880
Speaker 8: but you also release solo records and in seventy seven

987
00:50:12,320 --> 00:50:15,160
Speaker 8: you work with Robert Fripp on Sacred Songs.

988
00:50:15,800 --> 00:50:18,480
Speaker 7: So can you tell us what was the.

989
00:50:18,480 --> 00:50:22,520
Speaker 8: Impetus for releasing a solo prod pict a that in

990
00:50:22,560 --> 00:50:25,719
Speaker 8: that year and what was the story it took like

991
00:50:25,760 --> 00:50:27,439
Speaker 8: three years for to come out.

992
00:50:27,840 --> 00:50:28,200
Speaker 4: Yeah.

993
00:50:28,320 --> 00:50:30,560
Speaker 5: Yeah, Well one of the reasons we're talking right now

994
00:50:30,600 --> 00:50:33,239
Speaker 5: is because I have a whole project. I'm releasing all

995
00:50:33,280 --> 00:50:36,480
Speaker 5: my solo records. You know, I've done all you know,

996
00:50:36,520 --> 00:50:39,120
Speaker 5: I have a whole like parallel universe of music that

997
00:50:39,200 --> 00:50:44,359
Speaker 5: I've I've been doing since the seventies. But to talk

998
00:50:44,360 --> 00:50:48,000
Speaker 5: about Robert, Robert and I became friends and we just

999
00:50:48,040 --> 00:50:49,919
Speaker 5: decided we were going to try and see what would

1000
00:50:49,920 --> 00:50:53,080
Speaker 5: happen if we put if we work together, and we

1001
00:50:53,120 --> 00:50:57,439
Speaker 5: did that album in seventy what was it, seventy eight,

1002
00:50:57,560 --> 00:51:02,120
Speaker 5: seventy seven, immediately rat up against the machine that was

1003
00:51:02,400 --> 00:51:07,600
Speaker 5: trying was unrecepted to the idea that I was not

1004
00:51:07,760 --> 00:51:13,120
Speaker 5: doing Rich Girl Junior, you know, and doing something different,

1005
00:51:13,400 --> 00:51:16,239
Speaker 5: and and they didn't want to hear about it. And

1006
00:51:16,239 --> 00:51:20,160
Speaker 5: that's that's been sort of a recurring theme with whenever

1007
00:51:20,239 --> 00:51:22,800
Speaker 5: I do my projects, it always sort of takes the

1008
00:51:23,760 --> 00:51:28,920
Speaker 5: back seat to the cash cow and very frustrating.

1009
00:51:29,520 --> 00:51:32,200
Speaker 1: And have you ever wanted to keep a song for

1010
00:51:32,280 --> 00:51:36,200
Speaker 1: yourself or is it are you basically just saying that, Well,

1011
00:51:36,239 --> 00:51:37,560
Speaker 1: I write for projects.

1012
00:51:37,640 --> 00:51:40,120
Speaker 5: I write for projects. The difference to me, it depends

1013
00:51:40,160 --> 00:51:44,960
Speaker 5: on who we're working with. So I I don't think

1014
00:51:45,000 --> 00:51:46,880
Speaker 5: I ever said I'm going to hold this song for

1015
00:51:46,960 --> 00:51:49,319
Speaker 5: a solo record, or hold this song for a Hole

1016
00:51:49,360 --> 00:51:51,440
Speaker 5: and Oates record or anything like that. Just you know,

1017
00:51:51,600 --> 00:51:52,719
Speaker 5: I work for projects.

1018
00:51:53,120 --> 00:51:53,319
Speaker 2: You know.

1019
00:51:53,480 --> 00:51:55,920
Speaker 1: One of the very first sounds of a drum machcene

1020
00:51:55,960 --> 00:51:59,480
Speaker 1: that I've ever heard was, I mean, at the time

1021
00:51:59,520 --> 00:52:01,319
Speaker 1: that I was a of it was I can't go

1022
00:52:01,440 --> 00:52:05,560
Speaker 1: for that. As far as like technology is concerned and

1023
00:52:05,600 --> 00:52:09,360
Speaker 1: all those things, like for you Can you just explain

1024
00:52:09,600 --> 00:52:14,480
Speaker 1: how you know, how intricate or how involved you were

1025
00:52:14,600 --> 00:52:17,360
Speaker 1: with like finding new sounds and whatnot. I don't know

1026
00:52:17,400 --> 00:52:20,560
Speaker 1: if it's like you purposely wanted to find a new sound,

1027
00:52:20,760 --> 00:52:22,560
Speaker 1: but you know, I can't go for that. It was

1028
00:52:22,760 --> 00:52:28,480
Speaker 1: such a radical sound that what was U kind of

1029
00:52:29,800 --> 00:52:36,480
Speaker 1: the standard for what was sonically the standard for music.

1030
00:52:37,800 --> 00:52:40,440
Speaker 1: Can you just explained that process? I mean, so stripped

1031
00:52:40,440 --> 00:52:42,320
Speaker 1: down but so timeless at the same time.

1032
00:52:42,719 --> 00:52:45,840
Speaker 5: Yeah, it's it's a funny thing. It happened by accident.

1033
00:52:46,239 --> 00:52:49,880
Speaker 5: There was no plan. I sat down and I turned

1034
00:52:49,880 --> 00:52:53,480
Speaker 5: on a roll in copy rhythm, which is the simplest

1035
00:52:54,800 --> 00:52:58,319
Speaker 5: drum machine that you could ever imagine, and it was,

1036
00:52:58,360 --> 00:53:02,080
Speaker 5: and I pushed rock and roll on, which is that beat,

1037
00:53:02,960 --> 00:53:07,400
Speaker 5: and I started playing. I had this cork organ and

1038
00:53:07,400 --> 00:53:09,960
Speaker 5: I started playing the bassline to it, and then I

1039
00:53:09,960 --> 00:53:12,800
Speaker 5: started playing the right hand to it, and that's.

1040
00:53:12,680 --> 00:53:13,719
Speaker 4: Where the song came from.

1041
00:53:13,800 --> 00:53:16,680
Speaker 5: I mean, it all just happened spontaneously and there was

1042
00:53:16,719 --> 00:53:21,000
Speaker 5: no no plan to I was just using what was

1043
00:53:21,040 --> 00:53:21,560
Speaker 5: in front of me.

1044
00:53:21,920 --> 00:53:22,919
Speaker 4: It was really like that.

1045
00:53:23,600 --> 00:53:28,839
Speaker 1: You mentioned Quincy Jones earlier, having worked with both of them,

1046
00:53:29,239 --> 00:53:33,440
Speaker 1: did you are there any stories or experiences from that.

1047
00:53:33,840 --> 00:53:37,680
Speaker 1: How surreal was that night doing USA for Africa? Well,

1048
00:53:38,520 --> 00:53:40,279
Speaker 1: I know that you were part of the We Are

1049
00:53:40,280 --> 00:53:41,120
Speaker 1: the World recording.

1050
00:53:41,760 --> 00:53:42,080
Speaker 4: It was.

1051
00:53:42,160 --> 00:53:44,319
Speaker 5: It was one of the weirdest things that I've ever

1052
00:53:44,360 --> 00:53:45,800
Speaker 5: done in my life.

1053
00:53:47,360 --> 00:53:52,600
Speaker 8: Talk about it, well, first, first of all, I mean,

1054
00:53:52,680 --> 00:53:55,200
Speaker 8: I'm the whole idea is that you're not allowed to

1055
00:53:55,480 --> 00:53:56,360
Speaker 8: You're not allowed.

1056
00:53:56,080 --> 00:53:58,600
Speaker 4: To bring anybody in with you into the room.

1057
00:53:58,760 --> 00:54:01,840
Speaker 5: So that's that's a big change for most people, you know,

1058
00:54:01,880 --> 00:54:04,239
Speaker 5: because everybody's got their people that they walk around with

1059
00:54:04,320 --> 00:54:07,560
Speaker 5: and they hang with and they depend on and do whatever.

1060
00:54:07,880 --> 00:54:10,640
Speaker 5: And no one was allowed in the room except for

1061
00:54:10,680 --> 00:54:14,520
Speaker 5: the actual artists that were performing and working. So we

1062
00:54:14,560 --> 00:54:18,080
Speaker 5: were all in there together and I didn't know everybody.

1063
00:54:18,160 --> 00:54:21,920
Speaker 5: I mean, it was it was an outrageous assemblage of people.

1064
00:54:22,040 --> 00:54:25,160
Speaker 5: I mean it was like, right, Charleston at the piano,

1065
00:54:25,280 --> 00:54:29,280
Speaker 5: and Diana was there, and Tina Turner and I I'm Dead,

1066
00:54:29,560 --> 00:54:31,200
Speaker 5: on and on and on, and.

1067
00:54:32,000 --> 00:54:36,320
Speaker 4: It was nobody knew how to act because it was awkward.

1068
00:54:36,719 --> 00:54:40,239
Speaker 4: It was awkward, So everybody reverted to being like.

1069
00:54:40,239 --> 00:54:44,520
Speaker 5: An eighth grade chorus because we're all all standing on

1070
00:54:44,880 --> 00:54:49,760
Speaker 5: those you know, the police, and that's how people started

1071
00:54:49,800 --> 00:54:53,200
Speaker 5: acting they started to like kids, and everybody's like making

1072
00:54:53,239 --> 00:54:56,520
Speaker 5: these weird kind of like kid jokes and stuff, and

1073
00:54:56,600 --> 00:54:57,880
Speaker 5: everybody asking each other.

1074
00:54:57,760 --> 00:55:00,319
Speaker 4: For their autographs and all this kind of thing and

1075
00:55:00,440 --> 00:55:03,360
Speaker 4: really being really open.

1076
00:55:03,800 --> 00:55:08,360
Speaker 5: I've never seen a group of artists be so open

1077
00:55:08,440 --> 00:55:12,040
Speaker 5: with each others as they as they we all were

1078
00:55:12,120 --> 00:55:14,440
Speaker 5: that night, and it went on too.

1079
00:55:14,520 --> 00:55:17,680
Speaker 4: It went on well into the night. You know, some some.

1080
00:55:17,600 --> 00:55:19,760
Speaker 5: People were still there at like four o'clock in the morning,

1081
00:55:20,480 --> 00:55:22,480
Speaker 5: and it was it was crazy.

1082
00:55:22,600 --> 00:55:24,800
Speaker 4: It was really it was a crazy experience.

1083
00:55:25,280 --> 00:55:27,080
Speaker 2: In cutting those vocals.

1084
00:55:27,480 --> 00:55:29,440
Speaker 1: Is it intimidating, like doing it in front of other

1085
00:55:29,560 --> 00:55:32,000
Speaker 1: artists or are you the kind of guy that needs

1086
00:55:32,719 --> 00:55:35,160
Speaker 1: to be isolated in a room alone to give your

1087
00:55:35,160 --> 00:55:39,040
Speaker 1: best performance? Like what's your modus operandi?

1088
00:55:39,120 --> 00:55:39,840
Speaker 2: What do you prefer?

1089
00:55:40,560 --> 00:55:43,600
Speaker 4: Actually? I like doing it in front of people. It works,

1090
00:55:43,760 --> 00:55:44,400
Speaker 4: It works for me.

1091
00:55:44,880 --> 00:55:47,360
Speaker 2: I mean, so that pressure is good for you, Yeah, that's.

1092
00:55:47,480 --> 00:55:49,920
Speaker 5: Yeah, Yeah, it makes me do my best work. I

1093
00:55:49,960 --> 00:55:51,719
Speaker 5: just opened my mouth and said that little bit that

1094
00:55:51,760 --> 00:55:53,960
Speaker 5: I did. I just sang it. That was it, you know,

1095
00:55:54,280 --> 00:55:58,160
Speaker 5: one take. But some people had to redo their stuff.

1096
00:55:59,480 --> 00:56:01,120
Speaker 4: But it was differ, you know, I get it.

1097
00:56:02,200 --> 00:56:05,440
Speaker 1: I would also like to ask you about the Apollo

1098
00:56:05,480 --> 00:56:12,960
Speaker 1: Record with Eddie and UH and David. Well, okay, you

1099
00:56:13,040 --> 00:56:16,200
Speaker 1: told me that Timptones were more based on Temple. I

1100
00:56:16,280 --> 00:56:19,680
Speaker 1: always were from the Temptations. But could you describe your

1101
00:56:19,680 --> 00:56:22,920
Speaker 1: fandom for the Temptations, like and how was that a

1102
00:56:22,920 --> 00:56:25,560
Speaker 1: special moment or was it just like okay, that was.

1103
00:56:25,520 --> 00:56:28,120
Speaker 5: Cool and no, no, no, it was it was. It

1104
00:56:28,160 --> 00:56:30,359
Speaker 5: was one of the special moments. I mean, you're you're

1105
00:56:30,440 --> 00:56:32,319
Speaker 5: hitting on all the things that actually matter.

1106
00:56:33,239 --> 00:56:36,160
Speaker 4: Yeah. Yeah, with the Temptones were Temple University.

1107
00:56:36,200 --> 00:56:39,400
Speaker 5: But I idolized the Temptations and I and I got to

1108
00:56:39,480 --> 00:56:41,040
Speaker 5: know them back in those days.

1109
00:56:41,600 --> 00:56:44,879
Speaker 4: There's a picture of me with those guys back then

1110
00:56:44,960 --> 00:56:47,759
Speaker 4: in nineteen sixty seven, and I really did get to

1111
00:56:47,840 --> 00:56:51,120
Speaker 4: know them all and hung out with them, sang with them,

1112
00:56:51,120 --> 00:56:54,160
Speaker 4: did all that kind of stuff. I was especially friends

1113
00:56:54,160 --> 00:56:58,120
Speaker 4: with with with Paul Williams and Eddie and.

1114
00:56:58,160 --> 00:56:59,200
Speaker 2: You knew Paul Williams.

1115
00:56:59,520 --> 00:57:04,319
Speaker 1: Wow, oh god, please, could you Okay, I've never heard

1116
00:57:04,320 --> 00:57:05,560
Speaker 1: of Paul Williams story in my life.

1117
00:57:05,640 --> 00:57:07,440
Speaker 2: Can you just describe.

1118
00:57:07,480 --> 00:57:10,160
Speaker 5: One time I took him to Linton's Diner out in

1119
00:57:10,200 --> 00:57:18,160
Speaker 5: West Philadelphia and Overbrook Park and I was I was

1120
00:57:18,200 --> 00:57:20,400
Speaker 5: the celebrity of the Evening Man because I put him

1121
00:57:20,440 --> 00:57:21,680
Speaker 5: into this fucking diner.

1122
00:57:22,040 --> 00:57:26,320
Speaker 3: Oh yeah, yeah, you.

1123
00:57:26,440 --> 00:57:29,320
Speaker 5: Brought Paul Williams because you know, everybody was a Temptations fan,

1124
00:57:30,120 --> 00:57:31,400
Speaker 5: and I brought him into the place.

1125
00:57:31,440 --> 00:57:34,640
Speaker 4: Man, And I really like Paul.

1126
00:57:34,880 --> 00:57:36,320
Speaker 5: I had a lot of heart to heart talks with

1127
00:57:36,400 --> 00:57:38,920
Speaker 5: Paul Man and he used to listen to the records

1128
00:57:38,960 --> 00:57:40,560
Speaker 5: and listen to my songs and stuff.

1129
00:57:40,840 --> 00:57:42,400
Speaker 3: I was just about to ask you, what did some

1130
00:57:42,480 --> 00:57:44,800
Speaker 3: of the guys think of your voice and what you did? Like,

1131
00:57:44,800 --> 00:57:46,520
Speaker 3: what did the Temptations say about that?

1132
00:57:47,560 --> 00:57:51,440
Speaker 5: I actually sometimes after hours I'd go into one of

1133
00:57:51,480 --> 00:57:53,520
Speaker 5: their rooms or whatever, and they'd all sit around and

1134
00:57:53,520 --> 00:57:57,480
Speaker 5: sing and wow, David was never there. David was never there.

1135
00:57:57,560 --> 00:58:01,160
Speaker 5: He was always someone Yes, well I take David's parts,

1136
00:58:01,200 --> 00:58:06,640
Speaker 5: and I.

1137
00:58:04,160 --> 00:58:06,120
Speaker 3: Really and they would say what I just want to

1138
00:58:06,240 --> 00:58:08,280
Speaker 3: I just I feel like I want to know about

1139
00:58:08,280 --> 00:58:10,080
Speaker 3: the like the first time they heard your voice, and

1140
00:58:10,120 --> 00:58:10,640
Speaker 3: there's like.

1141
00:58:13,200 --> 00:58:16,240
Speaker 5: I guess they saw what or heard what they heard,

1142
00:58:16,360 --> 00:58:19,520
Speaker 5: you know. I mean that's all I can say.

1143
00:58:19,480 --> 00:58:21,880
Speaker 7: Yea, the fact they let you come into room that says.

1144
00:58:21,600 --> 00:58:25,600
Speaker 5: That one of the double bets, you know, and sing

1145
00:58:25,800 --> 00:58:29,040
Speaker 5: sing ship damn.

1146
00:58:29,960 --> 00:58:35,120
Speaker 1: Wow, that's okay. So I mean for me, that's like

1147
00:58:35,160 --> 00:58:38,600
Speaker 1: to make an album with my idol. You know, that's

1148
00:58:39,120 --> 00:58:40,880
Speaker 1: that that is special. I'm glad that was a good

1149
00:58:40,920 --> 00:58:45,640
Speaker 1: experience for you. Any memories of the Three Hearts, uh

1150
00:58:45,840 --> 00:58:48,240
Speaker 1: and a happy Ending Machine record. I know that by

1151
00:58:48,280 --> 00:58:53,080
Speaker 1: that point, even though you two will have made like

1152
00:58:53,280 --> 00:58:56,640
Speaker 1: one or your your final, at least of that hall

1153
00:58:56,680 --> 00:58:59,760
Speaker 1: of notes run the one for Arista. In making that

1154
00:59:00,080 --> 00:59:04,400
Speaker 1: good and working with with with David Stewart and and

1155
00:59:05,720 --> 00:59:08,240
Speaker 1: oh my god, I didn't even mention t Bone your

1156
00:59:08,280 --> 00:59:10,280
Speaker 1: bass player and and your musicians.

1157
00:59:11,280 --> 00:59:15,200
Speaker 2: What was that for you? What was that process?

1158
00:59:15,360 --> 00:59:15,480
Speaker 1: Like?

1159
00:59:16,320 --> 00:59:19,960
Speaker 5: Well, Dave and I again, we I tend to work

1160
00:59:20,000 --> 00:59:21,400
Speaker 5: with people that I get friendly with.

1161
00:59:21,800 --> 00:59:24,960
Speaker 4: First. David and I got friendly and we.

1162
00:59:24,840 --> 00:59:27,880
Speaker 5: Started writing songs together right away. I mean we're still

1163
00:59:27,880 --> 00:59:31,680
Speaker 5: really close friends. And uh, it was it was very natural.

1164
00:59:31,840 --> 00:59:32,080
Speaker 3: You know.

1165
00:59:32,200 --> 00:59:35,280
Speaker 5: He had his own studio in London, and actually we

1166
00:59:35,360 --> 00:59:38,200
Speaker 5: started it in Paris because he just wanted to do

1167
00:59:38,280 --> 00:59:42,040
Speaker 5: something different, and we wound up uh doing a good

1168
00:59:42,080 --> 00:59:45,200
Speaker 5: part of that album in Paris. But uh, t Bone

1169
00:59:45,240 --> 00:59:46,680
Speaker 5: was sort of the in the middle of it all.

1170
00:59:46,720 --> 00:59:48,960
Speaker 5: He was the voice of reason because David, David is

1171
00:59:49,080 --> 00:59:52,680
Speaker 5: very he and I are very similar. You know, we

1172
00:59:52,840 --> 00:59:54,720
Speaker 5: just go for it, you know, and it's all over

1173
00:59:54,880 --> 00:59:58,439
Speaker 5: the place and and and we.

1174
00:59:58,280 --> 01:00:02,040
Speaker 4: It's it's very loose and spontaneous, and T Bone.

1175
01:00:01,760 --> 01:00:04,680
Speaker 5: Was sort of holding down the ford and he was

1176
01:00:04,720 --> 01:00:08,000
Speaker 5: the you know, the voice of reason within it all.

1177
01:00:08,680 --> 01:00:10,680
Speaker 5: And so that's what it was like. It was it

1178
01:00:10,720 --> 01:00:13,080
Speaker 5: was it was a lot of fun making that record.

1179
01:00:13,800 --> 01:00:15,880
Speaker 2: How did you guys induct him?

1180
01:00:16,000 --> 01:00:19,600
Speaker 1: You know, even before like we got to know musicians

1181
01:00:19,640 --> 01:00:23,920
Speaker 1: or whatnot, you guys had like a really charismatic band.

1182
01:00:24,360 --> 01:00:27,880
Speaker 2: So you know, I knew of of t Bone, I

1183
01:00:27,960 --> 01:00:28,439
Speaker 2: knew of.

1184
01:00:29,760 --> 01:00:37,640
Speaker 1: Your guitarist, Like, how did how did you guys assemble

1185
01:00:37,720 --> 01:00:38,680
Speaker 1: that particular band?

1186
01:00:38,840 --> 01:00:42,320
Speaker 2: Were they just like New York's finist? And do you arty?

1187
01:00:43,920 --> 01:00:47,520
Speaker 4: Let me let me think, Uh, g was worked with

1188
01:00:47,600 --> 01:00:52,520
Speaker 4: Dan Hartman. Okay, now don't ask me how.

1189
01:00:52,480 --> 01:00:55,800
Speaker 1: That, Oh instant you played Dan Hartman?

1190
01:00:55,880 --> 01:00:58,640
Speaker 5: Okay, yeah, yeah, that that Dan Harmon and and then

1191
01:00:59,760 --> 01:01:02,080
Speaker 5: and Dan wasn't working so somehow ge.

1192
01:01:03,880 --> 01:01:06,720
Speaker 4: Man I can't remember he is. Somehow he got introduced

1193
01:01:06,760 --> 01:01:08,480
Speaker 4: to me and I said, do you want to join

1194
01:01:08,520 --> 01:01:08,880
Speaker 4: the band?

1195
01:01:09,480 --> 01:01:12,520
Speaker 5: And and I brought him in and uh who else

1196
01:01:12,600 --> 01:01:13,000
Speaker 5: was playing?

1197
01:01:13,600 --> 01:01:13,960
Speaker 4: Uh?

1198
01:01:14,840 --> 01:01:17,760
Speaker 5: Jerry Murder, Yeah, Jerry Murata was it was playing drums

1199
01:01:17,760 --> 01:01:21,280
Speaker 5: with us, right, Okay, so it kind of happened gradually.

1200
01:01:21,480 --> 01:01:23,200
Speaker 5: And then and then we were looking for a bass

1201
01:01:23,200 --> 01:01:26,320
Speaker 5: player and and we the guy that we were usually

1202
01:01:26,320 --> 01:01:27,240
Speaker 5: couldn't do it anymore.

1203
01:01:27,360 --> 01:01:28,440
Speaker 4: It was a John Siegler.

1204
01:01:28,680 --> 01:01:30,800
Speaker 5: He went back to Todd or something that because he

1205
01:01:30,880 --> 01:01:35,600
Speaker 5: was working with Todd and uh and t Bone auditioned

1206
01:01:35,760 --> 01:01:38,480
Speaker 5: and and yeah, there he is.

1207
01:01:38,480 --> 01:01:40,040
Speaker 4: Man. I said, well, this guy's a monster.

1208
01:01:40,280 --> 01:01:43,840
Speaker 1: And so I forgot to mention on on on John's episode,

1209
01:01:43,880 --> 01:01:47,760
Speaker 1: but well I mentioned that when you guys were coming

1210
01:01:47,800 --> 01:01:51,960
Speaker 1: on the tonight show and unfortunately you had to cancel

1211
01:01:52,040 --> 01:01:57,200
Speaker 1: because t boneet passed away two days before I got

1212
01:01:57,200 --> 01:02:00,480
Speaker 1: to also mentioned, at least for our fans that that's

1213
01:02:00,560 --> 01:02:08,080
Speaker 1: t Boom, that's the bass player on Curtis blows the breaks.

1214
01:02:08,640 --> 01:02:12,800
Speaker 1: So you know, legendary, legendary cat.

1215
01:02:13,120 --> 01:02:16,160
Speaker 4: Yeah did that before he even before he joined us.

1216
01:02:16,440 --> 01:02:19,160
Speaker 4: That was that was his first thing he did. He did.

1217
01:02:19,600 --> 01:02:22,720
Speaker 2: Really yeah, oh shit, that I did not know.

1218
01:02:27,360 --> 01:02:32,040
Speaker 1: After the initial implosion of Hall of Notes, Like how

1219
01:02:32,920 --> 01:02:35,680
Speaker 1: how hard was it to come to that decision? After

1220
01:02:35,720 --> 01:02:38,480
Speaker 1: the oh yeah record? And you guys go in your

1221
01:02:38,520 --> 01:02:41,680
Speaker 1: separate ways to do your solo endeavors, Like, did you

1222
01:02:41,800 --> 01:02:45,720
Speaker 1: know that at least that initial run of Hall of

1223
01:02:45,800 --> 01:02:50,680
Speaker 1: Notes from seventy to the eighty eight that you had

1224
01:02:50,800 --> 01:02:51,600
Speaker 1: enough at that point?

1225
01:02:51,640 --> 01:02:54,080
Speaker 5: Like it only looks that way when you look back

1226
01:02:54,120 --> 01:02:56,240
Speaker 5: on it. I mean, when we were in it, we

1227
01:02:56,400 --> 01:02:58,120
Speaker 5: just said, Okay, we're going to do this. We're going

1228
01:02:58,200 --> 01:03:01,000
Speaker 5: to do that. We never really stopped making records. We

1229
01:03:01,160 --> 01:03:02,440
Speaker 5: made records through the nineties.

1230
01:03:03,040 --> 01:03:05,080
Speaker 1: Uh, well, I know you did it, but it's always

1231
01:03:05,080 --> 01:03:08,480
Speaker 1: built as like a comeback record or like a reunion album,

1232
01:03:08,560 --> 01:03:09,360
Speaker 1: which other.

1233
01:03:09,280 --> 01:03:13,640
Speaker 4: People's perceptions than ours. Uh, But Okay, we sort.

1234
01:03:13,480 --> 01:03:16,439
Speaker 5: Of morphed into just this, uh, into a touring band,

1235
01:03:16,920 --> 01:03:19,400
Speaker 5: and that's that's really what we are now now you

1236
01:03:19,440 --> 01:03:22,080
Speaker 5: know we we're a performance band. We don't we don't

1237
01:03:22,120 --> 01:03:25,000
Speaker 5: really you know, we have this outrageous body of work

1238
01:03:25,280 --> 01:03:28,880
Speaker 5: that we can that we can draw from, and uh,

1239
01:03:29,040 --> 01:03:31,880
Speaker 5: and that's that's really where we come together at this point.

1240
01:03:31,880 --> 01:03:34,880
Speaker 5: And that's sort of it just turned into that and

1241
01:03:35,080 --> 01:03:39,440
Speaker 5: we decided to be more individuals, which is what I

1242
01:03:39,440 --> 01:03:42,320
Speaker 5: think tends to happen as you go on in life.

1243
01:03:42,360 --> 01:03:46,320
Speaker 5: You one become more yourself and it's part of maturity

1244
01:03:46,440 --> 01:03:51,080
Speaker 5: or whatever. And knowing yourself and that's what.

1245
01:03:51,040 --> 01:03:52,560
Speaker 4: That's that's where we're at right now.

1246
01:03:52,720 --> 01:03:55,439
Speaker 9: You know, y'all are still good friends and still like work,

1247
01:03:55,520 --> 01:03:57,760
Speaker 9: but just not recording, Yeah, just touring.

1248
01:03:58,440 --> 01:04:01,120
Speaker 5: Just if I want to make a record, I'd rather

1249
01:04:01,160 --> 01:04:03,120
Speaker 5: make a record with me. And he feels the same way.

1250
01:04:03,280 --> 01:04:06,280
Speaker 7: You know, I get it. I completely get it.

1251
01:04:07,800 --> 01:04:10,600
Speaker 1: Fante's kind of in that situation himself.

1252
01:04:12,720 --> 01:04:15,360
Speaker 3: In a whole different way. Like it's like, it's interesting

1253
01:04:15,360 --> 01:04:17,680
Speaker 3: I'm thinking about I'm looking at Fante and his group situation.

1254
01:04:17,720 --> 01:04:20,200
Speaker 3: I'm looking thinking about you and Black Thought and existing

1255
01:04:20,240 --> 01:04:21,440
Speaker 3: separately in your projects.

1256
01:04:21,440 --> 01:04:23,400
Speaker 1: It's kind of interesting. But the but the thing is

1257
01:04:23,400 --> 01:04:27,040
Speaker 1: is that the roots, like for me, like Tarika and

1258
01:04:27,040 --> 01:04:30,600
Speaker 1: I have have an agreement that we can go and

1259
01:04:30,680 --> 01:04:34,280
Speaker 1: scratch our back like we're we're in a polyamorous relationship.

1260
01:04:34,800 --> 01:04:38,160
Speaker 1: So if I need to get my back scratched elsewhere,

1261
01:04:39,200 --> 01:04:40,920
Speaker 1: I know that at the end of the day, I'm

1262
01:04:40,920 --> 01:04:45,720
Speaker 1: gonna come home and you know, sort of come back

1263
01:04:45,760 --> 01:04:49,400
Speaker 1: to home base eventually, like check in, Hey, okay. But

1264
01:04:49,640 --> 01:04:52,800
Speaker 1: you know, I guess for a lot of times, there's

1265
01:04:52,880 --> 01:04:54,960
Speaker 1: this thing where it's like if you're in a group

1266
01:04:55,080 --> 01:04:58,440
Speaker 1: situation that you have to throw the baby out with

1267
01:04:58,480 --> 01:05:01,320
Speaker 1: the bathwater, and then and there's always a thing where you

1268
01:05:01,360 --> 01:05:03,280
Speaker 1: miss it. In eight years, you're like, all right, let's

1269
01:05:03,280 --> 01:05:06,760
Speaker 1: rebuild the house again. You know, I just always won

1270
01:05:06,840 --> 01:05:08,640
Speaker 1: day and you start realizing why you left the house

1271
01:05:08,640 --> 01:05:16,840
Speaker 1: to begin with. It's like, nah, I should take in

1272
01:05:16,960 --> 01:05:20,680
Speaker 1: a And you know, I understand this might be a

1273
01:05:20,720 --> 01:05:25,640
Speaker 1: personal question, but in a situation where you I'm certain

1274
01:05:25,640 --> 01:05:29,040
Speaker 1: that you can't be partners with someone for that long

1275
01:05:29,080 --> 01:05:32,840
Speaker 1: of a time without it being arguments or whatever, or

1276
01:05:33,240 --> 01:05:35,000
Speaker 1: at least with a duo. It's kind of different when

1277
01:05:35,040 --> 01:05:37,240
Speaker 1: it's in a group dynamic. But do you too, at

1278
01:05:37,320 --> 01:05:40,880
Speaker 1: least have your version of not going to bed angry?

1279
01:05:42,240 --> 01:05:42,800
Speaker 4: Yes? Sure?

1280
01:05:43,560 --> 01:05:44,520
Speaker 2: Or make sure that you're.

1281
01:05:44,400 --> 01:05:47,360
Speaker 7: Clear what does conflict resolution look like for you? Guys?

1282
01:05:47,720 --> 01:05:51,400
Speaker 4: We don't really fight. It's a funny thing again.

1283
01:05:51,960 --> 01:05:54,280
Speaker 5: You know, we've known each other since we're kids. I

1284
01:05:54,320 --> 01:05:57,640
Speaker 5: think we sublimated. I think there's a lot of you know,

1285
01:05:59,160 --> 01:06:04,440
Speaker 5: maybe maybe uh, maybe there's resentment and and and shipped

1286
01:06:04,480 --> 01:06:05,280
Speaker 5: under the surface.

1287
01:06:05,720 --> 01:06:10,040
Speaker 4: That doesn't but we don't. We don't. We never fight.

1288
01:06:10,120 --> 01:06:11,480
Speaker 4: That's the best way I could put it. We just

1289
01:06:11,520 --> 01:06:13,960
Speaker 4: don't fight. We we either let it go or or

1290
01:06:15,280 --> 01:06:15,800
Speaker 4: Bury it.

1291
01:06:16,960 --> 01:06:17,360
Speaker 2: I see.

1292
01:06:17,480 --> 01:06:20,880
Speaker 1: I have a question about your your your your Philly home,

1293
01:06:21,760 --> 01:06:25,240
Speaker 1: your your house on Quin Street, the one in Philly

1294
01:06:25,480 --> 01:06:31,400
Speaker 1: that still remains. You know why, why was that you know,

1295
01:06:32,400 --> 01:06:34,520
Speaker 1: a perfect creative enclay for you and John?

1296
01:06:34,880 --> 01:06:37,360
Speaker 5: It was the time, it was There's something about that

1297
01:06:37,400 --> 01:06:39,640
Speaker 5: period of time I got that place.

1298
01:06:40,720 --> 01:06:41,960
Speaker 4: I was. I was married to.

1299
01:06:41,920 --> 01:06:46,320
Speaker 5: This girl at the time, and uh, I was right

1300
01:06:46,360 --> 01:06:49,680
Speaker 5: out of school, right out of school, and it was

1301
01:06:49,760 --> 01:06:52,560
Speaker 5: just Philly was it was really a good time to

1302
01:06:52,560 --> 01:06:55,480
Speaker 5: be in Philadelphia right then. It was great music and

1303
01:06:55,600 --> 01:06:59,680
Speaker 5: just a great, great atmosphere, and and that house was great.

1304
01:06:59,680 --> 01:07:00,720
Speaker 5: I had was the Hall of.

1305
01:07:00,760 --> 01:07:04,880
Speaker 4: Oats birthplace, really right, Okay, that's all I say about it.

1306
01:07:04,920 --> 01:07:07,760
Speaker 4: I love that house. I renovated it actually. Yeah.

1307
01:07:07,920 --> 01:07:10,920
Speaker 1: For a whole new generation of fans, a lot of

1308
01:07:10,960 --> 01:07:16,120
Speaker 1: them had their discovery of you via your legendary show

1309
01:07:16,800 --> 01:07:22,040
Speaker 1: Live from Darryl's House, which you know, what was the

1310
01:07:23,000 --> 01:07:24,760
Speaker 1: sort of what was the genesis of the idea that

1311
01:07:24,840 --> 01:07:28,160
Speaker 1: of you inviting guest over to jam and whatnot?

1312
01:07:28,240 --> 01:07:30,280
Speaker 7: And that was the O G teny disc.

1313
01:07:30,560 --> 01:07:31,959
Speaker 3: Is it streaming or what?

1314
01:07:32,160 --> 01:07:38,800
Speaker 4: Because it's not right now, I'm waiting to restart it again.

1315
01:07:39,200 --> 01:07:42,200
Speaker 2: I'm I'm waiting for my invitation.

1316
01:07:47,640 --> 01:07:50,240
Speaker 4: I think I actually did give you an invitation and

1317
01:07:50,280 --> 01:07:50,640
Speaker 4: we were.

1318
01:07:51,000 --> 01:07:54,840
Speaker 2: Yes, you're right, I forgot, Yes, we were. I forgot.

1319
01:07:54,880 --> 01:07:57,280
Speaker 2: We were to forgive me my own face.

1320
01:07:57,320 --> 01:08:01,440
Speaker 4: Sorry, in some form for sure.

1321
01:08:02,080 --> 01:08:05,439
Speaker 8: But Darryl's House is operational all year round.

1322
01:08:05,560 --> 01:08:08,520
Speaker 5: Right, Well you mean the club Darryl's House. Yea, yeah,

1323
01:08:09,040 --> 01:08:11,200
Speaker 5: that's that's in appalling New York.

1324
01:08:11,280 --> 01:08:11,760
Speaker 4: Yeah.

1325
01:08:11,960 --> 01:08:12,160
Speaker 7: Right.

1326
01:08:12,280 --> 01:08:17,200
Speaker 8: My sister lives in Westport, and yeah, she wants her

1327
01:08:17,240 --> 01:08:19,639
Speaker 8: on table there. She's there every show.

1328
01:08:20,120 --> 01:08:23,560
Speaker 4: Yeah. I love having a club. I love clubs.

1329
01:08:24,240 --> 01:08:26,640
Speaker 3: But seriously, Daryl, can you see old episodes anywhere? I

1330
01:08:26,760 --> 01:08:29,360
Speaker 3: was literally literally just thinking about that today because it

1331
01:08:29,400 --> 01:08:31,679
Speaker 3: was on an interesting network in the first place.

1332
01:08:32,520 --> 01:08:34,559
Speaker 4: What can you see the episodes?

1333
01:08:34,680 --> 01:08:35,919
Speaker 3: Can you see the old episodes?

1334
01:08:35,960 --> 01:08:37,680
Speaker 1: Yeah? Can you see the old archival?

1335
01:08:37,800 --> 01:08:43,880
Speaker 4: Ye? Not all of them. Not. My plan is to

1336
01:08:43,920 --> 01:08:45,160
Speaker 4: make them all available.

1337
01:08:45,360 --> 01:08:48,559
Speaker 3: Okay, okay, cool, we get that deal. Yes, yes, yes, yes.

1338
01:08:49,360 --> 01:08:52,960
Speaker 1: What were the two years of lockdown and quarantine? Like

1339
01:08:53,040 --> 01:08:57,839
Speaker 1: for you, were you able to go into other forays

1340
01:08:57,880 --> 01:08:59,800
Speaker 1: of creativity in terms of.

1341
01:08:59,760 --> 01:09:03,280
Speaker 4: Like, no, I went into hibernation.

1342
01:09:03,560 --> 01:09:08,200
Speaker 5: I I this studio house is where I lived, and

1343
01:09:08,720 --> 01:09:10,280
Speaker 5: I didn't I stopped making music.

1344
01:09:10,320 --> 01:09:12,360
Speaker 4: I didn't do anything because I had.

1345
01:09:12,200 --> 01:09:16,479
Speaker 5: This feeling that when this whole thing blew over, that

1346
01:09:16,560 --> 01:09:18,000
Speaker 5: it was all going to be different. And I knew

1347
01:09:18,040 --> 01:09:20,040
Speaker 5: it was going to be different from me, and I

1348
01:09:20,040 --> 01:09:24,839
Speaker 5: had a lot of reevaluation, and just I've been traveling

1349
01:09:24,920 --> 01:09:26,840
Speaker 5: my whole life, you know, I've been on the road

1350
01:09:26,920 --> 01:09:31,040
Speaker 5: my whole life, and to be in one place in lockdown,

1351
01:09:31,840 --> 01:09:34,400
Speaker 5: I just I just sort of embraced it. That's the

1352
01:09:34,479 --> 01:09:36,639
Speaker 5: best way I could put it. I just said, Okay,

1353
01:09:37,040 --> 01:09:39,599
Speaker 5: here I am. I'm not seeing anybody with my sister

1354
01:09:39,600 --> 01:09:42,840
Speaker 5: who lives up the road. And and that's really what

1355
01:09:42,880 --> 01:09:44,280
Speaker 5: I did for all that time.

1356
01:09:44,840 --> 01:09:47,000
Speaker 1: And this was the longest that you've ever taken a

1357
01:09:47,040 --> 01:09:50,600
Speaker 1: break from not music now since I was.

1358
01:09:50,560 --> 01:09:52,679
Speaker 4: A teenager, Yeah, for sure.

1359
01:09:53,320 --> 01:09:55,960
Speaker 5: And when I realized that it was we were coming

1360
01:09:56,000 --> 01:09:57,920
Speaker 5: out of it, I said, Okay, now what am I.

1361
01:09:57,920 --> 01:09:59,520
Speaker 4: Going to do? It's reevaluation.

1362
01:10:00,240 --> 01:10:01,960
Speaker 5: I think a lot of people are thinking that way,

1363
01:10:02,040 --> 01:10:05,880
Speaker 5: but yes, the way I'm looking at my my life,

1364
01:10:05,920 --> 01:10:09,639
Speaker 5: my career, my creativity, everything, And that's why I'm putting

1365
01:10:09,640 --> 01:10:11,720
Speaker 5: out this body of work album to start it. It's

1366
01:10:11,760 --> 01:10:14,479
Speaker 5: sort of a it's a new error to me and

1367
01:10:15,320 --> 01:10:17,840
Speaker 5: whatever I wanted to do, I'm doing now. I'm not

1368
01:10:17,880 --> 01:10:23,000
Speaker 5: holding it back. I'm not letting circumstances dictate anything. I'm

1369
01:10:23,000 --> 01:10:25,479
Speaker 5: just I'm just I used this term before, but I'm

1370
01:10:25,479 --> 01:10:27,599
Speaker 5: going to just ride the horse direction it's going in.

1371
01:10:29,080 --> 01:10:31,800
Speaker 1: I know that another area of creativity for you is

1372
01:10:31,840 --> 01:10:33,639
Speaker 1: like restoring houses and whatnot.

1373
01:10:33,800 --> 01:10:35,040
Speaker 2: Is that therapeutic for you?

1374
01:10:36,120 --> 01:10:39,960
Speaker 5: Yeah, it's it's therapeutic. It's it's I love history. I

1375
01:10:39,960 --> 01:10:41,920
Speaker 5: love all that stuff. You can tell by this room

1376
01:10:41,960 --> 01:10:45,800
Speaker 5: that I'm in, But I uh, it's it's sort of

1377
01:10:45,840 --> 01:10:50,280
Speaker 5: like naked music. It's it's antique architecture is what it's

1378
01:10:50,280 --> 01:10:54,519
Speaker 5: all about with me, and restoring old places and and

1379
01:10:54,520 --> 01:10:59,880
Speaker 5: and and bringing them back to their their period, uh

1380
01:10:59,800 --> 01:11:03,000
Speaker 5: what they were in their period and uh uh and

1381
01:11:03,600 --> 01:11:06,840
Speaker 5: working with all these artisans and artists, which is like

1382
01:11:06,920 --> 01:11:12,439
Speaker 5: working with musicians and getting teams together and making making

1383
01:11:12,439 --> 01:11:15,280
Speaker 5: a project happen, making making something out of nothing, or

1384
01:11:15,680 --> 01:11:18,639
Speaker 5: it's it's uh, it's not unlike making a record.

1385
01:11:18,800 --> 01:11:19,960
Speaker 4: It's the same thing.

1386
01:11:20,320 --> 01:11:22,280
Speaker 3: Is there an HGTV show I don't know about?

1387
01:11:22,760 --> 01:11:27,160
Speaker 4: Or I did a TV show about work restoring an

1388
01:11:27,160 --> 01:11:30,320
Speaker 4: old house? You said you did?

1389
01:11:30,360 --> 01:11:34,839
Speaker 3: It's not a familiar restoration overhaul that sounds familiar.

1390
01:11:36,400 --> 01:11:39,120
Speaker 2: You're before after project.

1391
01:11:39,240 --> 01:11:42,880
Speaker 1: Could you tell us like the inspiration behind it and

1392
01:11:42,960 --> 01:11:45,280
Speaker 1: the creative process to create it?

1393
01:11:45,760 --> 01:11:46,880
Speaker 4: Well, I wanted to.

1394
01:11:47,240 --> 01:11:50,920
Speaker 5: I wanted to put together my alternative body of work.

1395
01:11:50,960 --> 01:11:54,719
Speaker 5: Everybody knows my work with with John, but as many

1396
01:11:54,720 --> 01:11:57,600
Speaker 5: people know, all these things that I've been doing for

1397
01:11:57,640 --> 01:12:02,000
Speaker 5: all these years, and I wanted to bring it out

1398
01:12:02,040 --> 01:12:05,200
Speaker 5: into the world, you know. And and I took excerpts

1399
01:12:05,240 --> 01:12:08,680
Speaker 5: from every album and included excerpts from the life of

1400
01:12:08,760 --> 01:12:10,240
Speaker 5: Daryls as show and.

1401
01:12:10,200 --> 01:12:11,559
Speaker 4: Put them all together. I didn't.

1402
01:12:11,600 --> 01:12:14,200
Speaker 5: I didn't do them in chronological order I had, you know,

1403
01:12:14,600 --> 01:12:17,360
Speaker 5: I didn't. I treated him the way I would treat

1404
01:12:17,360 --> 01:12:19,639
Speaker 5: any kind of album, and just put the songs together

1405
01:12:19,680 --> 01:12:24,200
Speaker 5: as I felt, as I felt the flow would. I

1406
01:12:24,280 --> 01:12:27,760
Speaker 5: just felt the flow. And that's that's the best way

1407
01:12:27,800 --> 01:12:30,280
Speaker 5: I could put it. I just was showing the world

1408
01:12:30,680 --> 01:12:32,960
Speaker 5: that side of my music and the people that I

1409
01:12:33,000 --> 01:12:35,160
Speaker 5: worked with and all these different projects I've been doing

1410
01:12:35,200 --> 01:12:35,720
Speaker 5: for for.

1411
01:12:35,720 --> 01:12:36,519
Speaker 4: Many, many years.

1412
01:12:36,880 --> 01:12:40,439
Speaker 1: The ultimate mixtape for you, like the automate retrospective of

1413
01:12:40,600 --> 01:12:43,760
Speaker 1: your your favorite songs, your personal favorites from your from

1414
01:12:43,840 --> 01:12:44,719
Speaker 1: your solo catalog.

1415
01:12:44,920 --> 01:12:46,760
Speaker 5: Yeah, all the all the ones that are my first

1416
01:12:46,840 --> 01:12:49,400
Speaker 5: the ones I think are the great, the good, the best.

1417
01:12:49,439 --> 01:12:52,439
Speaker 4: The best of the best. You know, and uh and

1418
01:12:52,280 --> 01:12:55,640
Speaker 4: and and that's an introduction. It's a it's a reintroduction

1419
01:12:55,720 --> 01:12:57,880
Speaker 4: to some people, but it's an introduction for a lot

1420
01:12:57,880 --> 01:12:59,920
Speaker 4: of people. And then I'm gonna continue on with it

1421
01:13:00,439 --> 01:13:04,120
Speaker 4: and start making original songs. I'm already working on new

1422
01:13:04,240 --> 01:13:06,080
Speaker 4: songs with various people. There.

1423
01:13:06,160 --> 01:13:09,360
Speaker 9: There's a version. There's a producer named Pomo. He did

1424
01:13:09,400 --> 01:13:11,479
Speaker 9: a version of I Can't Go for That? Have you

1425
01:13:11,520 --> 01:13:15,280
Speaker 9: heard it? It's I think it's on Spotify. Like that

1426
01:13:15,320 --> 01:13:18,080
Speaker 9: shit as hard as fuck. It's like a Pomo he

1427
01:13:18,120 --> 01:13:19,800
Speaker 9: did like a it's kind of like a house kind

1428
01:13:19,840 --> 01:13:21,640
Speaker 9: of fors to the floor version of I Can't Go

1429
01:13:21,720 --> 01:13:21,880
Speaker 9: for That?

1430
01:13:22,160 --> 01:13:25,360
Speaker 1: Ye every time? Yes, Yeah, that ship is a jam.

1431
01:13:25,479 --> 01:13:27,599
Speaker 1: I think you did it. Are you familiar with people

1432
01:13:27,640 --> 01:13:31,559
Speaker 1: dipping into your pass and sort of re reintroducing your

1433
01:13:31,640 --> 01:13:32,559
Speaker 1: music to.

1434
01:13:33,200 --> 01:13:37,639
Speaker 4: Because they I have to approve number one. So yeah,

1435
01:13:37,680 --> 01:13:37,920
Speaker 4: I hear.

1436
01:13:37,960 --> 01:13:41,240
Speaker 5: I hear what people are doing, and I love it

1437
01:13:41,280 --> 01:13:44,360
Speaker 5: when people mess around with my songs. I think it's great.

1438
01:13:44,520 --> 01:13:46,479
Speaker 3: Dara, I always wanted to ask you what do you think?

1439
01:13:46,600 --> 01:13:49,160
Speaker 3: After you you guys did your thing and of course

1440
01:13:49,240 --> 01:13:50,960
Speaker 3: change the way Philly music is looked at. What do

1441
01:13:51,000 --> 01:13:52,800
Speaker 3: you think about after you left and some of the

1442
01:13:52,840 --> 01:13:56,360
Speaker 3: other Philadelphia artists that came after you. Have you noticed

1443
01:13:56,360 --> 01:13:58,439
Speaker 3: anybody that that locked in your ear?

1444
01:13:59,600 --> 01:14:05,040
Speaker 5: I don't know anybody I'm trying to think of.

1445
01:14:05,479 --> 01:14:07,080
Speaker 3: It's like the you know, so many errors.

1446
01:14:07,080 --> 01:14:07,559
Speaker 7: It was the core.

1447
01:14:07,640 --> 01:14:09,040
Speaker 3: I mean, I ain't gonna say the roots because you

1448
01:14:09,040 --> 01:14:11,280
Speaker 3: know so and so is here, but as in you know,

1449
01:14:11,320 --> 01:14:16,040
Speaker 3: the music, solo childs, the Jill Scott's, the Legend John Legends,

1450
01:14:16,240 --> 01:14:19,120
Speaker 3: well College Philly.

1451
01:14:19,320 --> 01:14:22,640
Speaker 4: I mean they're all great. I mean carrying them on

1452
01:14:22,680 --> 01:14:23,120
Speaker 4: the tradition.

1453
01:14:23,240 --> 01:14:26,800
Speaker 1: Then before I go, I definitely want to ask you

1454
01:14:26,840 --> 01:14:29,320
Speaker 1: about these tour dates, Like for you, do you like

1455
01:14:29,560 --> 01:14:33,800
Speaker 1: touring still or is it is the grass always greener

1456
01:14:33,880 --> 01:14:37,280
Speaker 1: on the other side, Like for you at the stage

1457
01:14:37,320 --> 01:14:39,479
Speaker 1: in your life when you see because you're you're about

1458
01:14:39,520 --> 01:14:42,639
Speaker 1: to do like a three month or two to three

1459
01:14:42,640 --> 01:14:46,439
Speaker 1: month run for your solo tour, Like for you, is

1460
01:14:46,479 --> 01:14:51,040
Speaker 1: it like like getting up at like the idea of

1461
01:14:51,080 --> 01:14:54,000
Speaker 1: lobby call and early stuff and sound check and a

1462
01:14:54,120 --> 01:14:57,960
Speaker 1: routine is that you know, is it still exciting to

1463
01:14:58,000 --> 01:14:59,880
Speaker 1: you or is it just like I don't know.

1464
01:15:00,120 --> 01:15:02,400
Speaker 5: Well, it's you know, when you're out there, you go like,

1465
01:15:02,680 --> 01:15:06,080
Speaker 5: oh fuck, yeah, you know, it's it becomes hurry up

1466
01:15:06,120 --> 01:15:10,600
Speaker 5: and wait. It's you know, it's it's routine. It's constant,

1467
01:15:10,680 --> 01:15:12,040
Speaker 5: you know, moving around.

1468
01:15:11,880 --> 01:15:15,639
Speaker 4: Doing all that. But when you're on stage, a bird's

1469
01:15:15,640 --> 01:15:16,519
Speaker 4: got to sing, you know.

1470
01:15:16,720 --> 01:15:20,760
Speaker 5: I mean, it's it just feels like it's if you're

1471
01:15:20,800 --> 01:15:23,120
Speaker 5: having a good night, your monitors are good, and.

1472
01:15:22,960 --> 01:15:28,120
Speaker 4: Everything's everything's working. It's uh, it's a spiritual experience.

1473
01:15:28,600 --> 01:15:30,800
Speaker 1: And I know you're hitting Carnegie Hall. Is this the

1474
01:15:30,840 --> 01:15:33,160
Speaker 1: first time that you're playing Carnegie Hall as this?

1475
01:15:33,280 --> 01:15:33,840
Speaker 2: He will act?

1476
01:15:34,400 --> 01:15:37,639
Speaker 4: First time I'm playing Cardiig Hall with anybody act? Yeah?

1477
01:15:37,760 --> 01:15:39,920
Speaker 7: Oh wow, that's what's up man?

1478
01:15:40,120 --> 01:15:44,280
Speaker 8: I have one final question from me, Daryl, and this

1479
01:15:44,360 --> 01:15:46,519
Speaker 8: is not you've probably heard this before. That's not an

1480
01:15:46,560 --> 01:15:51,800
Speaker 8: original question, okay, and it's not a joke. A lot

1481
01:15:51,840 --> 01:15:53,519
Speaker 8: of us out here still waiting for Rock and Soul

1482
01:15:53,640 --> 01:15:58,000
Speaker 8: Part two, you know, as promised by the calling the

1483
01:15:58,040 --> 01:15:58,880
Speaker 8: original part one.

1484
01:15:59,520 --> 01:16:01,400
Speaker 7: So what's wrong with.

1485
01:16:03,560 --> 01:16:07,479
Speaker 8: What's wrong with releasing another edition of that part two

1486
01:16:07,600 --> 01:16:12,000
Speaker 8: with just deeper cuts from from your immense catalog with John.

1487
01:16:12,360 --> 01:16:16,320
Speaker 4: I think it's a good idea. Maybe I'll do it.

1488
01:16:16,880 --> 01:16:20,680
Speaker 1: I have a question in closing, and I guess I

1489
01:16:20,680 --> 01:16:23,680
Speaker 1: should have asked it earlier. I mean when people mention you,

1490
01:16:24,840 --> 01:16:28,519
Speaker 1: of course, uh, you know, the term blue eyed soul

1491
01:16:28,680 --> 01:16:30,720
Speaker 1: always gets tagged with you. When you think of blue

1492
01:16:30,720 --> 01:16:34,120
Speaker 1: eyed sold at least if you're kind of my age,

1493
01:16:34,160 --> 01:16:36,120
Speaker 1: the first thing you think of is hall of notes.

1494
01:16:37,160 --> 01:16:40,320
Speaker 1: Did you guys mind miss tag at the time or

1495
01:16:40,479 --> 01:16:42,840
Speaker 1: was it? I think every artist sort of rolls that

1496
01:16:42,880 --> 01:16:46,080
Speaker 1: collectively rolls their eyes of whatever like is pegged of them.

1497
01:16:46,160 --> 01:16:50,240
Speaker 1: But you know, when the term blue eyed soul came up, like,

1498
01:16:51,080 --> 01:16:53,040
Speaker 1: I feel like you guys were sort of the first

1499
01:16:53,160 --> 01:16:56,559
Speaker 1: out the gate to get that that title, Like, did

1500
01:16:56,600 --> 01:16:57,760
Speaker 1: you mind it or was it?

1501
01:16:57,840 --> 01:16:59,559
Speaker 2: Like I hate that term?

1502
01:16:59,680 --> 01:17:02,760
Speaker 4: Well, the first duo that ever got it was the

1503
01:17:02,840 --> 01:17:03,599
Speaker 4: Righteous Brothers.

1504
01:17:03,680 --> 01:17:06,320
Speaker 1: That's that I did not know.

1505
01:17:06,600 --> 01:17:11,400
Speaker 5: Okay, Righteous Brothers was That's where the term that that

1506
01:17:11,560 --> 01:17:15,280
Speaker 5: that's whoever. I don't know what journalists used it, but

1507
01:17:15,320 --> 01:17:17,920
Speaker 5: that's that's where it all came from. I'm not nuts

1508
01:17:17,960 --> 01:17:19,640
Speaker 5: about it. I don't I don't you know, I'm a

1509
01:17:19,640 --> 01:17:24,400
Speaker 5: soul singer. I'm I have blue eyes O Scott brown eyes.

1510
01:17:25,200 --> 01:17:26,000
Speaker 4: Whatever you know.

1511
01:17:27,479 --> 01:17:27,920
Speaker 1: I don't.

1512
01:17:28,000 --> 01:17:28,600
Speaker 4: I don't like to.

1513
01:17:28,720 --> 01:17:31,719
Speaker 5: I don't like to break people break categories down, especially

1514
01:17:31,800 --> 01:17:32,759
Speaker 5: those kind of categories.

1515
01:17:33,200 --> 01:17:34,400
Speaker 2: Mhm, I see.

1516
01:17:34,520 --> 01:17:38,559
Speaker 3: Do you feel the honor in existing, thriving and being

1517
01:17:38,600 --> 01:17:41,719
Speaker 3: an example and soul music in that way though.

1518
01:17:42,320 --> 01:17:47,000
Speaker 5: I'm I'm happy to be respected in in in you know,

1519
01:17:47,160 --> 01:17:49,479
Speaker 5: in a world that I care about.

1520
01:17:50,360 --> 01:17:50,719
Speaker 4: Uh.

1521
01:17:50,800 --> 01:17:53,360
Speaker 5: And it's it's my baby food, it's what I it's

1522
01:17:53,400 --> 01:17:55,719
Speaker 5: what I grew up with, it's what it's what I

1523
01:17:55,760 --> 01:18:01,960
Speaker 5: it's it's the source of my musical inspiration. So that's yeah.

1524
01:18:02,120 --> 01:18:04,600
Speaker 5: I mean, no matter what the production or the arrangement

1525
01:18:04,760 --> 01:18:07,320
Speaker 5: or even the song is, I'm still a soul singer

1526
01:18:07,320 --> 01:18:10,240
Speaker 5: in my heart. And that's that's that's that's that's where

1527
01:18:10,280 --> 01:18:11,800
Speaker 5: it generates from.

1528
01:18:11,960 --> 01:18:14,200
Speaker 8: Wow, we're hearing we hearing that so much these days.

1529
01:18:14,200 --> 01:18:17,559
Speaker 8: Bonnie from Bonnie Rate said that, and about about the

1530
01:18:17,600 --> 01:18:21,679
Speaker 8: Blues and John said that. Costello said that, Yeah, it's

1531
01:18:21,760 --> 01:18:23,840
Speaker 8: just you know, if that's what you grow up on,

1532
01:18:24,000 --> 01:18:24,519
Speaker 8: that's what.

1533
01:18:24,400 --> 01:18:27,679
Speaker 4: You are, That's right, that's absolutely true.

1534
01:18:29,080 --> 01:18:33,640
Speaker 1: Well, hey, I just have to say, you know, you

1535
01:18:33,680 --> 01:18:37,960
Speaker 1: guys are I mean you in general, like you're you're

1536
01:18:38,000 --> 01:18:41,680
Speaker 1: you're the soundtrack of you know, my life as just

1537
01:18:41,720 --> 01:18:45,000
Speaker 1: as a music fan and in general. And I'm really

1538
01:18:45,560 --> 01:18:50,280
Speaker 1: pleased and happy that we did this episode. And I

1539
01:18:50,400 --> 01:18:53,160
Speaker 1: thank you very much, uh Daryl for for doing this

1540
01:18:53,200 --> 01:18:56,519
Speaker 1: with us and making us a special episode of Daryl Hall,

1541
01:18:56,840 --> 01:19:02,559
Speaker 1: Ladies and Gentlemen, Legendary Philadelphia. And you know, wait a minute,

1542
01:19:02,560 --> 01:19:04,479
Speaker 1: Wait a minute, Wait a minute, wait a minute. One

1543
01:19:04,520 --> 01:19:07,160
Speaker 1: more question, please, one more question, and I swear to God,

1544
01:19:07,200 --> 01:19:10,400
Speaker 1: I'll let you go. I heard a rumor that you

1545
01:19:10,479 --> 01:19:13,000
Speaker 1: once stopped a robbery from happening once on tour.

1546
01:19:14,680 --> 01:19:16,000
Speaker 2: Yeah, is this true?

1547
01:19:16,960 --> 01:19:18,120
Speaker 4: Yeah, that's true.

1548
01:19:19,800 --> 01:19:23,280
Speaker 1: Wow, I've heard the rumor of it, but never I'll

1549
01:19:23,280 --> 01:19:25,160
Speaker 1: tell you the story. This is the encore, and I

1550
01:19:25,160 --> 01:19:26,320
Speaker 1: promise it's over.

1551
01:19:26,560 --> 01:19:30,559
Speaker 5: Right, because nobody ever asked about that. We the first

1552
01:19:30,560 --> 01:19:34,360
Speaker 5: time that me and John went to Australia, right we

1553
01:19:34,360 --> 01:19:39,519
Speaker 5: were We were in Melbourne, Melbourne, Australia, and it was

1554
01:19:39,640 --> 01:19:45,560
Speaker 5: after a show and we went to this restaurant and

1555
01:19:45,600 --> 01:19:49,280
Speaker 5: nobody was there except for it was after hours and

1556
01:19:49,320 --> 01:19:52,400
Speaker 5: nobody was there except these two guys and their wives

1557
01:19:52,720 --> 01:19:56,760
Speaker 5: were sitting at a table next to us and my

1558
01:19:56,840 --> 01:20:03,320
Speaker 5: bass player, his girlfriend John and one of our minders.

1559
01:20:03,560 --> 01:20:05,519
Speaker 5: Was he just some guy that was with us and

1560
01:20:05,600 --> 01:20:10,040
Speaker 5: so we're sitting there and suddenly this guy. We look

1561
01:20:10,120 --> 01:20:12,000
Speaker 5: up and there's a guy standing on a ski mask

1562
01:20:12,040 --> 01:20:12,760
Speaker 5: and a shotgun.

1563
01:20:13,120 --> 01:20:13,960
Speaker 4: Oh shotgun.

1564
01:20:14,320 --> 01:20:14,840
Speaker 2: Here was this?

1565
01:20:15,360 --> 01:20:19,840
Speaker 4: This was nineteen yeah, eighty one, I'll say something like that.

1566
01:20:19,960 --> 01:20:21,960
Speaker 1: He's Jesus Christ, this private eye time.

1567
01:20:22,439 --> 01:20:24,759
Speaker 4: Yeah. Yeah.

1568
01:20:25,920 --> 01:20:30,040
Speaker 5: So the guy he starts waving the gun around and

1569
01:20:30,360 --> 01:20:32,840
Speaker 5: he says, you know, he give you your money, give

1570
01:20:32,880 --> 01:20:37,320
Speaker 5: me your money. And I remember the bass play. The

1571
01:20:37,360 --> 01:20:39,840
Speaker 5: bass players name was Kenny. He pulled out a credit

1572
01:20:39,880 --> 01:20:46,800
Speaker 5: card and handed a credit card. Okay, we're all sitting

1573
01:20:46,800 --> 01:20:49,120
Speaker 5: there and it's it's an unreal situation.

1574
01:20:49,200 --> 01:20:52,320
Speaker 4: I mean, anybody ask anybody in a situation like that,

1575
01:20:52,479 --> 01:20:53,759
Speaker 4: it's all very unreal.

1576
01:20:53,800 --> 01:20:55,920
Speaker 5: The guy had a ski mask and a shotgun, right,

1577
01:20:56,240 --> 01:21:00,880
Speaker 5: and he goes over to the next table, which was

1578
01:21:01,520 --> 01:21:05,080
Speaker 5: right next to us, and he starts pointing the gun

1579
01:21:05,400 --> 01:21:07,639
Speaker 5: at one of the women and says, give me your

1580
01:21:07,840 --> 01:21:09,920
Speaker 5: you know, give you your money out of your purse. Right,

1581
01:21:10,600 --> 01:21:15,200
Speaker 5: And he put put the gun down just enough that

1582
01:21:15,280 --> 01:21:17,840
Speaker 5: one of the guys grabbed the barrel of the gun

1583
01:21:18,720 --> 01:21:21,000
Speaker 5: and pulled it and the other guy jumped on him.

1584
01:21:21,640 --> 01:21:23,840
Speaker 5: And then John jumped up and jumped on the guy

1585
01:21:24,400 --> 01:21:27,120
Speaker 5: and then we all started jumping on on this guy

1586
01:21:27,680 --> 01:21:30,360
Speaker 5: and I tried to jump on him, and the bass

1587
01:21:30,360 --> 01:21:32,720
Speaker 5: player's girlfriend grabbed me around the leg and pulled me

1588
01:21:32,840 --> 01:21:35,240
Speaker 5: back and says, saved me, saved me, saved me.

1589
01:21:35,640 --> 01:21:37,320
Speaker 4: So I couldn't do anything because I'm fighting.

1590
01:21:37,439 --> 01:21:39,439
Speaker 5: She's like a little puppy dog or whatever, and I'm

1591
01:21:39,439 --> 01:21:41,640
Speaker 5: trying to fight her away and grabbed this guy at

1592
01:21:41,680 --> 01:21:45,439
Speaker 5: the same time. We we basically broke the shotgun up,

1593
01:21:45,920 --> 01:21:49,040
Speaker 5: took the took the shells out, and then then then okay,

1594
01:21:49,040 --> 01:21:52,160
Speaker 5: he was disarmed, so then we held him and by

1595
01:21:52,200 --> 01:21:56,080
Speaker 5: then the matre d or whatever it was, the guy

1596
01:21:56,120 --> 01:21:59,360
Speaker 5: that was there had called the cops. The cops come

1597
01:21:59,680 --> 01:22:03,519
Speaker 5: charged up the stairs because on the second floor and

1598
01:22:03,720 --> 01:22:07,800
Speaker 5: grabbed the guy and uh basically threw him down the

1599
01:22:07,800 --> 01:22:12,640
Speaker 5: steps and uh and then took him away. And apparently

1600
01:22:12,680 --> 01:22:15,519
Speaker 5: he had robbed twenty five restaurants and he was called

1601
01:22:15,520 --> 01:22:16,679
Speaker 5: the rusty gun bandit.

1602
01:22:17,960 --> 01:22:21,200
Speaker 7: Oh wow, rusting gun rusting gentlemen.

1603
01:22:21,800 --> 01:22:24,240
Speaker 2: That sounds like you, Jackson.

1604
01:22:24,320 --> 01:22:25,520
Speaker 7: Yeah, Robin.

1605
01:22:25,160 --> 01:22:28,719
Speaker 3: I was like, this is Three Hills cop and coming

1606
01:22:28,760 --> 01:22:29,240
Speaker 3: to America.

1607
01:22:29,320 --> 01:22:34,240
Speaker 1: Okay, yeah, Daryl Hall, legendary crime Stopperlease gentlemen.

1608
01:22:34,400 --> 01:22:37,920
Speaker 2: Yeah, that's how you end the show.

1609
01:22:38,600 --> 01:22:42,560
Speaker 1: Paid Bill Laya, Siga, Steve Bon, Tigelow and I'm questlove

1610
01:22:43,040 --> 01:22:47,080
Speaker 1: the legendary rock and roll Hall of Fame got himself

1611
01:22:47,400 --> 01:22:52,200
Speaker 1: Daryl Hall. Thank you very much, question, thank you on

1612
01:22:52,280 --> 01:22:53,080
Speaker 1: the next go round.

1613
01:22:53,120 --> 01:23:06,599
Speaker 4: Thank you okay, thank you much.

1614
01:23:06,640 --> 01:23:09,280
Speaker 2: Love Supreme is a production of iHeart Radio.

1615
01:23:13,080 --> 01:23:17,840
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1616
01:23:17,920 --> 01:23:19,599
Speaker 1: or wherever you listen to your favorite shows.