Speaker 1: Quest Love Supreme is a production of iHeartRadio, Ladies and gentlemen.
Speaker 1: This is Quest Love Supreme. Today marks the conclusion of
Speaker 1: what I feel is an instant classic episode. As I
Speaker 1: expressed in the previous recording that I personally like one
Speaker 1: on one qls's meaning one artist to the show as
Speaker 1: opposed to group scenarios.
Speaker 2: So that way, you know, it's always you get two sides.
Speaker 1: Of a story of the same story, sometimes where you
Speaker 1: get the same identical story. But previous episode we talked
Speaker 1: to one half one of my favorite duos and the
Speaker 1: music one of the most successful duos and music. And
Speaker 1: now we are given the honor and the pleasure of
Speaker 1: speaking to the voice the soundtrack, I mean, the personal
Speaker 1: soundtrack of my childhood. And I'm, you know, a Philadelphian.
Speaker 1: So this episode is doing me some pride right now.
Speaker 1: What else can I say? But the one and only
Speaker 1: Daryl Hall, he slept Supreme. Welcome start all right, by
Speaker 1: the way.
Speaker 2: Team Supreme.
Speaker 1: I'm sorry I didn't even acknownce you how damn he
Speaker 1: was waiting for that.
Speaker 3: I was gonna say, it's okay, it's Darryl Hall. We're
Speaker 3: all a little fanned out it's.
Speaker 1: Fine, no, no, no, but in my mind I'm still feeling
Speaker 1: like this is a continuation of the episode.
Speaker 2: But yes, we can let the world know that a
Speaker 2: week or two went by and uh, you know. Yes,
Speaker 2: So how are you doing?
Speaker 4: Like you?
Speaker 3: I'm doing great, I'm ready, I'm so good. This is yeah,
Speaker 3: life is complete.
Speaker 5: Man.
Speaker 1: Really, I got to ask some personally, even though this
Speaker 1: is inconsequential to our viewers who could only hear us
Speaker 1: and not see us, but I feel like every time
Speaker 1: you do an episode, you're doing it from another part
Speaker 1: of your house or I see it.
Speaker 4: I said, this is actually my studio house.
Speaker 3: Oh yeah, this is mine too, Okay, exactly, that's what
Speaker 3: it is, a mere it's my studio house.
Speaker 1: All right. Well no, I'm just I'm impressed with every
Speaker 1: episode you seem to be in a new part of
Speaker 1: your house that I've never seen before.
Speaker 3: And it's the way I think my quest love Supreme
Speaker 3: Brothers to truly come to my house. So yeah, this
Speaker 3: is the way I'm doing it. Maybe one day y'all come.
Speaker 1: Okay, well one of us will have to agree to
Speaker 1: get on a plane, but that will say that for
Speaker 1: another episode. Okay, baby Bill, Yes, how's it going, sir.
Speaker 1: Fantastic congratulations to you you.
Speaker 2: I'm great man.
Speaker 6: You've been winning awards like handover whatever that expression is.
Speaker 6: And we have to do some flowers a beer flowers
Speaker 6: for a beer.
Speaker 2: Congratulations. Yes, thank you, thank you for that deflection. Thank you.
Speaker 7: Well.
Speaker 1: You know. Also, you fin you finished a milestone in
Speaker 1: your the show that you're working on, Testame Street. You
Speaker 1: finally finished. I guess season fifty. I assume we.
Speaker 6: Finished just last week season fifty three. I think fifty three.
Speaker 2: Season fifty three.
Speaker 1: Also, wait, this is what I do want to know,
Speaker 1: because I'm not an active watcher of Sesame Street now
Speaker 1: that I'm fifty one years old as I was when
Speaker 1: I was a kid. But the death of mister del
Speaker 1: Gato aka Luis on Sesame Street, was he still an
Speaker 1: active character on the show even or did he leave beforehand?
Speaker 6: He left but came back a little while ago. He
Speaker 6: was back and forth, but he was like a definite presence.
Speaker 6: All of the humans sort of humans, the humans, all
Speaker 6: of the actors on that show sort of are always
Speaker 6: sort of omnipresident. I play it's Bob and so like.
Speaker 1: Maria, Bob and Susan and Gordon like, they're still occasionally
Speaker 1: come back on the show to do stuff.
Speaker 6: Yeah, like most recently they around for season We had
Speaker 6: a big reunion for season fifty a couple of years ago,
Speaker 6: and they were definitely there for that. And I saw
Speaker 6: him at that and he's a fantastic like Emelio, like
Speaker 6: played the guitar really well and saying really well, and
Speaker 6: it was just a consumt a musician and a wonderful
Speaker 6: human being.
Speaker 1: It's really sad, but yeah, when you put when you
Speaker 1: put me on the float, I think I got to
Speaker 1: meet some of them and that was really cool.
Speaker 6: You make it seem like I physically placed you upon
Speaker 6: the Thanksgiving Day float, and I will take full credit
Speaker 6: for that.
Speaker 2: Well, you know, I'm trying to.
Speaker 1: Give you props, Bill because I don't want people to
Speaker 1: think that you're just like the Flavor of Flace sidekick,
Speaker 1: Like you're.
Speaker 2: You're a major staple in the circle. Man you are.
Speaker 1: You know, you're writing brought hit Broadway shows and producing
Speaker 1: my platinum albums.
Speaker 6: And just for the record, I'd be happy to be
Speaker 6: a Flavor Flap sidekick. I'm totally fine with that. But
Speaker 6: that's very nice.
Speaker 1: I'm I'm throwing some flowers back to you, sugar steans
Speaker 1: you okay, even though you're upgrading your computer right now,
Speaker 1: you're doing this on your telephone.
Speaker 4: I'm really good. Thanks for asking.
Speaker 8: I actually wont a Schmuky award last night, and I'm
Speaker 8: thinking about buying my own paper airplane.
Speaker 2: Okay, like like it, don't.
Speaker 1: Step on my punchlines in front of Daryl Hall.
Speaker 3: I'm sorry. You know you heard me.
Speaker 9: I'm sorry anyway, fon Tikeolo good So I'm good, brother,
Speaker 9: I'm good, man, I'm good. Congratulations to you, man. I
Speaker 9: was happy to see that straight. I appreciate that. Yeah,
Speaker 9: now we can finally.
Speaker 1: Get to the business. First of all, Sir Daryl Hall,
Speaker 1: are you in the world famous Darris House right now?
Speaker 4: I'm in I'm in my studio house.
Speaker 1: Okay, explain that this is different than the Daras house
Speaker 1: that I've seen on television.
Speaker 4: Yeah, it's a different house and age.
Speaker 2: That is bullershit. I like this.
Speaker 1: I like where this is going already, if you, if
Speaker 1: you guys can see what we see right now, like
Speaker 1: maybe besides Will Smith, I've not seen a person be
Speaker 1: so imaginative with their surrounding.
Speaker 2: Yes, this is this is this is a next.
Speaker 5: Room man to Imaginative one one Light.
Speaker 1: So so as I so, as I said on on
Speaker 1: the top of the show, we we talked to your
Speaker 1: your partner for over five I don't know, maybe six
Speaker 1: decades John Oates about his experience musical experiences in his life.
Speaker 1: And and now's your turn, because you know, although you
Speaker 1: too share common ground, you two also have done different endeavors,
Speaker 1: and so I kind of wanted to make this more
Speaker 1: one on one instead of like the the group project.
Speaker 1: So for you right now, like where where do you?
Speaker 1: Where do you call home? Where do you reside?
Speaker 4: Right?
Speaker 5: I'm in Connecticut right here? I I you know, I
Speaker 5: have a house in London too, So I kind of
Speaker 5: go back and forth.
Speaker 2: Nice what party in London?
Speaker 4: Uh? In Kensington?
Speaker 7: Nice?
Speaker 2: Okay?
Speaker 1: I used to live in Kinsistown. Okay, all right, yeah,
Speaker 1: Kinnistown in London. When when did you cop a spot
Speaker 1: in London?
Speaker 4: When I've been since the seventies?
Speaker 7: Oh? What forever?
Speaker 2: So you're a dual citizen.
Speaker 4: Right sort of.
Speaker 2: Wow London? What made you choose to go over there?
Speaker 5: I just I had an affinity for it, just from
Speaker 5: the very beginning. It kind of it reminded me of Philadelphia.
Speaker 5: It's so crazy play.
Speaker 3: Oh wow, we are a little cleaner than that.
Speaker 4: Well yeah, well some parts, some parts.
Speaker 1: No, no, no, but you know what, he he has
Speaker 1: a point because the roots coming from Philly. We had
Speaker 1: to choose somewhere in Europe to live and it was
Speaker 1: definitely something like should we move to Paris and we
Speaker 1: moved to d And it was something about London that
Speaker 1: called us and so.
Speaker 4: There's something familiar about it, you know, very much.
Speaker 2: So so that's okay, Well that that's that's cool to hear, Like.
Speaker 1: Are you in a city part of London London or
Speaker 1: is it more like a quiet place or like what?
Speaker 1: Because I know oftentimes artists will have their city residents
Speaker 1: and then they'll have a spot that you know, is
Speaker 1: more quieter.
Speaker 2: I mean I understand that now.
Speaker 1: Like I never thought I'd be a person that would
Speaker 1: get a farm, but I just got a farm because
Speaker 1: I actually felt I'm more creative when I'm isolated and
Speaker 1: then silence. So for you, is having a dual housing
Speaker 1: situation more about like getting a spot that's quiet and
Speaker 1: then a part that's immersed in the city or just
Speaker 1: or just to have a city in Europe just in
Speaker 1: case you just want to Well.
Speaker 5: It's it's actually kind of the same thing. I you know,
Speaker 5: I live out in the country here and when I'm
Speaker 5: in America and then my city house is a London
Speaker 5: and I mean I have a it's like a tell
Speaker 5: it's you know, row house, townhouse.
Speaker 4: Same.
Speaker 1: Okay, yeah, So is it important as a creative for
Speaker 1: you to have a spot that's that's quiet and more
Speaker 1: isolated and allows you to be creative or like again,
Speaker 1: as as a newbie person that just purchased his spot,
Speaker 1: I mean, I did it because the pressure of the
Speaker 1: pandemic forced me to do it. But you know, otherwise,
Speaker 1: I'd never understood artists that were like, yo, man, I
Speaker 1: need the country life is important, Like, I mean, I
Speaker 1: get the importance of silence now. But obviously you got
Speaker 1: this house that you're now way before the pandemic. So
Speaker 1: what was the attraction of, Like, you know, I'm thinking
Speaker 1: like rock stars wouldn't want to be so isolated outside
Speaker 1: of the chaos and the hustle and bustle of what
Speaker 1: the industry was. So what was your decision to get
Speaker 1: a country spot.
Speaker 5: I don't know, man, I've always sort of had one
Speaker 5: foot in the country. I went for the city I
Speaker 5: grew up.
Speaker 4: I grew up.
Speaker 5: I didn't grow up in Philadelphia. I grew up in Pottstown,
Speaker 5: you know, out in Chester County, and uh, you.
Speaker 1: Know I considered that, Yeah, Phillly adjacent.
Speaker 4: It is, but what I hey, I'm an old guy.
Speaker 4: You know it was. It was in those days. It
Speaker 4: was really good and uh, you know, I grew up in.
Speaker 5: A colonial house, so all that kind of stuff, you know,
Speaker 5: I mean it was as I grew up in that world.
Speaker 4: You know. My family were farmers and you know, and
Speaker 4: so I grew up that way.
Speaker 5: But I was also part of the city. It's always been.
Speaker 5: It's always been kind of schizophrenic with me. It's this
Speaker 5: city and country together, and I sort of need both
Speaker 5: of them. I need one to balance out the other side.
Speaker 1: Do you remember what your very first musical memory was.
Speaker 5: Probably seeing my what my mother and father both were musicians.
Speaker 5: See my mother in a band, I mean, my mother
Speaker 5: was in it was in a band in post Town,
Speaker 5: and I was like, yeah, from the age of two
Speaker 5: years old, I'd watched the band and I always wanted
Speaker 5: to be the band leader, you know, the guy that
Speaker 5: had the he had like a white coat on.
Speaker 4: Everybody else had red coats on. He had a white
Speaker 4: coat on. So yeah, I was I wanted to be
Speaker 4: that guy.
Speaker 3: What does Daryl Hall's mom's voice sound like? What is
Speaker 3: her singing voice?
Speaker 5: She was a soprano. She's ninety eight years old now
Speaker 5: and up man, she's still six, but yeah, she she's
Speaker 5: amazing singer, amazing soprano. And my father was in a
Speaker 5: gospel group, a vocal group, and so I learned harmonies
Speaker 5: from from him and his brothers and his friends and
Speaker 5: all that. So I, you know, I grew up in
Speaker 5: that the whole that whole world.
Speaker 1: Were they closer to do wop or more Mills brothers
Speaker 1: or like harmony?
Speaker 4: Like what was their church harmony? You know, like gospel harmony?
Speaker 1: Okay, but when you say quartet, I'm thinking of I'm
Speaker 1: thinking of below, you know, right? Okay, what's your siblings situation?
Speaker 1: How many are you? How many brothers and sisters do you?
Speaker 4: I have once?
Speaker 5: I have a sister, one sister. She lives up here
Speaker 5: in Connecticut too.
Speaker 1: And she musically inclined as well, she.
Speaker 4: Is, but she's an artist.
Speaker 5: She does all my visuals, you know, she does everyally,
Speaker 5: from my album covers to my T shirts to everything.
Speaker 4: Yeah.
Speaker 1: Really, how long has she been collabing with you?
Speaker 4: Well, as long as we've been alive.
Speaker 1: So even in the days of like she was like
Speaker 1: she was.
Speaker 5: She was the visual artist and I was the singer.
Speaker 5: You know, we both do both things. But that's how
Speaker 5: it sort of panned out even we were kids.
Speaker 1: I know that I've seen you as a keyboard player.
Speaker 1: I believe I've seen you play guitar once or twice.
Speaker 1: But what was your your first weapon of choice growing
Speaker 1: up as far as the instrument that you use Jano?
Speaker 5: Yeah, when I was like five years old, I started
Speaker 5: taking piano lessons, but I was a singer before that.
Speaker 5: You know, my mom taught me how to think because
Speaker 5: she was sort of a vocal teacher too, and she
Speaker 5: taught me how to sing from age zero, you know.
Speaker 4: I mean I was always okay.
Speaker 1: Yeah, Well, I know that you have sort of history
Speaker 1: and Philadelphia proper, So can you tell me what, like
Speaker 1: when you started gravitating towards metropolitan Philadelphia as opposed to
Speaker 1: outside of Pottstown. At what time did you start going
Speaker 1: to Philadelphia proper?
Speaker 4: Short of when I was a teenager, I would go
Speaker 4: I would go in because they used to have trains
Speaker 4: in those days from Pottstown.
Speaker 5: So I used to goin and my friends were in there,
Speaker 5: and and I moved right out of high school.
Speaker 4: I moved to Philadelphia.
Speaker 1: Okay, so you're talking about like the R five or
Speaker 1: the R three, like those high speed trains that Septa.
Speaker 4: Yeah, there was like the Reading Reading railroad and all
Speaker 4: that stuff.
Speaker 6: Yeah.
Speaker 1: Even even when we asked John about the time that
Speaker 1: you guys put in during those those years in the
Speaker 1: sixties in Philadelphia, he said that you would have more
Speaker 1: intricate stories because of your involvement with like Gamble and
Speaker 1: huff and like all those groups around. But could you
Speaker 1: could you basically describe to me what the Philly environment was.
Speaker 1: I guess you know, your teen years was in the sixties,
Speaker 1: so you know, if you wanted to see your like
Speaker 1: of the acts of the day that you saw, like
Speaker 1: where where would you see them? And what acts would
Speaker 1: you see of the day.
Speaker 4: I used to go to the Uptown. I mean I
Speaker 4: I I.
Speaker 5: Lived in the Uptown basically, and I would see everybody
Speaker 5: there and and I was I got involved right away
Speaker 5: with with Kenny and Leon I actually did a talent
Speaker 5: show at the Uptown with the group I had, the Temptones, and.
Speaker 4: We won the talent show.
Speaker 5: So I got a I got a deal, and I
Speaker 5: went to Virtue Studios and did a and did a
Speaker 5: record with the with the Romeos with Kenny Gamble.
Speaker 7: What year was this?
Speaker 4: Around nineteen sixty seven?
Speaker 7: Sixty seven? Got you?
Speaker 3: You must have been a crazy extrovert, not very shy
Speaker 3: like you sound like you were crazy confident from the jump,
Speaker 3: because to go into Philly and just dive in and
Speaker 3: just talk.
Speaker 4: To folks, you know what I have? I always had
Speaker 4: confidence in the music area. I'm not exactly.
Speaker 5: I wouldn't call myself an extrovert by any means, but
Speaker 5: you get when you get into music, then yes, suddenly
Speaker 5: I shine. I you know, I do have confidence.
Speaker 1: Indeed, was it unusual for you in the late sixties,
Speaker 1: because I'm assuming that you're you're kicking it with the
Speaker 1: brothers in terms of like, you know, if you're at
Speaker 1: the you know, having met like Danny and the Juniors
Speaker 1: and and the Dovels and those other like Philly doo
Speaker 1: wop legends that were kind of around my father's era,
Speaker 1: Like you know, I'm not hearing them telling these stories about.
Speaker 2: Yeah, man, we just always good to own town whatever whatever.
Speaker 1: But for you, was there not a novelty factor? But
Speaker 1: was it unusual for people to see a white guy
Speaker 1: be so immersed in soul in the mid to late sixties.
Speaker 4: It didn't seem so unusual. Believe it or not, it
Speaker 4: was it was it was a different time.
Speaker 5: I don't know, man, I mean, will you talk about
Speaker 5: Dovel's they all went Overbrook. I mean, those guys, they
Speaker 5: were they were in it big time.
Speaker 1: Really, I'll be honest with you, because like a lot
Speaker 1: of my education just comes from like the revival shows
Speaker 1: that they were doing in the seventies and eighties, like
Speaker 1: past the I don't know if I have a visual
Speaker 1: of of of any of the Philly legends in their prime,
Speaker 1: you know, late fifties, sixties, because obviously I wasn't born then.
Speaker 5: Guys really well, okay, so Lenny, Mike Freeda and Lenny
Speaker 5: Barry really close friends of mine, and yeah, yeah, they
Speaker 5: were real.
Speaker 4: Man, I mean they came from they came from the
Speaker 4: real thing.
Speaker 1: Well, I got to ask an eyewitness, have you ever
Speaker 1: seen my dad before? This is one of the weirdest
Speaker 1: questions on this show.
Speaker 4: One of the first records I ever bought was your dad.
Speaker 2: Really see again? Only I only know that dad.
Speaker 1: I only know my dad from the second phase of
Speaker 1: his career, because there really was a documentation of, you know,
Speaker 1: of his career before then.
Speaker 2: So I can only go on word of mouth of.
Speaker 3: Oh, I used to see your dad's stories. Then I
Speaker 3: want to know.
Speaker 1: Well, yeah, so okay, Like, can you tell me what
Speaker 1: a typical lineup was in if you were going to
Speaker 1: to the Uptown in Philadelphia, which for our listeners out there,
Speaker 1: you know, there are a few there are a few
Speaker 1: houses for black acts that were quote unquote upscale in
Speaker 1: the Chiplan Circuit. If you're in New York, the Apollos
Speaker 1: a Highlight. If you're in d C, the Howard. If
Speaker 1: you're in Chicago, Uh, is it the State Theater?
Speaker 4: I believe, Yeah, Yeah, I.
Speaker 2: Think it's the State. Yeah.
Speaker 1: And if you're in Philadelphia, you're you're you're at the Uptown.
Speaker 1: Could you explain like what a typical bill would look
Speaker 1: like like is it hosted by Georgie Woods?
Speaker 2: Is it you know, is it an all day thing?
Speaker 4: Like?
Speaker 1: Do you go there twelve in the afternoon, you stay
Speaker 1: till all the shows are over.
Speaker 5: I used to do that occasionally. Yeah, I mean it
Speaker 5: was it was whoever was popular at the time. You know,
Speaker 5: it would be anybody for like Billy Stewart, Demand Lads
Speaker 5: to Well Gladys Slade and the Pips and the Temps
Speaker 5: obviously and everything in between. I mean, it just depended
Speaker 5: who was, you know, who was touring at the time.
Speaker 2: You know, my generation.
Speaker 1: If you go see Okay Run DMC, you're expecting an
Speaker 1: hour or so of just that act. But I mean,
Speaker 1: was there ever an act that I mean, I know
Speaker 1: that James Brown was his own self contained unit, but
Speaker 1: even he had a variety show.
Speaker 2: But was it just expected for like.
Speaker 1: An act to come out and do fifteen to twenty
Speaker 1: minutes and then that's it and you're out.
Speaker 4: Yeah, that was usually the way it was. People didn't
Speaker 4: do long shows. It was it was usually some kind
Speaker 4: of review, you know, in a mixture of people. For sure.
Speaker 3: Okay, I never knew this what review meant, thank y'all.
Speaker 3: I kind of knew that it meant. It was a
Speaker 3: time limit. When you say review referring to a.
Speaker 1: Show, Yeah, like you know, just from the days of
Speaker 1: like well, I meant most people sight yeah, or even
Speaker 1: like modern the modern era of like where Mom Rainey's yeah,
Speaker 1: Mom Rainey's traveling circus and then that sort of you know,
Speaker 1: morphed into vaudeville, which then morphed into the review, which
Speaker 1: I mean at the time only Motown and James Brown
Speaker 1: really had a strong enough presence to carry you know,
Speaker 1: other people with them.
Speaker 2: Multiple Yeah. Back in the day, it was it was
Speaker 2: the radio guy.
Speaker 1: It was the Georgie Wood, you know, the funk reflex
Speaker 1: of that period that would throw these shows and whatnot.
Speaker 1: So were you ever in a house band situation, like
Speaker 1: usually if we talked to New York guys and they say, like,
Speaker 1: you know, I played I was a back and band
Speaker 1: in the Apollo, Like, were you ever in a house
Speaker 1: band situation having to back these acts up when they.
Speaker 5: I didn't do it at the Uptown I did it
Speaker 5: at a couple other places in the Philadelphia area. I
Speaker 5: would do like I I would play with the Stylistics
Speaker 5: or somebody like that, But I didn't do I didn't
Speaker 5: do a lot of background play. No, I was no, no, okay.
Speaker 1: So if you're playing with the stylistics, you know, today,
Speaker 1: it's it's easier for acts to because of the Internet.
Speaker 1: I can easily google something, I can easily easily reference something.
Speaker 1: But in your day, how easy is it to pick
Speaker 1: up someone's music? Or is this just a thing where
Speaker 1: like you hear in the radio a few times and
Speaker 1: you instantly know what the chords are? Like, do you
Speaker 1: get enough prep time to I'm just trying to figure
Speaker 1: out the mind state of a person that is.
Speaker 4: I mean we used to do I did.
Speaker 5: I worked at Sigma a lot, and you know, I
Speaker 5: did a lot of recording with people and just record charts.
Speaker 5: I mean that was how you did it, all.
Speaker 1: Right, So you're a court chart reading Can you name
Speaker 1: some of the singles that you played on and those
Speaker 1: like early.
Speaker 5: I can't even remember. I used to work a lot
Speaker 5: with Norman Harris. He was one of the guys, the
Speaker 5: guitar player and m mfs B you know whatever, and
Speaker 5: uh uh uh, man, I can't you know. I I
Speaker 5: so long ago, man, I I did, Like I remember
Speaker 5: getting to remember doing a Clyde MCFA record, you know
Speaker 5: what I mean, Like that's stick in my mind. We
Speaker 5: did a lot of stuff where we would do demos
Speaker 5: and and it wouldn't even get anywhere. It was this
Speaker 5: guy George Tinley. I used to work with him. Uh,
Speaker 5: I think I played. I think I played on the
Speaker 5: Delphonics record.
Speaker 1: Was it was?
Speaker 2: It?
Speaker 1: Was it a good living? As I mean for you
Speaker 1: like in that time period? Was it was it for you?
Speaker 2: Like? Is it a good living?
Speaker 1: Like Okay, I'm I'm assessing musician or did you instantly
Speaker 1: know Nah, it's it's in front of the microphone, like
Speaker 1: that's where the real that's where I want to be.
Speaker 5: Yeah, it was it was I I wanted to be
Speaker 5: in front of the microphone. I liked doing it, and
Speaker 5: it was it was an experience and I learned it
Speaker 5: and I would be like, you know, I was never
Speaker 5: I was like third string or whatever, you know, but
Speaker 5: I was, you know, I'm still in school and uh
Speaker 5: uh I you know. I did a lot of writing too,
Speaker 5: you know. It was it was sort of a combination
Speaker 5: of studio work and writing at the same time I worked.
Speaker 5: I worked with this guy John Madera. We talk about
Speaker 5: Danny and the Juniors. He wrote he wrote out the
Speaker 5: hop you know, and he really yeah, he was in
Speaker 5: the Schubert building and.
Speaker 4: And and gamble and Huff were like a couple floors down.
Speaker 4: Tommy Bell was in there, so we all knew each
Speaker 4: other and hung out together.
Speaker 5: And uh so it was a combination of being to
Speaker 5: being in the studio and writing at the same time.
Speaker 1: Yeah, well at the time period where Gamble and Huff
Speaker 1: sort of or at least they dropped the anchor as
Speaker 1: the the alphas in this in this Sound of Philadelphia thing,
Speaker 1: which always confused me because you know, I'm assuming that
Speaker 1: you know, not having the aid of liner notes when
Speaker 1: I'm listening to either their work or you know, or
Speaker 1: the work of Dexter Wanzel or any of the other
Speaker 1: second string Philly international people. I'm assuming that you know
Speaker 1: this is all under the guise of Gamble and Huff,
Speaker 1: only later to find out that they were just all
Speaker 1: using the same session musicians and had nothing to do
Speaker 1: with each other. But sonically it all sounded like the
Speaker 1: Sound of Philadelphia and Gamble and Huff. Did you ever
Speaker 1: at one point like try to approach them and say like, hey,
Speaker 1: I produce an I singer song, right like.
Speaker 2: Can I join the fray?
Speaker 1: Or was it instantly like I want to establish my
Speaker 1: own thing and not be under Yeah.
Speaker 5: That's what happened actually is Kenny actually said to me,
Speaker 5: would you like to him to Philly International and write
Speaker 5: and do whatever you know, the record and and that
Speaker 5: was just when I was get ready to leaf for
Speaker 5: to go to to move to New York with John.
Speaker 5: And I said, well, you know, I was tempted, I
Speaker 5: got to say, but I figured that what we wanted
Speaker 5: to do what became the Hall and Oaks sound or
Speaker 5: whatever it was.
Speaker 4: It was.
Speaker 5: It was a Philly sound, but it wasn't the gamble
Speaker 5: and hoofs sound, you know. And I wanted to do
Speaker 5: my own thing, just what you said. I wanted to
Speaker 5: to create my own version of Philly music. And so
Speaker 5: I turned that idea down.
Speaker 1: You know, John had casually mentioned how you two had met,
Speaker 1: but I got to hear the details. He he mentioned
Speaker 1: that I guess a fight had broken out at a
Speaker 1: show and that's how you met.
Speaker 2: But could you tell us how you met.
Speaker 5: We've told that story so many times, I mean singlely
Speaker 5: and together.
Speaker 2: Uh, I mean listeners have not heard that.
Speaker 5: I guarantee you there was a record hop out in
Speaker 5: the Adelphi Ballroom in West Philly.
Speaker 4: And the Second Street, Yeah, and that's where it was.
Speaker 4: And and uh, I forget who was on the bill.
Speaker 5: I remember our tate was on the bill and and
Speaker 5: uh five stair steps and and and then they had
Speaker 5: you know the bottom of the bill was the Temptones
Speaker 5: and John's band and uh and uh.
Speaker 4: We you know, we were waiting to go on.
Speaker 5: We were and and you know those days, ship happened
Speaker 5: and in some kind of fight broke out and they
Speaker 5: and they closed the whole thing down and it was up.
Speaker 5: It was on a second floor, so we had to
Speaker 5: get in an elevator to go downstairs to go to
Speaker 5: go to the street. And that's how I met John.
Speaker 5: He was in the elevator with me, you know, and
Speaker 5: I said, hey, when you go to Temple University blah
Speaker 5: blah blah, and uh uh we we started kind of
Speaker 5: being friends, you know, hanging out.
Speaker 1: What was it?
Speaker 2: Where was your major at Temple Music? Okay? Did they
Speaker 2: have an RTF program backman? Or was that?
Speaker 4: Like?
Speaker 5: Yeah, John was RTF. I believe he was a journal
Speaker 5: He was a journalism of RTF.
Speaker 4: Kind of major. But I was a music major.
Speaker 2: First of all.
Speaker 1: How many members were the Temptones? I know, you guys were.
Speaker 1: It was an imitations and influence, but.
Speaker 5: It was a revolving We call it Temptones because of
Speaker 5: Temple University now because of Temptations.
Speaker 2: Oh wow, Okay, see okay, I thought it was.
Speaker 5: But yeah, it was revolving, but it was basically at
Speaker 5: the same time singing it would be four people.
Speaker 2: Yeah, I get it.
Speaker 1: So what was the deciding factor that that told you like, okay,
Speaker 1: well let me try this out, you know, leaving it
Speaker 1: like it's the Temptones only thing. It's like casual school stuff,
Speaker 1: casual Philadelphia stuff. And they weren't serious about it or
Speaker 1: were you more serious than they were?
Speaker 5: Well, yeah, probably, I probably was. But it all just
Speaker 5: came out of street corner music. I mean that's how
Speaker 5: it all started, you know, digging together and then we
Speaker 5: decided to call it something, and it was various people
Speaker 5: coming in and out, and and then we eventually we
Speaker 5: got we got a little rhythm section to back us
Speaker 5: up and event and John wound up being one of
Speaker 5: those people at the very very end, and that's how
Speaker 5: sort of continued, you know, the whole it kind of
Speaker 5: morphed into just being John working together and writing songs.
Speaker 1: I was like as a singer at least back then
Speaker 1: like who who was your north star? Who? As far
Speaker 1: as like who you idolized as a singer? And then
Speaker 1: I guess who were you not emulating?
Speaker 2: But who do you felt like.
Speaker 1: Influenced your your your vocal style?
Speaker 5: I mean I was trying and you know Smokey loves
Speaker 5: and then I and I loved all the same are
Speaker 5: the Temptatians. I was really into all that stuff. But
Speaker 5: a lot of street corner people. You know, uh, your
Speaker 5: father man, I loved him later, you know Felipe Winn
Speaker 5: you know.
Speaker 7: Uh yeah, Spinners and.
Speaker 5: These are the people that I idolized and I I
Speaker 5: will Yeah, I guess when I was a kid emulate,
Speaker 5: Yes for sure.
Speaker 8: Well, I mean just in terms of influence, That's all
Speaker 8: I was going to say. Costello mentioned mister Wynd also
Speaker 8: from the Spinners as his his all time you know,
Speaker 8: vocal idol.
Speaker 2: Now he's a monster.
Speaker 3: Darryl. Can I just ask what your parents have are
Speaker 3: thinking on your journey, Like did they expect you to
Speaker 3: just be an art I mean it's a blessing that
Speaker 3: you had two parents there were artists, But were they
Speaker 3: thinking that's where you were going to go? And were
Speaker 3: they happy about it?
Speaker 5: They always supported me, always supported me. There was never
Speaker 5: any question about it. To tell you the truth. They
Speaker 5: wanted to make sure I was going to like do
Speaker 5: something that I would make some money yet right hopefully,
Speaker 5: But it was you know, they always supported me, always, always.
Speaker 7: That's so dope, man.
Speaker 8: With John was the chemistry with you guys, honest, mostly
Speaker 8: on the songwriting tip or was it a musical thing
Speaker 8: or vocal vocal harmony kind of thing.
Speaker 5: It was sort of songwriting more than anything. I was
Speaker 5: interested in what he was doing because he was he
Speaker 5: was way out of my realm of experience.
Speaker 4: You know.
Speaker 5: He liked bluegrass music and all the stuff that I
Speaker 5: had never heard of, you know, or heard I heard of,
Speaker 5: but I never heard and I was sort of you know,
Speaker 5: I was in my student mode, so I was learning
Speaker 5: about all these things, and so I was really interested
Speaker 5: with what he brought to the table that way. So
Speaker 5: it was more of a friendship than anything else, tell
Speaker 5: you the truth.
Speaker 4: I mean, we.
Speaker 5: Decided we were going to share a stage but be
Speaker 5: very separate, which we've never changed. You know, he has
Speaker 5: his own musical style. I got my own one week
Speaker 5: somehow put it together when we when we work together.
Speaker 5: But yeah, it was more. It really evolved from a
Speaker 5: friendship to something a little more than that.
Speaker 1: The original al Cast, original mob.
Speaker 8: Yeah, you both write music and you both wrote lyrics,
Speaker 8: and it was how did that work?
Speaker 5: Occasionally we would work together, That's how it worked, Like
Speaker 5: said the song She's Gone, that's h I would call
Speaker 5: it exception to the rule, if you want the truth.
Speaker 5: John John writes his own kind of songs, and and
Speaker 5: I write mine, and occasionally we would collaborate on lyrics,
Speaker 5: and I would throw things at him. And I also
Speaker 5: collaborate with other people like this. The Allen sisters Sarah
Speaker 5: Allen and her sister Jennau wrote a lot of songs
Speaker 5: with with me and and I would jump into that too.
Speaker 1: Sometimes, are you protective of your work to the point
Speaker 1: where you're not easily persuaded or persuadable when it comes
Speaker 1: to like, Okay, if you submit a song, is it
Speaker 1: you know?
Speaker 2: This is this? Is it? Or is it? Hey? Why
Speaker 2: don't you try this idea?
Speaker 4: No?
Speaker 1: No no, no, no.
Speaker 2: No fix that around.
Speaker 1: I mean I could see the producer doing that. I
Speaker 1: mean in terms of like if Todd's producing or whatever.
Speaker 1: But like with you and Daryl, like are you too,
Speaker 1: allowed to offer unsolicited suggestions of a.
Speaker 5: You know, absolutely the reason I love collaboration. I like
Speaker 5: bouncing off ideas back and forth. John's participation in my
Speaker 5: songs is more like, what do you think of this?
Speaker 5: And then he say, well, once you try that? Or
Speaker 5: is singing that?
Speaker 4: Or do that? And I would generate the song or
Speaker 4: sometimes one of the like Janna Allen would bring a
Speaker 4: song in and I would do that with her. You know,
Speaker 4: works like that. Yeah, very flexible.
Speaker 3: Very you mentioned she's gone, but I don't think we
Speaker 3: got to hear you when you broke down the workflow
Speaker 3: of that song.
Speaker 5: We sat and wrote that. John came up with a
Speaker 5: chorus and it was sort of a more folky kind
Speaker 5: of style, and I said, okay, why don't we do
Speaker 5: it this way? And I started playing that piano riff
Speaker 5: that is the signature of the song. And then and
Speaker 5: I did all that, and then we sat down and
Speaker 5: we wrote lyrics about it. I mean, that was a
Speaker 5: real whole song. We sort of pulled our experiences. There
Speaker 5: were things that were going on with both of us
Speaker 5: separately at the time, and we kind of mixed it
Speaker 5: together and turned it into the what the lyrics are
Speaker 5: that song and then we took it to Atlantic when
Speaker 5: we played it for a reef, He's the one that
Speaker 5: put those that crazy modulation idea into it.
Speaker 1: How does a group pursue a record deal in the seventies?
Speaker 1: You know, now we're in a time where you can
Speaker 1: go viral on YouTube. Someone sees it and chances are
Speaker 1: they'll stalk you and see what your situation is and
Speaker 1: signed to me. But how do you how do you
Speaker 1: gain the attention of the industry? Like when you when
Speaker 1: you and John are like, all right, we're going to
Speaker 1: do this. What's the what's the step in the process
Speaker 1: of getting a record deal?
Speaker 5: We you know, we knocked on doors in New York
Speaker 5: City and everybody liked us, and then we get the word,
Speaker 5: well they liked you, but you know they turned us down,
Speaker 5: so we we want long story show. We actually went
Speaker 5: to la and uh we we went out there and
Speaker 5: we were knocking around. We were introduced to some people
Speaker 5: and I was introduced John and I were introduced to
Speaker 5: this guy named Earl McGrath who had this tiny label
Speaker 5: that was an indie label subsidiary of Atlantic. It was
Speaker 5: called Clean Clean Records, and Earle wanted to sign us.
Speaker 5: He liked what he heard and he said, okay, I'll
Speaker 5: sign you and then he he took it back to
Speaker 5: New York and we auditioned for Ahmed and and a
Speaker 5: Reef and I remember I had the flu man. They
Speaker 5: gave me this piano where all the notes were sticking
Speaker 5: on it, and it was it was the worst audition
Speaker 5: in the world. And whatever happened, a Reef really liked it,
Speaker 5: Amon really liked it. So they basically stole it from Earl.
Speaker 5: They stole us from Earl, and we wound up going
Speaker 5: to Atlantic and that's how we did it.
Speaker 1: My dad mentioned what what we commonly say as a showcase.
Speaker 1: I don't know showcases are as common now as they
Speaker 1: were back then.
Speaker 2: But when you're saying we audition, is it a.
Speaker 1: Thing where you book a gig at the bottom line
Speaker 1: or a club and they come see you. Or are
Speaker 1: you in a confined s I R. Situation or I know,
Speaker 1: like Atlantic has their own facility and room like that,
Speaker 1: Like do you set up there and then you just
Speaker 1: performed for ten suits in a room? Is it is
Speaker 1: that process more jarring and weird like to.
Speaker 4: Yeah, it was. It was.
Speaker 5: It was really like I said, I all the all
Speaker 5: the conditions were the worst.
Speaker 4: We were in this little room with this.
Speaker 5: Shitty panel, I mean, with with the keysticks stuck and uh,
Speaker 5: and we had and across from me on the other
Speaker 5: side of the room was Ahmed a Reef and uh,
Speaker 5: I don't think it might have been Jerry Wexler, I
Speaker 5: can't remember, but they were watching us and it was
Speaker 5: just being John and I'm playing playing like I can't
Speaker 5: even remember what I played. And I thought it went terribly,
Speaker 5: but I guess they saw something, you know, they they
Speaker 5: saw through it all and that's how it was. It
Speaker 5: was really personal.
Speaker 1: Addition, he talk about like, uh, you know, mister Martin
Speaker 1: is one of my idols because one of my favorite
Speaker 1: groups ever was the Average White Band. So having read
Speaker 1: his name on you know, on Average White Band and
Speaker 1: Wreatha Franklin and Donnie Hathaway, can you talk about working
Speaker 1: with Reef Martin as far as his production style and
Speaker 1: what was it like for you?
Speaker 5: He was he was the greatest producer man. I mean,
Speaker 5: in my opinion, a Reef and Quincy are the two
Speaker 5: great producers of all the of the era. And he
Speaker 5: allowed a Reef allowed the artist to do. He was
Speaker 5: so flexible. I can't even describe it. It was he
Speaker 5: allowed you to shine. He had this uncanny ability to
Speaker 5: figure out what it is that you were good at doing,
Speaker 5: and where where where the spark was, and developing that spark.
Speaker 5: And he could add all kinds of He had no
Speaker 5: boundary at all. He would mix genres, He he would
Speaker 5: mixed eras and everything all at once together whatever you
Speaker 5: whatever the the song needed or he thought it would
Speaker 5: it would need, he would just add it. And he
Speaker 5: had an incredible, like an encyclopedic knowledge of of every
Speaker 5: kind of music. And it was it was a really
Speaker 5: amazing And he was such a a gentle guy, but
Speaker 5: yet he knew he knew how to drive the bus.
Speaker 5: And he he was an amazing producer as he That's
Speaker 5: all I can say about it.
Speaker 1: Was he uh hands on in terms of soup the nuts,
Speaker 1: as far as far as picking the songs, picking the mix,
Speaker 1: the mixer, staying there for the mix, Yeah, sequencing your album,
Speaker 1: suggesting singles. Like when he takes on a project, is
Speaker 1: he literally watching every iota of it or is it like, okay, guys,
Speaker 1: I won't be here next week, but that like Jerry's
Speaker 1: going to sit in for me.
Speaker 2: I got to work with the RIFA for this thing.
Speaker 1: And or is it like once he's on your project,
Speaker 1: it's just you and you alone, or are you scheduled
Speaker 1: in between other stuff?
Speaker 4: No, it was he.
Speaker 5: Would do it one at a time. And you mentioned
Speaker 5: Average White Band, who are good friends of mine. He
Speaker 5: went directly. He went directly from Carly Simon to Hall
Speaker 5: and Oates to Average White Band. That was the three
Speaker 5: three things that a row he did okay that period
Speaker 5: of time, and but he would devote whatever it was
Speaker 5: to each one. He didn't mix and match.
Speaker 1: And because I was wondering if he if he loses
Speaker 1: his ears, like if he's working with you on Thursday
Speaker 1: and then he has to you know, start doing pick
Speaker 1: up the pieces tomorrow, Like is it possible for him
Speaker 1: to lose his ears?
Speaker 5: Or well, I don't think it was, because he's he
Speaker 5: had the ability to do that.
Speaker 4: He would just switch projects. But he didn't.
Speaker 5: He you mentioned before, he didn't have nothing to do
Speaker 5: with picking singles.
Speaker 4: Or he would an r it. He would.
Speaker 5: I'd sit there and play songs for him, and he said,
Speaker 5: well this is a good one. Okay, let's walk and
Speaker 5: he would do that. But uh, and then to develop
Speaker 5: the song from beginning to end. But then once the
Speaker 5: song was done, then that that was that it was over.
Speaker 5: You know, he didn't he had nothing to do with
Speaker 5: like this is a good single that was for other people,
Speaker 5: which is the way it should have been, to tell
Speaker 5: you the truth.
Speaker 1: So a song like She's Gone, which is full of drama. Yeah,
Speaker 1: and of course once you get to the payoff key
Speaker 1: of that modulation build, you gotta sell that She's gone.
Speaker 2: Like how how is he?
Speaker 1: Is he nurturing as a producer in terms like that
Speaker 1: or is it like do it again?
Speaker 2: Do it again? Do it again?
Speaker 1: Like?
Speaker 4: No?
Speaker 5: He that that particular one that was just what can
Speaker 5: I say? That was just inspiration from me. I just
Speaker 5: did that, you know, I just opened my mouth.
Speaker 4: And that's okay. I can't even don't know what anymore about.
Speaker 1: But and he lets you, and he lets you suggest
Speaker 1: things and let it happen.
Speaker 4: He let it happen. He went and to keep one.
Speaker 4: Oh that was rudy good. You know he afterward he
Speaker 4: was saying, yeah, that was the ship. He didn't he
Speaker 4: didn't even say even think about saying, can you do
Speaker 4: that again? He just it was it was there, It was.
Speaker 1: I know the story She's gone is that, you know.
Speaker 1: Not many people know that the Tavares brothers from Boston
Speaker 1: actually took that song to the top ten before you
Speaker 1: guys did, even though your version is and now in
Speaker 1: our minds, the definitive version. But were you kind of
Speaker 1: confused or perplexed that your first hit single was actually
Speaker 1: a cover song of your song?
Speaker 4: Yeah, it was a weird thing. It was.
Speaker 5: I was boy, you know, it's a long time ago.
Speaker 5: But our enthusiasm right over over rode our frustration, if
Speaker 5: you know what I mean.
Speaker 1: But is it like seeing your girlfriend with another guy
Speaker 1: or is it just like, hey, I'm in the top
Speaker 1: ten and I wrote this song, so here comes the month.
Speaker 5: Yeah, I mean, I just I can't say I was
Speaker 5: pissed off because I just felt that was the way
Speaker 5: of the world at the time, and I didn't have
Speaker 5: any expect I didn't have any expectations whatever happened.
Speaker 4: I just I rode the horse with whatever direction was
Speaker 4: going in.
Speaker 5: And if Tavares has a hit with it, okay, well
Speaker 5: I wish it was me, but it was them.
Speaker 4: So that's all I can say. You know.
Speaker 1: What was the decision behind working with Todd on the
Speaker 1: War Babies record and not staying with a wreath to
Speaker 1: see if you guys can go further with it.
Speaker 4: I just I.
Speaker 5: Felt that I wanted to do something completely different. I
Speaker 5: don't know what my mindset was in those days. I
Speaker 5: moved to New York City. I wanted to sort of
Speaker 5: like expand my musical world outside of the my sort
Speaker 5: of my Philadelphia, you know, that the Philly sound thing,
Speaker 5: and I wanted to go completely different. I don't know
Speaker 5: why I did, but I did. And I thought that
Speaker 5: maybe working with Todd would be a good thing because
Speaker 5: he did the same thing. He's a Philly guy that
Speaker 5: left New York and created his own musical world. And
Speaker 5: I thought that it would it would be interesting to
Speaker 5: see what would happen if we if he would get
Speaker 5: together with us, and what would come out of it,
Speaker 5: and that that was really what it was all about.
Speaker 1: And were you an immense fan of his early records
Speaker 1: and or the albums that he was doing at the time.
Speaker 5: Yeah, I liked what he was doing. I really liked
Speaker 5: what he was doing at the time with Utopia. It
Speaker 5: was it was really okay.
Speaker 1: Well, having having discovered his disciography twenty years after the fact,
Speaker 1: you know, I discovered him once. It's already established that
Speaker 1: this guy is like a crazy genius. But at the
Speaker 1: time when it's coming out, you know, was it unusual
Speaker 1: because Todd Todd's whole cannon is really it was forward
Speaker 1: thinking for the time period, because he's like one of
Speaker 1: the examples of what we now call the bedroom musician.
Speaker 1: Of course we're used to it now post prints and
Speaker 1: now anyone practically today is a bedroom musician. But that
Speaker 1: was like really unusual back then. And he will push
Speaker 1: the buttons, create creatively on all of his records. Was
Speaker 1: he ever trying to pass his zany ideas onto you guys, like,
Speaker 1: you know, to really push the edge of art as
Speaker 1: far as it can go?
Speaker 4: Well, I was.
Speaker 5: I was into that headspace, so he didn't have to
Speaker 5: push me.
Speaker 7: I was.
Speaker 4: I was right there with him. I said, how far
Speaker 4: can we go?
Speaker 1: That was the whole idea, And how how receptive was
Speaker 1: at the time.
Speaker 4: Not that perceptive? Receptive?
Speaker 1: Okay, Hence.
Speaker 4: I get it.
Speaker 2: I get it.
Speaker 1: Can you talk about Sarah Smile and just the inspiration
Speaker 1: behind it?
Speaker 2: It's one of your most loved songs.
Speaker 5: You know, Sarah Allan, me and John were sharing an apartment,
Speaker 5: a two bedroom apartment in Yorkville, and I had I had,
Speaker 5: I had a keyboard and I just played the song.
Speaker 5: You know, I was writing the song. It just came
Speaker 5: out of real life. I mean, I can't say more
Speaker 5: than that. I just wrote the song about what was
Speaker 5: going on around me.
Speaker 1: I mean, was he receptive in these flowers that you're
Speaker 1: I'm now mocking on paid Bill? Was he receptive or
Speaker 1: was it like cringey like a man, like now you're
Speaker 1: going to mortalize me for the rest of the Like
Speaker 1: what was there feeling towards this song? And actually, can
Speaker 1: you how did you guys meet?
Speaker 5: We met at Philadelphia. John metter and and and introduced
Speaker 5: me to her and and uh we all we all
Speaker 5: sort of uh she she worked for a charter airline
Speaker 5: and that's where Vegas Turnaround came from.
Speaker 4: And uh uh and we all decided to move to
Speaker 4: New York at the same time. It was could she sing?
Speaker 4: She could sing? She's not she could sing, and she
Speaker 4: she's actually a really good songwriter.
Speaker 3: Wow, in retrospect, since we know, since you didn't know
Speaker 3: it was gonna be such a hit song. Would you
Speaker 3: have changed the name if you would have known you'd
Speaker 3: be singing the song so often?
Speaker 4: Oh, I don't know, you know.
Speaker 5: After saying and I split up, man, she says she
Speaker 5: couldn't go to the supermarket for bet.
Speaker 2: Yeah, that's what I'm saying. How is it, how.
Speaker 1: Like I'll never sing that song again if you guys
Speaker 1: break up and you know.
Speaker 5: Yeah, but you know that song, that song transcends relationships
Speaker 5: and all that. It's you know, it's it's a bigger
Speaker 5: than that, you know.
Speaker 3: And every Sarah in the world, and it's just about her.
Speaker 3: So it's great.
Speaker 4: True, that's true.
Speaker 2: So the time period between.
Speaker 1: The I'm about to say the silver cover of the
Speaker 1: Darrel Hall and John Notes self title record with Sarah
Speaker 1: on it. Yeah, between that and you know, between I
Speaker 1: think Faces, you know, there was kind of a period
Speaker 1: or not Face's voices forgive Me in eighty that.
Speaker 2: That five year period where.
Speaker 1: You know, you guys weren't exactly sticking in terms of
Speaker 1: finding an audience that's recepted to you. Just between that period,
Speaker 1: what was it like between seventy five.
Speaker 2: And eighty.
Speaker 4: Well, we had rich Girl first, Well yeah, I mean yeah.
Speaker 5: Yeah, but but it was you know, in music, it
Speaker 5: was a transitional time. There was that weird shit going on,
Speaker 5: you know, rock versus disco and all that, and man,
Speaker 5: that that put that put that put us in a
Speaker 5: really strange place because I you know, it was a
Speaker 5: time of categorization and and what's cool and what's not
Speaker 5: cool and all this stuff, and it was a hard
Speaker 5: it was a hard hard to figure out how to
Speaker 5: how to maneuver through all that.
Speaker 4: It was.
Speaker 5: It was a really strange time. And it seemed like
Speaker 5: in nineteen eighty it turned around and something else happened.
Speaker 5: Also we started producing ourselves and that changed. I don't know,
Speaker 5: I think the world changed.
Speaker 4: And we changed.
Speaker 1: So, having spoken with our previous QLs guess Denise Williams
Speaker 1: about her experiences, I know that David Foster produced the Along,
Speaker 1: the red Ledge Record and the Static record. What was
Speaker 1: it about? What was it one?
Speaker 2: What was it like working with David Foster?
Speaker 1: And you know, I'm trying to it's weird because whenever
Speaker 1: David Foster enters the picture for any artist, at least
Speaker 1: between the period of like the late seventies to the
Speaker 1: mid eighties, it's rather controversial. But you know, as far
Speaker 1: as his work with Earth, Wind and Fire Denise Williams, Chicago,
Speaker 1: Like whenever there's a documentary, it's always like and then
Speaker 1: David Foster came in, it's like that, and he always
Speaker 1: drastically changes the sound. So one, why did you guys
Speaker 1: choose David Foster? And you know what was that experience
Speaker 1: like working with them?
Speaker 4: Well, actually Tommy Mattola chose him.
Speaker 1: So okay, well livingly ask you well at the time,
Speaker 1: I mean, he wasn't the time of Watola. I grew
Speaker 1: up knowing like the established CBS, you know, executive.
Speaker 2: How did you guys discover Timmy went.
Speaker 4: I've known Tommy since he was twenty twenty years old?
Speaker 4: He uh, he.
Speaker 5: Was working at Chapel Music. He was our first manager.
Speaker 5: We were a trio. It was Mattola, me and John
Speaker 5: and and and and that's I mean, he was our manager.
Speaker 4: True.
Speaker 2: I can't imagine Tom Rattola is a teenager.
Speaker 4: He was pretty much the same, just younger.
Speaker 3: And how is he good enough to be your manager
Speaker 3: as a team? Like, how did you see that as
Speaker 3: a teenager?
Speaker 4: Yeah? What did he show? Y'all?
Speaker 5: Yeah, he's one of those people just acts like a manager,
Speaker 5: even if Yeah.
Speaker 1: So when did he was he managing guys from the beginning,
Speaker 1: the very beginning.
Speaker 4: Yeah, we were his first project or whatever you want
Speaker 4: to call it. We were a team.
Speaker 5: It was me, John Mey and Tommy and it was
Speaker 5: that way all the way up till he discovered Mariah
Speaker 5: Man and then he don't mean.
Speaker 1: Wow sound by for Yeah, it's okay.
Speaker 8: Everybody's always talking about Hall and Oates albums, and rightfully so,
Speaker 8: but you also release solo records and in seventy seven
Speaker 8: you work with Robert Fripp on Sacred Songs.
Speaker 7: So can you tell us what was the.
Speaker 8: Impetus for releasing a solo prod pict a that in
Speaker 8: that year and what was the story it took like
Speaker 8: three years for to come out.
Speaker 4: Yeah.
Speaker 5: Yeah, Well one of the reasons we're talking right now
Speaker 5: is because I have a whole project. I'm releasing all
Speaker 5: my solo records. You know, I've done all you know,
Speaker 5: I have a whole like parallel universe of music that
Speaker 5: I've I've been doing since the seventies. But to talk
Speaker 5: about Robert, Robert and I became friends and we just
Speaker 5: decided we were going to try and see what would
Speaker 5: happen if we put if we work together, and we
Speaker 5: did that album in seventy what was it, seventy eight,
Speaker 5: seventy seven, immediately rat up against the machine that was
Speaker 5: trying was unrecepted to the idea that I was not
Speaker 5: doing Rich Girl Junior, you know, and doing something different,
Speaker 5: and and they didn't want to hear about it. And
Speaker 5: that's that's been sort of a recurring theme with whenever
Speaker 5: I do my projects, it always sort of takes the
Speaker 5: back seat to the cash cow and very frustrating.
Speaker 1: And have you ever wanted to keep a song for
Speaker 1: yourself or is it are you basically just saying that, Well,
Speaker 1: I write for projects.
Speaker 5: I write for projects. The difference to me, it depends
Speaker 5: on who we're working with. So I I don't think
Speaker 5: I ever said I'm going to hold this song for
Speaker 5: a solo record, or hold this song for a Hole
Speaker 5: and Oates record or anything like that. Just you know,
Speaker 5: I work for projects.
Speaker 2: You know.
Speaker 1: One of the very first sounds of a drum machcene
Speaker 1: that I've ever heard was, I mean, at the time
Speaker 1: that I was a of it was I can't go
Speaker 1: for that. As far as like technology is concerned and
Speaker 1: all those things, like for you Can you just explain
Speaker 1: how you know, how intricate or how involved you were
Speaker 1: with like finding new sounds and whatnot. I don't know
Speaker 1: if it's like you purposely wanted to find a new sound,
Speaker 1: but you know, I can't go for that. It was
Speaker 1: such a radical sound that what was U kind of
Speaker 1: the standard for what was sonically the standard for music.
Speaker 1: Can you just explained that process? I mean, so stripped
Speaker 1: down but so timeless at the same time.
Speaker 5: Yeah, it's it's a funny thing. It happened by accident.
Speaker 5: There was no plan. I sat down and I turned
Speaker 5: on a roll in copy rhythm, which is the simplest
Speaker 5: drum machine that you could ever imagine, and it was,
Speaker 5: and I pushed rock and roll on, which is that beat,
Speaker 5: and I started playing. I had this cork organ and
Speaker 5: I started playing the bassline to it, and then I
Speaker 5: started playing the right hand to it, and that's.
Speaker 4: Where the song came from.
Speaker 5: I mean, it all just happened spontaneously and there was
Speaker 5: no no plan to I was just using what was
Speaker 5: in front of me.
Speaker 4: It was really like that.
Speaker 1: You mentioned Quincy Jones earlier, having worked with both of them,
Speaker 1: did you are there any stories or experiences from that.
Speaker 1: How surreal was that night doing USA for Africa? Well,
Speaker 1: I know that you were part of the We Are
Speaker 1: the World recording.
Speaker 4: It was.
Speaker 5: It was one of the weirdest things that I've ever
Speaker 5: done in my life.
Speaker 8: Talk about it, well, first, first of all, I mean,
Speaker 8: I'm the whole idea is that you're not allowed to
Speaker 8: You're not allowed.
Speaker 4: To bring anybody in with you into the room.
Speaker 5: So that's that's a big change for most people, you know,
Speaker 5: because everybody's got their people that they walk around with
Speaker 5: and they hang with and they depend on and do whatever.
Speaker 5: And no one was allowed in the room except for
Speaker 5: the actual artists that were performing and working. So we
Speaker 5: were all in there together and I didn't know everybody.
Speaker 5: I mean, it was it was an outrageous assemblage of people.
Speaker 5: I mean it was like, right, Charleston at the piano,
Speaker 5: and Diana was there, and Tina Turner and I I'm Dead,
Speaker 5: on and on and on, and.
Speaker 4: It was nobody knew how to act because it was awkward.
Speaker 4: It was awkward, So everybody reverted to being like.
Speaker 5: An eighth grade chorus because we're all all standing on
Speaker 5: those you know, the police, and that's how people started
Speaker 5: acting they started to like kids, and everybody's like making
Speaker 5: these weird kind of like kid jokes and stuff, and
Speaker 5: everybody asking each other.
Speaker 4: For their autographs and all this kind of thing and
Speaker 4: really being really open.
Speaker 5: I've never seen a group of artists be so open
Speaker 5: with each others as they as they we all were
Speaker 5: that night, and it went on too.
Speaker 4: It went on well into the night. You know, some some.
Speaker 5: People were still there at like four o'clock in the morning,
Speaker 5: and it was it was crazy.
Speaker 4: It was really it was a crazy experience.
Speaker 2: In cutting those vocals.
Speaker 1: Is it intimidating, like doing it in front of other
Speaker 1: artists or are you the kind of guy that needs
Speaker 1: to be isolated in a room alone to give your
Speaker 1: best performance? Like what's your modus operandi?
Speaker 2: What do you prefer?
Speaker 4: Actually? I like doing it in front of people. It works,
Speaker 4: It works for me.
Speaker 2: I mean, so that pressure is good for you, Yeah, that's.
Speaker 5: Yeah, Yeah, it makes me do my best work. I
Speaker 5: just opened my mouth and said that little bit that
Speaker 5: I did. I just sang it. That was it, you know,
Speaker 5: one take. But some people had to redo their stuff.
Speaker 4: But it was differ, you know, I get it.
Speaker 1: I would also like to ask you about the Apollo
Speaker 1: Record with Eddie and UH and David. Well, okay, you
Speaker 1: told me that Timptones were more based on Temple. I
Speaker 1: always were from the Temptations. But could you describe your
Speaker 1: fandom for the Temptations, like and how was that a
Speaker 1: special moment or was it just like okay, that was.
Speaker 5: Cool and no, no, no, it was it was. It
Speaker 5: was one of the special moments. I mean, you're you're
Speaker 5: hitting on all the things that actually matter.
Speaker 4: Yeah. Yeah, with the Temptones were Temple University.
Speaker 5: But I idolized the Temptations and I and I got to
Speaker 5: know them back in those days.
Speaker 4: There's a picture of me with those guys back then
Speaker 4: in nineteen sixty seven, and I really did get to
Speaker 4: know them all and hung out with them, sang with them,
Speaker 4: did all that kind of stuff. I was especially friends
Speaker 4: with with with Paul Williams and Eddie and.
Speaker 2: You knew Paul Williams.
Speaker 1: Wow, oh god, please, could you Okay, I've never heard
Speaker 1: of Paul Williams story in my life.
Speaker 2: Can you just describe.
Speaker 5: One time I took him to Linton's Diner out in
Speaker 5: West Philadelphia and Overbrook Park and I was I was
Speaker 5: the celebrity of the Evening Man because I put him
Speaker 5: into this fucking diner.
Speaker 3: Oh yeah, yeah, you.
Speaker 5: Brought Paul Williams because you know, everybody was a Temptations fan,
Speaker 5: and I brought him into the place.
Speaker 4: Man, And I really like Paul.
Speaker 5: I had a lot of heart to heart talks with
Speaker 5: Paul Man and he used to listen to the records
Speaker 5: and listen to my songs and stuff.
Speaker 3: I was just about to ask you, what did some
Speaker 3: of the guys think of your voice and what you did? Like,
Speaker 3: what did the Temptations say about that?
Speaker 5: I actually sometimes after hours I'd go into one of
Speaker 5: their rooms or whatever, and they'd all sit around and
Speaker 5: sing and wow, David was never there. David was never there.
Speaker 5: He was always someone Yes, well I take David's parts,
Speaker 5: and I.
Speaker 3: Really and they would say what I just want to
Speaker 3: I just I feel like I want to know about
Speaker 3: the like the first time they heard your voice, and
Speaker 3: there's like.
Speaker 5: I guess they saw what or heard what they heard,
Speaker 5: you know. I mean that's all I can say.
Speaker 7: Yea, the fact they let you come into room that says.
Speaker 5: That one of the double bets, you know, and sing
Speaker 5: sing ship damn.
Speaker 1: Wow, that's okay. So I mean for me, that's like
Speaker 1: to make an album with my idol. You know, that's
Speaker 1: that that is special. I'm glad that was a good
Speaker 1: experience for you. Any memories of the Three Hearts, uh
Speaker 1: and a happy Ending Machine record. I know that by
Speaker 1: that point, even though you two will have made like
Speaker 1: one or your your final, at least of that hall
Speaker 1: of notes run the one for Arista. In making that
Speaker 1: good and working with with with David Stewart and and
Speaker 1: oh my god, I didn't even mention t Bone your
Speaker 1: bass player and and your musicians.
Speaker 2: What was that for you? What was that process?
Speaker 1: Like?
Speaker 5: Well, Dave and I again, we I tend to work
Speaker 5: with people that I get friendly with.
Speaker 4: First. David and I got friendly and we.
Speaker 5: Started writing songs together right away. I mean we're still
Speaker 5: really close friends. And uh, it was it was very natural.
Speaker 3: You know.
Speaker 5: He had his own studio in London, and actually we
Speaker 5: started it in Paris because he just wanted to do
Speaker 5: something different, and we wound up uh doing a good
Speaker 5: part of that album in Paris. But uh, t Bone
Speaker 5: was sort of the in the middle of it all.
Speaker 5: He was the voice of reason because David, David is
Speaker 5: very he and I are very similar. You know, we
Speaker 5: just go for it, you know, and it's all over
Speaker 5: the place and and and we.
Speaker 4: It's it's very loose and spontaneous, and T Bone.
Speaker 5: Was sort of holding down the ford and he was
Speaker 5: the you know, the voice of reason within it all.
Speaker 5: And so that's what it was like. It was it
Speaker 5: was it was a lot of fun making that record.
Speaker 2: How did you guys induct him?
Speaker 1: You know, even before like we got to know musicians
Speaker 1: or whatnot, you guys had like a really charismatic band.
Speaker 2: So you know, I knew of of t Bone, I
Speaker 2: knew of.
Speaker 1: Your guitarist, Like, how did how did you guys assemble
Speaker 1: that particular band?
Speaker 2: Were they just like New York's finist? And do you arty?
Speaker 4: Let me let me think, Uh, g was worked with
Speaker 4: Dan Hartman. Okay, now don't ask me how.
Speaker 1: That, Oh instant you played Dan Hartman?
Speaker 5: Okay, yeah, yeah, that that Dan Harmon and and then
Speaker 5: and Dan wasn't working so somehow ge.
Speaker 4: Man I can't remember he is. Somehow he got introduced
Speaker 4: to me and I said, do you want to join
Speaker 4: the band?
Speaker 5: And and I brought him in and uh who else
Speaker 5: was playing?
Speaker 4: Uh?
Speaker 5: Jerry Murder, Yeah, Jerry Murata was it was playing drums
Speaker 5: with us, right, Okay, so it kind of happened gradually.
Speaker 5: And then and then we were looking for a bass
Speaker 5: player and and we the guy that we were usually
Speaker 5: couldn't do it anymore.
Speaker 4: It was a John Siegler.
Speaker 5: He went back to Todd or something that because he
Speaker 5: was working with Todd and uh and t Bone auditioned
Speaker 5: and and yeah, there he is.
Speaker 4: Man. I said, well, this guy's a monster.
Speaker 1: And so I forgot to mention on on on John's episode,
Speaker 1: but well I mentioned that when you guys were coming
Speaker 1: on the tonight show and unfortunately you had to cancel
Speaker 1: because t boneet passed away two days before I got
Speaker 1: to also mentioned, at least for our fans that that's
Speaker 1: t Boom, that's the bass player on Curtis blows the breaks.
Speaker 1: So you know, legendary, legendary cat.
Speaker 4: Yeah did that before he even before he joined us.
Speaker 4: That was that was his first thing he did. He did.
Speaker 2: Really yeah, oh shit, that I did not know.
Speaker 1: After the initial implosion of Hall of Notes, Like how
Speaker 1: how hard was it to come to that decision? After
Speaker 1: the oh yeah record? And you guys go in your
Speaker 1: separate ways to do your solo endeavors, Like, did you
Speaker 1: know that at least that initial run of Hall of
Speaker 1: Notes from seventy to the eighty eight that you had
Speaker 1: enough at that point?
Speaker 5: Like it only looks that way when you look back
Speaker 5: on it. I mean, when we were in it, we
Speaker 5: just said, Okay, we're going to do this. We're going
Speaker 5: to do that. We never really stopped making records. We
Speaker 5: made records through the nineties.
Speaker 1: Uh, well, I know you did it, but it's always
Speaker 1: built as like a comeback record or like a reunion album,
Speaker 1: which other.
Speaker 4: People's perceptions than ours. Uh, But Okay, we sort.
Speaker 5: Of morphed into just this, uh, into a touring band,
Speaker 5: and that's that's really what we are now now you
Speaker 5: know we we're a performance band. We don't we don't
Speaker 5: really you know, we have this outrageous body of work
Speaker 5: that we can that we can draw from, and uh,
Speaker 5: and that's that's really where we come together at this point.
Speaker 5: And that's sort of it just turned into that and
Speaker 5: we decided to be more individuals, which is what I
Speaker 5: think tends to happen as you go on in life.
Speaker 5: You one become more yourself and it's part of maturity
Speaker 5: or whatever. And knowing yourself and that's what.
Speaker 4: That's that's where we're at right now.
Speaker 9: You know, y'all are still good friends and still like work,
Speaker 9: but just not recording, Yeah, just touring.
Speaker 5: Just if I want to make a record, I'd rather
Speaker 5: make a record with me. And he feels the same way.
Speaker 7: You know, I get it. I completely get it.
Speaker 1: Fante's kind of in that situation himself.
Speaker 3: In a whole different way. Like it's like, it's interesting
Speaker 3: I'm thinking about I'm looking at Fante and his group situation.
Speaker 3: I'm looking thinking about you and Black Thought and existing
Speaker 3: separately in your projects.
Speaker 1: It's kind of interesting. But the but the thing is
Speaker 1: is that the roots, like for me, like Tarika and
Speaker 1: I have have an agreement that we can go and
Speaker 1: scratch our back like we're we're in a polyamorous relationship.
Speaker 1: So if I need to get my back scratched elsewhere,
Speaker 1: I know that at the end of the day, I'm
Speaker 1: gonna come home and you know, sort of come back
Speaker 1: to home base eventually, like check in, Hey, okay. But
Speaker 1: you know, I guess for a lot of times, there's
Speaker 1: this thing where it's like if you're in a group
Speaker 1: situation that you have to throw the baby out with
Speaker 1: the bathwater, and then and there's always a thing where you
Speaker 1: miss it. In eight years, you're like, all right, let's
Speaker 1: rebuild the house again. You know, I just always won
Speaker 1: day and you start realizing why you left the house
Speaker 1: to begin with. It's like, nah, I should take in
Speaker 1: a And you know, I understand this might be a
Speaker 1: personal question, but in a situation where you I'm certain
Speaker 1: that you can't be partners with someone for that long
Speaker 1: of a time without it being arguments or whatever, or
Speaker 1: at least with a duo. It's kind of different when
Speaker 1: it's in a group dynamic. But do you too, at
Speaker 1: least have your version of not going to bed angry?
Speaker 4: Yes? Sure?
Speaker 2: Or make sure that you're.
Speaker 7: Clear what does conflict resolution look like for you? Guys?
Speaker 4: We don't really fight. It's a funny thing again.
Speaker 5: You know, we've known each other since we're kids. I
Speaker 5: think we sublimated. I think there's a lot of you know,
Speaker 5: maybe maybe uh, maybe there's resentment and and and shipped
Speaker 5: under the surface.
Speaker 4: That doesn't but we don't. We don't. We never fight.
Speaker 4: That's the best way I could put it. We just
Speaker 4: don't fight. We we either let it go or or
Speaker 4: Bury it.
Speaker 2: I see.
Speaker 1: I have a question about your your your your Philly home,
Speaker 1: your your house on Quin Street, the one in Philly
Speaker 1: that still remains. You know why, why was that you know,
Speaker 1: a perfect creative enclay for you and John?
Speaker 5: It was the time, it was There's something about that
Speaker 5: period of time I got that place.
Speaker 4: I was. I was married to.
Speaker 5: This girl at the time, and uh, I was right
Speaker 5: out of school, right out of school, and it was
Speaker 5: just Philly was it was really a good time to
Speaker 5: be in Philadelphia right then. It was great music and
Speaker 5: just a great, great atmosphere, and and that house was great.
Speaker 5: I had was the Hall of.
Speaker 4: Oats birthplace, really right, Okay, that's all I say about it.
Speaker 4: I love that house. I renovated it actually. Yeah.
Speaker 1: For a whole new generation of fans, a lot of
Speaker 1: them had their discovery of you via your legendary show
Speaker 1: Live from Darryl's House, which you know, what was the
Speaker 1: sort of what was the genesis of the idea that
Speaker 1: of you inviting guest over to jam and whatnot?
Speaker 7: And that was the O G teny disc.
Speaker 3: Is it streaming or what?
Speaker 4: Because it's not right now, I'm waiting to restart it again.
Speaker 2: I'm I'm waiting for my invitation.
Speaker 4: I think I actually did give you an invitation and
Speaker 4: we were.
Speaker 2: Yes, you're right, I forgot, Yes, we were. I forgot.
Speaker 2: We were to forgive me my own face.
Speaker 4: Sorry, in some form for sure.
Speaker 8: But Darryl's House is operational all year round.
Speaker 5: Right, Well you mean the club Darryl's House. Yea, yeah,
Speaker 5: that's that's in appalling New York.
Speaker 4: Yeah.
Speaker 7: Right.
Speaker 8: My sister lives in Westport, and yeah, she wants her
Speaker 8: on table there. She's there every show.
Speaker 4: Yeah. I love having a club. I love clubs.
Speaker 3: But seriously, Daryl, can you see old episodes anywhere? I
Speaker 3: was literally literally just thinking about that today because it
Speaker 3: was on an interesting network in the first place.
Speaker 4: What can you see the episodes?
Speaker 3: Can you see the old episodes?
Speaker 1: Yeah? Can you see the old archival?
Speaker 4: Ye? Not all of them. Not. My plan is to
Speaker 4: make them all available.
Speaker 3: Okay, okay, cool, we get that deal. Yes, yes, yes, yes.
Speaker 1: What were the two years of lockdown and quarantine? Like
Speaker 1: for you, were you able to go into other forays
Speaker 1: of creativity in terms of.
Speaker 4: Like, no, I went into hibernation.
Speaker 5: I I this studio house is where I lived, and
Speaker 5: I didn't I stopped making music.
Speaker 4: I didn't do anything because I had.
Speaker 5: This feeling that when this whole thing blew over, that
Speaker 5: it was all going to be different. And I knew
Speaker 5: it was going to be different from me, and I
Speaker 5: had a lot of reevaluation, and just I've been traveling
Speaker 5: my whole life, you know, I've been on the road
Speaker 5: my whole life, and to be in one place in lockdown,
Speaker 5: I just I just sort of embraced it. That's the
Speaker 5: best way I could put it. I just said, Okay,
Speaker 5: here I am. I'm not seeing anybody with my sister
Speaker 5: who lives up the road. And and that's really what
Speaker 5: I did for all that time.
Speaker 1: And this was the longest that you've ever taken a
Speaker 1: break from not music now since I was.
Speaker 4: A teenager, Yeah, for sure.
Speaker 5: And when I realized that it was we were coming
Speaker 5: out of it, I said, Okay, now what am I.
Speaker 4: Going to do? It's reevaluation.
Speaker 5: I think a lot of people are thinking that way,
Speaker 5: but yes, the way I'm looking at my my life,
Speaker 5: my career, my creativity, everything, And that's why I'm putting
Speaker 5: out this body of work album to start it. It's
Speaker 5: sort of a it's a new error to me and
Speaker 5: whatever I wanted to do, I'm doing now. I'm not
Speaker 5: holding it back. I'm not letting circumstances dictate anything. I'm
Speaker 5: just I'm just I used this term before, but I'm
Speaker 5: going to just ride the horse direction it's going in.
Speaker 1: I know that another area of creativity for you is
Speaker 1: like restoring houses and whatnot.
Speaker 2: Is that therapeutic for you?
Speaker 5: Yeah, it's it's therapeutic. It's it's I love history. I
Speaker 5: love all that stuff. You can tell by this room
Speaker 5: that I'm in, But I uh, it's it's sort of
Speaker 5: like naked music. It's it's antique architecture is what it's
Speaker 5: all about with me, and restoring old places and and
Speaker 5: and and bringing them back to their their period, uh
Speaker 5: what they were in their period and uh uh and
Speaker 5: working with all these artisans and artists, which is like
Speaker 5: working with musicians and getting teams together and making making
Speaker 5: a project happen, making making something out of nothing, or
Speaker 5: it's it's uh, it's not unlike making a record.
Speaker 4: It's the same thing.
Speaker 3: Is there an HGTV show I don't know about?
Speaker 4: Or I did a TV show about work restoring an
Speaker 4: old house? You said you did?
Speaker 3: It's not a familiar restoration overhaul that sounds familiar.
Speaker 2: You're before after project.
Speaker 1: Could you tell us like the inspiration behind it and
Speaker 1: the creative process to create it?
Speaker 4: Well, I wanted to.
Speaker 5: I wanted to put together my alternative body of work.
Speaker 5: Everybody knows my work with with John, but as many
Speaker 5: people know, all these things that I've been doing for
Speaker 5: all these years, and I wanted to bring it out
Speaker 5: into the world, you know. And and I took excerpts
Speaker 5: from every album and included excerpts from the life of
Speaker 5: Daryls as show and.
Speaker 4: Put them all together. I didn't.
Speaker 5: I didn't do them in chronological order I had, you know,
Speaker 5: I didn't. I treated him the way I would treat
Speaker 5: any kind of album, and just put the songs together
Speaker 5: as I felt, as I felt the flow would. I
Speaker 5: just felt the flow. And that's that's the best way
Speaker 5: I could put it. I just was showing the world
Speaker 5: that side of my music and the people that I
Speaker 5: worked with and all these different projects I've been doing
Speaker 5: for for.
Speaker 4: Many, many years.
Speaker 1: The ultimate mixtape for you, like the automate retrospective of
Speaker 1: your your favorite songs, your personal favorites from your from
Speaker 1: your solo catalog.
Speaker 5: Yeah, all the all the ones that are my first
Speaker 5: the ones I think are the great, the good, the best.
Speaker 4: The best of the best. You know, and uh and
Speaker 4: and and that's an introduction. It's a it's a reintroduction
Speaker 4: to some people, but it's an introduction for a lot
Speaker 4: of people. And then I'm gonna continue on with it
Speaker 4: and start making original songs. I'm already working on new
Speaker 4: songs with various people. There.
Speaker 9: There's a version. There's a producer named Pomo. He did
Speaker 9: a version of I Can't Go for That? Have you
Speaker 9: heard it? It's I think it's on Spotify. Like that
Speaker 9: shit as hard as fuck. It's like a Pomo he
Speaker 9: did like a it's kind of like a house kind
Speaker 9: of fors to the floor version of I Can't Go
Speaker 9: for That?
Speaker 1: Ye every time? Yes, Yeah, that ship is a jam.
Speaker 1: I think you did it. Are you familiar with people
Speaker 1: dipping into your pass and sort of re reintroducing your
Speaker 1: music to.
Speaker 4: Because they I have to approve number one. So yeah,
Speaker 4: I hear.
Speaker 5: I hear what people are doing, and I love it
Speaker 5: when people mess around with my songs. I think it's great.
Speaker 3: Dara, I always wanted to ask you what do you think?
Speaker 3: After you you guys did your thing and of course
Speaker 3: change the way Philly music is looked at. What do
Speaker 3: you think about after you left and some of the
Speaker 3: other Philadelphia artists that came after you. Have you noticed
Speaker 3: anybody that that locked in your ear?
Speaker 5: I don't know anybody I'm trying to think of.
Speaker 3: It's like the you know, so many errors.
Speaker 7: It was the core.
Speaker 3: I mean, I ain't gonna say the roots because you
Speaker 3: know so and so is here, but as in you know,
Speaker 3: the music, solo childs, the Jill Scott's, the Legend John Legends,
Speaker 3: well College Philly.
Speaker 4: I mean they're all great. I mean carrying them on
Speaker 4: the tradition.
Speaker 1: Then before I go, I definitely want to ask you
Speaker 1: about these tour dates, Like for you, do you like
Speaker 1: touring still or is it is the grass always greener
Speaker 1: on the other side, Like for you at the stage
Speaker 1: in your life when you see because you're you're about
Speaker 1: to do like a three month or two to three
Speaker 1: month run for your solo tour, Like for you, is
Speaker 1: it like like getting up at like the idea of
Speaker 1: lobby call and early stuff and sound check and a
Speaker 1: routine is that you know, is it still exciting to
Speaker 1: you or is it just like I don't know.
Speaker 5: Well, it's you know, when you're out there, you go like,
Speaker 5: oh fuck, yeah, you know, it's it becomes hurry up
Speaker 5: and wait. It's you know, it's it's routine. It's constant,
Speaker 5: you know, moving around.
Speaker 4: Doing all that. But when you're on stage, a bird's
Speaker 4: got to sing, you know.
Speaker 5: I mean, it's it just feels like it's if you're
Speaker 5: having a good night, your monitors are good, and.
Speaker 4: Everything's everything's working. It's uh, it's a spiritual experience.
Speaker 1: And I know you're hitting Carnegie Hall. Is this the
Speaker 1: first time that you're playing Carnegie Hall as this?
Speaker 2: He will act?
Speaker 4: First time I'm playing Cardiig Hall with anybody act? Yeah?
Speaker 7: Oh wow, that's what's up man?
Speaker 8: I have one final question from me, Daryl, and this
Speaker 8: is not you've probably heard this before. That's not an
Speaker 8: original question, okay, and it's not a joke. A lot
Speaker 8: of us out here still waiting for Rock and Soul
Speaker 8: Part two, you know, as promised by the calling the
Speaker 8: original part one.
Speaker 7: So what's wrong with.
Speaker 8: What's wrong with releasing another edition of that part two
Speaker 8: with just deeper cuts from from your immense catalog with John.
Speaker 4: I think it's a good idea. Maybe I'll do it.
Speaker 1: I have a question in closing, and I guess I
Speaker 1: should have asked it earlier. I mean when people mention you,
Speaker 1: of course, uh, you know, the term blue eyed soul
Speaker 1: always gets tagged with you. When you think of blue
Speaker 1: eyed sold at least if you're kind of my age,
Speaker 1: the first thing you think of is hall of notes.
Speaker 1: Did you guys mind miss tag at the time or
Speaker 1: was it? I think every artist sort of rolls that
Speaker 1: collectively rolls their eyes of whatever like is pegged of them.
Speaker 1: But you know, when the term blue eyed soul came up, like,
Speaker 1: I feel like you guys were sort of the first
Speaker 1: out the gate to get that that title, Like, did
Speaker 1: you mind it or was it?
Speaker 2: Like I hate that term?
Speaker 4: Well, the first duo that ever got it was the
Speaker 4: Righteous Brothers.
Speaker 1: That's that I did not know.
Speaker 5: Okay, Righteous Brothers was That's where the term that that
Speaker 5: that's whoever. I don't know what journalists used it, but
Speaker 5: that's that's where it all came from. I'm not nuts
Speaker 5: about it. I don't I don't you know, I'm a
Speaker 5: soul singer. I'm I have blue eyes O Scott brown eyes.
Speaker 4: Whatever you know.
Speaker 1: I don't.
Speaker 4: I don't like to.
Speaker 5: I don't like to break people break categories down, especially
Speaker 5: those kind of categories.
Speaker 2: Mhm, I see.
Speaker 3: Do you feel the honor in existing, thriving and being
Speaker 3: an example and soul music in that way though.
Speaker 5: I'm I'm happy to be respected in in in you know,
Speaker 5: in a world that I care about.
Speaker 4: Uh.
Speaker 5: And it's it's my baby food, it's what I it's
Speaker 5: what I grew up with, it's what it's what I
Speaker 5: it's it's the source of my musical inspiration. So that's yeah.
Speaker 5: I mean, no matter what the production or the arrangement
Speaker 5: or even the song is, I'm still a soul singer
Speaker 5: in my heart. And that's that's that's that's that's where
Speaker 5: it generates from.
Speaker 8: Wow, we're hearing we hearing that so much these days.
Speaker 8: Bonnie from Bonnie Rate said that, and about about the
Speaker 8: Blues and John said that. Costello said that, Yeah, it's
Speaker 8: just you know, if that's what you grow up on,
Speaker 8: that's what.
Speaker 4: You are, That's right, that's absolutely true.
Speaker 1: Well, hey, I just have to say, you know, you
Speaker 1: guys are I mean you in general, like you're you're
Speaker 1: you're the soundtrack of you know, my life as just
Speaker 1: as a music fan and in general. And I'm really
Speaker 1: pleased and happy that we did this episode. And I
Speaker 1: thank you very much, uh Daryl for for doing this
Speaker 1: with us and making us a special episode of Daryl Hall,
Speaker 1: Ladies and Gentlemen, Legendary Philadelphia. And you know, wait a minute,
Speaker 1: Wait a minute, Wait a minute, wait a minute. One
Speaker 1: more question, please, one more question, and I swear to God,
Speaker 1: I'll let you go. I heard a rumor that you
Speaker 1: once stopped a robbery from happening once on tour.
Speaker 2: Yeah, is this true?
Speaker 4: Yeah, that's true.
Speaker 1: Wow, I've heard the rumor of it, but never I'll
Speaker 1: tell you the story. This is the encore, and I
Speaker 1: promise it's over.
Speaker 5: Right, because nobody ever asked about that. We the first
Speaker 5: time that me and John went to Australia, right we
Speaker 5: were We were in Melbourne, Melbourne, Australia, and it was
Speaker 5: after a show and we went to this restaurant and
Speaker 5: nobody was there except for it was after hours and
Speaker 5: nobody was there except these two guys and their wives
Speaker 5: were sitting at a table next to us and my
Speaker 5: bass player, his girlfriend John and one of our minders.
Speaker 5: Was he just some guy that was with us and
Speaker 5: so we're sitting there and suddenly this guy. We look
Speaker 5: up and there's a guy standing on a ski mask
Speaker 5: and a shotgun.
Speaker 4: Oh shotgun.
Speaker 2: Here was this?
Speaker 4: This was nineteen yeah, eighty one, I'll say something like that.
Speaker 1: He's Jesus Christ, this private eye time.
Speaker 4: Yeah. Yeah.
Speaker 5: So the guy he starts waving the gun around and
Speaker 5: he says, you know, he give you your money, give
Speaker 5: me your money. And I remember the bass play. The
Speaker 5: bass players name was Kenny. He pulled out a credit
Speaker 5: card and handed a credit card. Okay, we're all sitting
Speaker 5: there and it's it's an unreal situation.
Speaker 4: I mean, anybody ask anybody in a situation like that,
Speaker 4: it's all very unreal.
Speaker 5: The guy had a ski mask and a shotgun, right,
Speaker 5: and he goes over to the next table, which was
Speaker 5: right next to us, and he starts pointing the gun
Speaker 5: at one of the women and says, give me your
Speaker 5: you know, give you your money out of your purse. Right,
Speaker 5: And he put put the gun down just enough that
Speaker 5: one of the guys grabbed the barrel of the gun
Speaker 5: and pulled it and the other guy jumped on him.
Speaker 5: And then John jumped up and jumped on the guy
Speaker 5: and then we all started jumping on on this guy
Speaker 5: and I tried to jump on him, and the bass
Speaker 5: player's girlfriend grabbed me around the leg and pulled me
Speaker 5: back and says, saved me, saved me, saved me.
Speaker 4: So I couldn't do anything because I'm fighting.
Speaker 5: She's like a little puppy dog or whatever, and I'm
Speaker 5: trying to fight her away and grabbed this guy at
Speaker 5: the same time. We we basically broke the shotgun up,
Speaker 5: took the took the shells out, and then then then okay,
Speaker 5: he was disarmed, so then we held him and by
Speaker 5: then the matre d or whatever it was, the guy
Speaker 5: that was there had called the cops. The cops come
Speaker 5: charged up the stairs because on the second floor and
Speaker 5: grabbed the guy and uh basically threw him down the
Speaker 5: steps and uh and then took him away. And apparently
Speaker 5: he had robbed twenty five restaurants and he was called
Speaker 5: the rusty gun bandit.
Speaker 7: Oh wow, rusting gun rusting gentlemen.
Speaker 2: That sounds like you, Jackson.
Speaker 7: Yeah, Robin.
Speaker 3: I was like, this is Three Hills cop and coming
Speaker 3: to America.
Speaker 1: Okay, yeah, Daryl Hall, legendary crime Stopperlease gentlemen.
Speaker 2: Yeah, that's how you end the show.
Speaker 1: Paid Bill Laya, Siga, Steve Bon, Tigelow and I'm questlove
Speaker 1: the legendary rock and roll Hall of Fame got himself
Speaker 1: Daryl Hall. Thank you very much, question, thank you on
Speaker 1: the next go round.
Speaker 4: Thank you okay, thank you much.
Speaker 2: Love Supreme is a production of iHeart Radio.
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Speaker 1: or wherever you listen to your favorite shows.