WEBVTT - Questlove Supreme: Daryl Hall

0:00:00.160 --> 0:00:10.320
<v Speaker 1>Quest Love Supreme is a production of iHeartRadio, Ladies and gentlemen.

0:00:10.440 --> 0:00:13.800
<v Speaker 1>This is Quest Love Supreme. Today marks the conclusion of

0:00:13.800 --> 0:00:18.759
<v Speaker 1>what I feel is an instant classic episode. As I

0:00:18.800 --> 0:00:22.800
<v Speaker 1>expressed in the previous recording that I personally like one

0:00:22.840 --> 0:00:28.040
<v Speaker 1>on one qls's meaning one artist to the show as

0:00:28.080 --> 0:00:30.000
<v Speaker 1>opposed to group scenarios.

0:00:30.200 --> 0:00:33.640
<v Speaker 2>So that way, you know, it's always you get two sides.

0:00:33.320 --> 0:00:35.680
<v Speaker 1>Of a story of the same story, sometimes where you

0:00:35.720 --> 0:00:40.920
<v Speaker 1>get the same identical story. But previous episode we talked

0:00:40.920 --> 0:00:44.600
<v Speaker 1>to one half one of my favorite duos and the

0:00:44.680 --> 0:00:47.720
<v Speaker 1>music one of the most successful duos and music. And

0:00:47.840 --> 0:00:51.640
<v Speaker 1>now we are given the honor and the pleasure of

0:00:51.840 --> 0:00:54.800
<v Speaker 1>speaking to the voice the soundtrack, I mean, the personal

0:00:54.840 --> 0:00:59.000
<v Speaker 1>soundtrack of my childhood. And I'm, you know, a Philadelphian.

0:00:59.200 --> 0:01:03.120
<v Speaker 1>So this episode is doing me some pride right now.

0:01:03.520 --> 0:01:05.960
<v Speaker 1>What else can I say? But the one and only

0:01:06.640 --> 0:01:13.760
<v Speaker 1>Daryl Hall, he slept Supreme. Welcome start all right, by

0:01:13.800 --> 0:01:14.280
<v Speaker 1>the way.

0:01:14.080 --> 0:01:14.679
<v Speaker 2>Team Supreme.

0:01:14.680 --> 0:01:17.920
<v Speaker 1>I'm sorry I didn't even acknownce you how damn he

0:01:18.000 --> 0:01:18.720
<v Speaker 1>was waiting for that.

0:01:21.280 --> 0:01:22.920
<v Speaker 3>I was gonna say, it's okay, it's Darryl Hall. We're

0:01:22.920 --> 0:01:24.000
<v Speaker 3>all a little fanned out it's.

0:01:23.920 --> 0:01:26.120
<v Speaker 1>Fine, no, no, no, but in my mind I'm still feeling

0:01:26.120 --> 0:01:27.840
<v Speaker 1>like this is a continuation of the episode.

0:01:27.840 --> 0:01:29.720
<v Speaker 2>But yes, we can let the world know that a

0:01:29.720 --> 0:01:33.400
<v Speaker 2>week or two went by and uh, you know. Yes,

0:01:33.560 --> 0:01:34.479
<v Speaker 2>So how are you doing?

0:01:34.560 --> 0:01:34.760
<v Speaker 4>Like you?

0:01:35.560 --> 0:01:39.959
<v Speaker 3>I'm doing great, I'm ready, I'm so good. This is yeah,

0:01:40.040 --> 0:01:40.679
<v Speaker 3>life is complete.

0:01:40.720 --> 0:01:40.880
<v Speaker 5>Man.

0:01:41.120 --> 0:01:44.000
<v Speaker 1>Really, I got to ask some personally, even though this

0:01:44.040 --> 0:01:47.080
<v Speaker 1>is inconsequential to our viewers who could only hear us

0:01:47.080 --> 0:01:49.560
<v Speaker 1>and not see us, but I feel like every time

0:01:49.600 --> 0:01:51.520
<v Speaker 1>you do an episode, you're doing it from another part

0:01:51.560 --> 0:01:52.960
<v Speaker 1>of your house or I see it.

0:01:55.080 --> 0:01:56.960
<v Speaker 4>I said, this is actually my studio house.

0:01:58.040 --> 0:02:01.280
<v Speaker 3>Oh yeah, this is mine too, Okay, exactly, that's what

0:02:01.560 --> 0:02:02.960
<v Speaker 3>it is, a mere it's my studio house.

0:02:03.520 --> 0:02:06.200
<v Speaker 1>All right. Well no, I'm just I'm impressed with every

0:02:06.520 --> 0:02:08.280
<v Speaker 1>episode you seem to be in a new part of

0:02:08.280 --> 0:02:09.640
<v Speaker 1>your house that I've never seen before.

0:02:09.639 --> 0:02:12.919
<v Speaker 3>And it's the way I think my quest love Supreme

0:02:12.960 --> 0:02:14.920
<v Speaker 3>Brothers to truly come to my house. So yeah, this

0:02:15.040 --> 0:02:17.200
<v Speaker 3>is the way I'm doing it. Maybe one day y'all come.

0:02:17.680 --> 0:02:20.560
<v Speaker 1>Okay, well one of us will have to agree to

0:02:20.600 --> 0:02:22.480
<v Speaker 1>get on a plane, but that will say that for

0:02:22.520 --> 0:02:27.240
<v Speaker 1>another episode. Okay, baby Bill, Yes, how's it going, sir.

0:02:27.880 --> 0:02:30.720
<v Speaker 1>Fantastic congratulations to you you.

0:02:31.800 --> 0:02:32.960
<v Speaker 2>I'm great man.

0:02:34.280 --> 0:02:38.520
<v Speaker 6>You've been winning awards like handover whatever that expression is.

0:02:38.600 --> 0:02:41.120
<v Speaker 6>And we have to do some flowers a beer flowers

0:02:41.120 --> 0:02:41.600
<v Speaker 6>for a beer.

0:02:41.639 --> 0:02:48.680
<v Speaker 2>Congratulations. Yes, thank you, thank you for that deflection. Thank you.

0:02:49.200 --> 0:02:49.359
<v Speaker 7>Well.

0:02:49.400 --> 0:02:53.240
<v Speaker 1>You know. Also, you fin you finished a milestone in

0:02:53.280 --> 0:02:56.639
<v Speaker 1>your the show that you're working on, Testame Street. You

0:02:56.760 --> 0:03:00.680
<v Speaker 1>finally finished. I guess season fifty. I assume we.

0:03:01.360 --> 0:03:05.919
<v Speaker 6>Finished just last week season fifty three. I think fifty three.

0:03:05.880 --> 0:03:06.840
<v Speaker 2>Season fifty three.

0:03:07.480 --> 0:03:09.280
<v Speaker 1>Also, wait, this is what I do want to know,

0:03:10.200 --> 0:03:13.200
<v Speaker 1>because I'm not an active watcher of Sesame Street now

0:03:13.240 --> 0:03:16.760
<v Speaker 1>that I'm fifty one years old as I was when

0:03:16.800 --> 0:03:20.000
<v Speaker 1>I was a kid. But the death of mister del

0:03:20.080 --> 0:03:24.720
<v Speaker 1>Gato aka Luis on Sesame Street, was he still an

0:03:24.760 --> 0:03:29.160
<v Speaker 1>active character on the show even or did he leave beforehand?

0:03:29.919 --> 0:03:32.640
<v Speaker 6>He left but came back a little while ago. He

0:03:32.720 --> 0:03:35.240
<v Speaker 6>was back and forth, but he was like a definite presence.

0:03:35.520 --> 0:03:38.160
<v Speaker 6>All of the humans sort of humans, the humans, all

0:03:38.200 --> 0:03:41.000
<v Speaker 6>of the actors on that show sort of are always

0:03:41.040 --> 0:03:44.000
<v Speaker 6>sort of omnipresident. I play it's Bob and so like.

0:03:44.000 --> 0:03:48.960
<v Speaker 1>Maria, Bob and Susan and Gordon like, they're still occasionally

0:03:48.960 --> 0:03:50.280
<v Speaker 1>come back on the show to do stuff.

0:03:50.720 --> 0:03:52.800
<v Speaker 6>Yeah, like most recently they around for season We had

0:03:52.800 --> 0:03:55.320
<v Speaker 6>a big reunion for season fifty a couple of years ago,

0:03:55.320 --> 0:03:56.840
<v Speaker 6>and they were definitely there for that. And I saw

0:03:56.920 --> 0:03:59.400
<v Speaker 6>him at that and he's a fantastic like Emelio, like

0:03:59.400 --> 0:04:01.560
<v Speaker 6>played the guitar really well and saying really well, and

0:04:01.840 --> 0:04:03.760
<v Speaker 6>it was just a consumt a musician and a wonderful

0:04:03.800 --> 0:04:04.200
<v Speaker 6>human being.

0:04:04.240 --> 0:04:06.880
<v Speaker 1>It's really sad, but yeah, when you put when you

0:04:06.880 --> 0:04:08.720
<v Speaker 1>put me on the float, I think I got to

0:04:08.720 --> 0:04:10.280
<v Speaker 1>meet some of them and that was really cool.

0:04:10.720 --> 0:04:13.000
<v Speaker 6>You make it seem like I physically placed you upon

0:04:13.040 --> 0:04:15.680
<v Speaker 6>the Thanksgiving Day float, and I will take full credit

0:04:15.680 --> 0:04:15.840
<v Speaker 6>for that.

0:04:16.040 --> 0:04:17.000
<v Speaker 2>Well, you know, I'm trying to.

0:04:17.000 --> 0:04:19.560
<v Speaker 1>Give you props, Bill because I don't want people to

0:04:19.560 --> 0:04:21.960
<v Speaker 1>think that you're just like the Flavor of Flace sidekick,

0:04:22.120 --> 0:04:25.320
<v Speaker 1>Like you're.

0:04:24.279 --> 0:04:26.600
<v Speaker 2>You're a major staple in the circle. Man you are.

0:04:26.960 --> 0:04:31.120
<v Speaker 1>You know, you're writing brought hit Broadway shows and producing

0:04:31.240 --> 0:04:32.760
<v Speaker 1>my platinum albums.

0:04:32.800 --> 0:04:35.279
<v Speaker 6>And just for the record, I'd be happy to be

0:04:35.279 --> 0:04:37.760
<v Speaker 6>a Flavor Flap sidekick. I'm totally fine with that. But

0:04:37.800 --> 0:04:38.440
<v Speaker 6>that's very nice.

0:04:39.040 --> 0:04:43.240
<v Speaker 1>I'm I'm throwing some flowers back to you, sugar steans

0:04:43.320 --> 0:04:46.160
<v Speaker 1>you okay, even though you're upgrading your computer right now,

0:04:46.160 --> 0:04:47.440
<v Speaker 1>you're doing this on your telephone.

0:04:47.800 --> 0:04:49.520
<v Speaker 4>I'm really good. Thanks for asking.

0:04:49.560 --> 0:04:53.120
<v Speaker 8>I actually wont a Schmuky award last night, and I'm

0:04:53.160 --> 0:04:55.640
<v Speaker 8>thinking about buying my own paper airplane.

0:04:57.360 --> 0:05:00.120
<v Speaker 2>Okay, like like it, don't.

0:05:00.279 --> 0:05:02.440
<v Speaker 1>Step on my punchlines in front of Daryl Hall.

0:05:02.760 --> 0:05:04.080
<v Speaker 3>I'm sorry. You know you heard me.

0:05:04.120 --> 0:05:08.040
<v Speaker 9>I'm sorry anyway, fon Tikeolo good So I'm good, brother,

0:05:08.120 --> 0:05:10.320
<v Speaker 9>I'm good, man, I'm good. Congratulations to you, man. I

0:05:10.360 --> 0:05:13.559
<v Speaker 9>was happy to see that straight. I appreciate that. Yeah,

0:05:14.120 --> 0:05:15.360
<v Speaker 9>now we can finally.

0:05:15.080 --> 0:05:19.920
<v Speaker 1>Get to the business. First of all, Sir Daryl Hall,

0:05:20.000 --> 0:05:22.680
<v Speaker 1>are you in the world famous Darris House right now?

0:05:23.360 --> 0:05:25.719
<v Speaker 4>I'm in I'm in my studio house.

0:05:26.360 --> 0:05:29.719
<v Speaker 1>Okay, explain that this is different than the Daras house

0:05:29.760 --> 0:05:30.880
<v Speaker 1>that I've seen on television.

0:05:31.160 --> 0:05:34.080
<v Speaker 4>Yeah, it's a different house and age.

0:05:36.160 --> 0:05:38.080
<v Speaker 2>That is bullershit. I like this.

0:05:38.600 --> 0:05:40.560
<v Speaker 1>I like where this is going already, if you, if

0:05:40.600 --> 0:05:42.680
<v Speaker 1>you guys can see what we see right now, like

0:05:43.800 --> 0:05:48.279
<v Speaker 1>maybe besides Will Smith, I've not seen a person be

0:05:48.320 --> 0:05:52.040
<v Speaker 1>so imaginative with their surrounding.

0:05:52.279 --> 0:05:54.440
<v Speaker 2>Yes, this is this is this is a next.

0:05:55.080 --> 0:06:01.680
<v Speaker 5>Room man to Imaginative one one Light.

0:06:02.560 --> 0:06:04.720
<v Speaker 1>So so as I so, as I said on on

0:06:05.200 --> 0:06:09.480
<v Speaker 1>the top of the show, we we talked to your

0:06:09.520 --> 0:06:13.080
<v Speaker 1>your partner for over five I don't know, maybe six

0:06:13.120 --> 0:06:19.080
<v Speaker 1>decades John Oates about his experience musical experiences in his life.

0:06:19.120 --> 0:06:22.800
<v Speaker 1>And and now's your turn, because you know, although you

0:06:22.880 --> 0:06:26.599
<v Speaker 1>too share common ground, you two also have done different endeavors,

0:06:26.680 --> 0:06:28.960
<v Speaker 1>and so I kind of wanted to make this more

0:06:29.040 --> 0:06:33.239
<v Speaker 1>one on one instead of like the the group project.

0:06:33.480 --> 0:06:35.320
<v Speaker 1>So for you right now, like where where do you?

0:06:36.160 --> 0:06:38.000
<v Speaker 1>Where do you call home? Where do you reside?

0:06:38.440 --> 0:06:38.640
<v Speaker 4>Right?

0:06:38.880 --> 0:06:41.359
<v Speaker 5>I'm in Connecticut right here? I I you know, I

0:06:41.400 --> 0:06:43.080
<v Speaker 5>have a house in London too, So I kind of

0:06:43.080 --> 0:06:43.800
<v Speaker 5>go back and forth.

0:06:44.480 --> 0:06:45.599
<v Speaker 2>Nice what party in London?

0:06:46.320 --> 0:06:47.680
<v Speaker 4>Uh? In Kensington?

0:06:48.680 --> 0:06:49.120
<v Speaker 7>Nice?

0:06:49.360 --> 0:06:49.600
<v Speaker 2>Okay?

0:06:49.640 --> 0:06:52.719
<v Speaker 1>I used to live in Kinsistown. Okay, all right, yeah,

0:06:52.800 --> 0:06:56.840
<v Speaker 1>Kinnistown in London. When when did you cop a spot

0:06:56.920 --> 0:06:57.360
<v Speaker 1>in London?

0:06:57.640 --> 0:07:00.000
<v Speaker 4>When I've been since the seventies?

0:07:00.960 --> 0:07:02.480
<v Speaker 7>Oh? What forever?

0:07:03.320 --> 0:07:04.839
<v Speaker 2>So you're a dual citizen.

0:07:05.040 --> 0:07:05.920
<v Speaker 4>Right sort of.

0:07:08.040 --> 0:07:11.240
<v Speaker 2>Wow London? What made you choose to go over there?

0:07:11.720 --> 0:07:15.280
<v Speaker 5>I just I had an affinity for it, just from

0:07:15.320 --> 0:07:18.320
<v Speaker 5>the very beginning. It kind of it reminded me of Philadelphia.

0:07:18.320 --> 0:07:19.440
<v Speaker 5>It's so crazy play.

0:07:19.640 --> 0:07:21.240
<v Speaker 3>Oh wow, we are a little cleaner than that.

0:07:22.200 --> 0:07:24.840
<v Speaker 4>Well yeah, well some parts, some parts.

0:07:26.240 --> 0:07:28.240
<v Speaker 1>No, no, no, but you know what, he he has

0:07:28.280 --> 0:07:32.000
<v Speaker 1>a point because the roots coming from Philly. We had

0:07:32.040 --> 0:07:35.440
<v Speaker 1>to choose somewhere in Europe to live and it was

0:07:35.440 --> 0:07:37.800
<v Speaker 1>definitely something like should we move to Paris and we

0:07:37.880 --> 0:07:42.520
<v Speaker 1>moved to d And it was something about London that

0:07:43.640 --> 0:07:45.080
<v Speaker 1>called us and so.

0:07:45.760 --> 0:07:48.800
<v Speaker 4>There's something familiar about it, you know, very much.

0:07:48.800 --> 0:07:52.360
<v Speaker 2>So so that's okay, Well that that's that's cool to hear, Like.

0:07:53.840 --> 0:07:55.920
<v Speaker 1>Are you in a city part of London London or

0:07:56.000 --> 0:07:58.400
<v Speaker 1>is it more like a quiet place or like what?

0:07:58.640 --> 0:08:03.880
<v Speaker 1>Because I know oftentimes artists will have their city residents

0:08:03.920 --> 0:08:07.800
<v Speaker 1>and then they'll have a spot that you know, is

0:08:07.920 --> 0:08:09.760
<v Speaker 1>more quieter.

0:08:10.120 --> 0:08:11.320
<v Speaker 2>I mean I understand that now.

0:08:11.400 --> 0:08:13.240
<v Speaker 1>Like I never thought I'd be a person that would

0:08:13.240 --> 0:08:16.320
<v Speaker 1>get a farm, but I just got a farm because

0:08:16.400 --> 0:08:19.320
<v Speaker 1>I actually felt I'm more creative when I'm isolated and

0:08:19.360 --> 0:08:23.520
<v Speaker 1>then silence. So for you, is having a dual housing

0:08:23.560 --> 0:08:26.400
<v Speaker 1>situation more about like getting a spot that's quiet and

0:08:26.400 --> 0:08:28.440
<v Speaker 1>then a part that's immersed in the city or just

0:08:29.360 --> 0:08:31.560
<v Speaker 1>or just to have a city in Europe just in

0:08:31.600 --> 0:08:33.520
<v Speaker 1>case you just want to Well.

0:08:33.559 --> 0:08:36.640
<v Speaker 5>It's it's actually kind of the same thing. I you know,

0:08:36.720 --> 0:08:38.520
<v Speaker 5>I live out in the country here and when I'm

0:08:38.520 --> 0:08:41.480
<v Speaker 5>in America and then my city house is a London

0:08:41.559 --> 0:08:43.600
<v Speaker 5>and I mean I have a it's like a tell

0:08:43.679 --> 0:08:45.600
<v Speaker 5>it's you know, row house, townhouse.

0:08:45.920 --> 0:08:46.160
<v Speaker 4>Same.

0:08:46.200 --> 0:08:50.160
<v Speaker 1>Okay, yeah, So is it important as a creative for

0:08:50.240 --> 0:08:53.319
<v Speaker 1>you to have a spot that's that's quiet and more

0:08:53.400 --> 0:08:57.520
<v Speaker 1>isolated and allows you to be creative or like again,

0:08:58.200 --> 0:09:01.800
<v Speaker 1>as as a newbie person that just purchased his spot,

0:09:02.280 --> 0:09:03.680
<v Speaker 1>I mean, I did it because the pressure of the

0:09:03.720 --> 0:09:07.040
<v Speaker 1>pandemic forced me to do it. But you know, otherwise,

0:09:07.120 --> 0:09:11.080
<v Speaker 1>I'd never understood artists that were like, yo, man, I

0:09:11.120 --> 0:09:13.840
<v Speaker 1>need the country life is important, Like, I mean, I

0:09:13.880 --> 0:09:16.920
<v Speaker 1>get the importance of silence now. But obviously you got

0:09:16.960 --> 0:09:19.320
<v Speaker 1>this house that you're now way before the pandemic. So

0:09:19.880 --> 0:09:22.960
<v Speaker 1>what was the attraction of, Like, you know, I'm thinking

0:09:22.960 --> 0:09:27.280
<v Speaker 1>like rock stars wouldn't want to be so isolated outside

0:09:27.320 --> 0:09:29.680
<v Speaker 1>of the chaos and the hustle and bustle of what

0:09:29.720 --> 0:09:32.720
<v Speaker 1>the industry was. So what was your decision to get

0:09:33.200 --> 0:09:34.000
<v Speaker 1>a country spot.

0:09:34.400 --> 0:09:37.720
<v Speaker 5>I don't know, man, I've always sort of had one

0:09:37.720 --> 0:09:39.720
<v Speaker 5>foot in the country. I went for the city I

0:09:39.760 --> 0:09:40.200
<v Speaker 5>grew up.

0:09:40.400 --> 0:09:40.840
<v Speaker 4>I grew up.

0:09:41.400 --> 0:09:43.680
<v Speaker 5>I didn't grow up in Philadelphia. I grew up in Pottstown,

0:09:44.040 --> 0:09:47.680
<v Speaker 5>you know, out in Chester County, and uh, you.

0:09:47.720 --> 0:09:50.600
<v Speaker 1>Know I considered that, Yeah, Phillly adjacent.

0:09:50.400 --> 0:09:53.560
<v Speaker 4>It is, but what I hey, I'm an old guy.

0:09:53.640 --> 0:09:56.200
<v Speaker 4>You know it was. It was in those days. It

0:09:56.240 --> 0:09:58.760
<v Speaker 4>was really good and uh, you know, I grew up in.

0:09:58.760 --> 0:10:01.200
<v Speaker 5>A colonial house, so all that kind of stuff, you know,

0:10:01.240 --> 0:10:04.080
<v Speaker 5>I mean it was as I grew up in that world.

0:10:04.160 --> 0:10:07.680
<v Speaker 4>You know. My family were farmers and you know, and

0:10:08.760 --> 0:10:09.640
<v Speaker 4>so I grew up that way.

0:10:09.679 --> 0:10:13.319
<v Speaker 5>But I was also part of the city. It's always been.

0:10:13.440 --> 0:10:15.960
<v Speaker 5>It's always been kind of schizophrenic with me. It's this

0:10:16.320 --> 0:10:20.240
<v Speaker 5>city and country together, and I sort of need both

0:10:20.280 --> 0:10:24.439
<v Speaker 5>of them. I need one to balance out the other side.

0:10:24.280 --> 0:10:27.520
<v Speaker 1>Do you remember what your very first musical memory was.

0:10:27.960 --> 0:10:31.800
<v Speaker 5>Probably seeing my what my mother and father both were musicians.

0:10:32.120 --> 0:10:34.200
<v Speaker 5>See my mother in a band, I mean, my mother

0:10:34.640 --> 0:10:37.280
<v Speaker 5>was in it was in a band in post Town,

0:10:37.679 --> 0:10:39.679
<v Speaker 5>and I was like, yeah, from the age of two

0:10:39.760 --> 0:10:42.480
<v Speaker 5>years old, I'd watched the band and I always wanted

0:10:42.480 --> 0:10:44.240
<v Speaker 5>to be the band leader, you know, the guy that

0:10:44.280 --> 0:10:45.760
<v Speaker 5>had the he had like a white coat on.

0:10:45.840 --> 0:10:48.040
<v Speaker 4>Everybody else had red coats on. He had a white

0:10:48.080 --> 0:10:50.000
<v Speaker 4>coat on. So yeah, I was I wanted to be

0:10:50.080 --> 0:10:50.440
<v Speaker 4>that guy.

0:10:50.800 --> 0:10:53.200
<v Speaker 3>What does Daryl Hall's mom's voice sound like? What is

0:10:53.200 --> 0:10:54.160
<v Speaker 3>her singing voice?

0:10:54.440 --> 0:10:58.240
<v Speaker 5>She was a soprano. She's ninety eight years old now

0:10:57.600 --> 0:11:03.440
<v Speaker 5>and up man, she's still six, but yeah, she she's

0:11:03.600 --> 0:11:07.320
<v Speaker 5>amazing singer, amazing soprano. And my father was in a

0:11:07.360 --> 0:11:10.800
<v Speaker 5>gospel group, a vocal group, and so I learned harmonies

0:11:10.800 --> 0:11:14.480
<v Speaker 5>from from him and his brothers and his friends and

0:11:14.520 --> 0:11:16.439
<v Speaker 5>all that. So I, you know, I grew up in

0:11:16.480 --> 0:11:18.079
<v Speaker 5>that the whole that whole world.

0:11:18.520 --> 0:11:23.480
<v Speaker 1>Were they closer to do wop or more Mills brothers

0:11:23.600 --> 0:11:24.360
<v Speaker 1>or like harmony?

0:11:24.480 --> 0:11:30.280
<v Speaker 4>Like what was their church harmony? You know, like gospel harmony?

0:11:30.360 --> 0:11:36.439
<v Speaker 1>Okay, but when you say quartet, I'm thinking of I'm

0:11:36.480 --> 0:11:44.480
<v Speaker 1>thinking of below, you know, right? Okay, what's your siblings situation?

0:11:44.679 --> 0:11:48.599
<v Speaker 1>How many are you? How many brothers and sisters do you?

0:11:49.160 --> 0:11:49.680
<v Speaker 4>I have once?

0:11:49.760 --> 0:11:51.960
<v Speaker 5>I have a sister, one sister. She lives up here

0:11:51.960 --> 0:11:53.000
<v Speaker 5>in Connecticut too.

0:11:53.480 --> 0:11:56.360
<v Speaker 1>And she musically inclined as well, she.

0:11:56.520 --> 0:11:57.760
<v Speaker 4>Is, but she's an artist.

0:11:58.040 --> 0:12:00.520
<v Speaker 5>She does all my visuals, you know, she does everyally,

0:12:00.600 --> 0:12:03.120
<v Speaker 5>from my album covers to my T shirts to everything.

0:12:03.520 --> 0:12:03.760
<v Speaker 4>Yeah.

0:12:04.120 --> 0:12:07.560
<v Speaker 1>Really, how long has she been collabing with you?

0:12:07.679 --> 0:12:09.480
<v Speaker 4>Well, as long as we've been alive.

0:12:11.440 --> 0:12:14.160
<v Speaker 1>So even in the days of like she was like

0:12:14.280 --> 0:12:14.640
<v Speaker 1>she was.

0:12:14.840 --> 0:12:16.720
<v Speaker 5>She was the visual artist and I was the singer.

0:12:16.760 --> 0:12:20.120
<v Speaker 5>You know, we both do both things. But that's how

0:12:20.120 --> 0:12:22.839
<v Speaker 5>it sort of panned out even we were kids.

0:12:23.320 --> 0:12:26.760
<v Speaker 1>I know that I've seen you as a keyboard player.

0:12:26.800 --> 0:12:29.000
<v Speaker 1>I believe I've seen you play guitar once or twice.

0:12:29.559 --> 0:12:32.600
<v Speaker 1>But what was your your first weapon of choice growing

0:12:32.679 --> 0:12:35.880
<v Speaker 1>up as far as the instrument that you use Jano?

0:12:36.120 --> 0:12:37.680
<v Speaker 5>Yeah, when I was like five years old, I started

0:12:37.720 --> 0:12:40.480
<v Speaker 5>taking piano lessons, but I was a singer before that.

0:12:40.600 --> 0:12:43.440
<v Speaker 5>You know, my mom taught me how to think because

0:12:43.440 --> 0:12:45.920
<v Speaker 5>she was sort of a vocal teacher too, and she

0:12:46.040 --> 0:12:48.679
<v Speaker 5>taught me how to sing from age zero, you know.

0:12:48.679 --> 0:12:49.720
<v Speaker 4>I mean I was always okay.

0:12:50.240 --> 0:12:54.640
<v Speaker 1>Yeah, Well, I know that you have sort of history

0:12:54.760 --> 0:12:59.880
<v Speaker 1>and Philadelphia proper, So can you tell me what, like

0:13:00.080 --> 0:13:03.959
<v Speaker 1>when you started gravitating towards metropolitan Philadelphia as opposed to

0:13:04.040 --> 0:13:06.760
<v Speaker 1>outside of Pottstown. At what time did you start going

0:13:06.760 --> 0:13:08.280
<v Speaker 1>to Philadelphia proper?

0:13:08.679 --> 0:13:10.440
<v Speaker 4>Short of when I was a teenager, I would go

0:13:10.559 --> 0:13:12.320
<v Speaker 4>I would go in because they used to have trains

0:13:12.320 --> 0:13:13.560
<v Speaker 4>in those days from Pottstown.

0:13:13.600 --> 0:13:15.920
<v Speaker 5>So I used to goin and my friends were in there,

0:13:16.000 --> 0:13:19.520
<v Speaker 5>and and I moved right out of high school.

0:13:19.520 --> 0:13:21.000
<v Speaker 4>I moved to Philadelphia.

0:13:21.120 --> 0:13:23.280
<v Speaker 1>Okay, so you're talking about like the R five or

0:13:23.280 --> 0:13:26.600
<v Speaker 1>the R three, like those high speed trains that Septa.

0:13:27.440 --> 0:13:30.319
<v Speaker 4>Yeah, there was like the Reading Reading railroad and all

0:13:30.320 --> 0:13:30.840
<v Speaker 4>that stuff.

0:13:31.000 --> 0:13:32.160
<v Speaker 6>Yeah.

0:13:32.400 --> 0:13:37.360
<v Speaker 1>Even even when we asked John about the time that

0:13:37.400 --> 0:13:41.320
<v Speaker 1>you guys put in during those those years in the

0:13:41.360 --> 0:13:44.000
<v Speaker 1>sixties in Philadelphia, he said that you would have more

0:13:44.040 --> 0:13:48.839
<v Speaker 1>intricate stories because of your involvement with like Gamble and

0:13:48.960 --> 0:13:52.160
<v Speaker 1>huff and like all those groups around. But could you

0:13:52.200 --> 0:13:56.000
<v Speaker 1>could you basically describe to me what the Philly environment was.

0:13:56.800 --> 0:13:59.560
<v Speaker 1>I guess you know, your teen years was in the sixties,

0:13:59.600 --> 0:14:03.840
<v Speaker 1>so you know, if you wanted to see your like

0:14:04.200 --> 0:14:06.000
<v Speaker 1>of the acts of the day that you saw, like

0:14:06.120 --> 0:14:08.440
<v Speaker 1>where where would you see them? And what acts would

0:14:08.480 --> 0:14:09.200
<v Speaker 1>you see of the day.

0:14:09.880 --> 0:14:12.000
<v Speaker 4>I used to go to the Uptown. I mean I

0:14:12.160 --> 0:14:12.560
<v Speaker 4>I I.

0:14:14.240 --> 0:14:18.120
<v Speaker 5>Lived in the Uptown basically, and I would see everybody

0:14:18.240 --> 0:14:20.880
<v Speaker 5>there and and I was I got involved right away

0:14:20.920 --> 0:14:25.320
<v Speaker 5>with with Kenny and Leon I actually did a talent

0:14:25.360 --> 0:14:29.200
<v Speaker 5>show at the Uptown with the group I had, the Temptones, and.

0:14:30.760 --> 0:14:31.800
<v Speaker 4>We won the talent show.

0:14:31.840 --> 0:14:33.800
<v Speaker 5>So I got a I got a deal, and I

0:14:33.840 --> 0:14:37.440
<v Speaker 5>went to Virtue Studios and did a and did a

0:14:37.480 --> 0:14:40.760
<v Speaker 5>record with the with the Romeos with Kenny Gamble.

0:14:42.160 --> 0:14:42.880
<v Speaker 7>What year was this?

0:14:42.960 --> 0:14:44.920
<v Speaker 4>Around nineteen sixty seven?

0:14:45.240 --> 0:14:46.760
<v Speaker 7>Sixty seven? Got you?

0:14:46.760 --> 0:14:49.240
<v Speaker 3>You must have been a crazy extrovert, not very shy

0:14:49.440 --> 0:14:52.120
<v Speaker 3>like you sound like you were crazy confident from the jump,

0:14:52.240 --> 0:14:54.040
<v Speaker 3>because to go into Philly and just dive in and

0:14:54.080 --> 0:14:54.600
<v Speaker 3>just talk.

0:14:54.440 --> 0:14:57.480
<v Speaker 4>To folks, you know what I have? I always had

0:14:57.560 --> 0:15:00.480
<v Speaker 4>confidence in the music area. I'm not exactly.

0:15:00.640 --> 0:15:03.360
<v Speaker 5>I wouldn't call myself an extrovert by any means, but

0:15:03.720 --> 0:15:06.000
<v Speaker 5>you get when you get into music, then yes, suddenly

0:15:06.040 --> 0:15:10.320
<v Speaker 5>I shine. I you know, I do have confidence.

0:15:10.840 --> 0:15:15.080
<v Speaker 1>Indeed, was it unusual for you in the late sixties,

0:15:15.600 --> 0:15:17.760
<v Speaker 1>because I'm assuming that you're you're kicking it with the

0:15:17.800 --> 0:15:21.480
<v Speaker 1>brothers in terms of like, you know, if you're at

0:15:21.520 --> 0:15:24.720
<v Speaker 1>the you know, having met like Danny and the Juniors

0:15:24.800 --> 0:15:28.520
<v Speaker 1>and and the Dovels and those other like Philly doo

0:15:28.560 --> 0:15:31.120
<v Speaker 1>wop legends that were kind of around my father's era,

0:15:32.080 --> 0:15:34.560
<v Speaker 1>Like you know, I'm not hearing them telling these stories about.

0:15:34.440 --> 0:15:36.640
<v Speaker 2>Yeah, man, we just always good to own town whatever whatever.

0:15:37.000 --> 0:15:41.520
<v Speaker 1>But for you, was there not a novelty factor? But

0:15:41.760 --> 0:15:45.360
<v Speaker 1>was it unusual for people to see a white guy

0:15:45.480 --> 0:15:50.640
<v Speaker 1>be so immersed in soul in the mid to late sixties.

0:15:52.120 --> 0:15:55.400
<v Speaker 4>It didn't seem so unusual. Believe it or not, it

0:15:55.440 --> 0:15:56.960
<v Speaker 4>was it was it was a different time.

0:15:58.040 --> 0:15:59.960
<v Speaker 5>I don't know, man, I mean, will you talk about

0:16:00.080 --> 0:16:03.160
<v Speaker 5>Dovel's they all went Overbrook. I mean, those guys, they

0:16:03.200 --> 0:16:05.920
<v Speaker 5>were they were in it big time.

0:16:06.560 --> 0:16:10.320
<v Speaker 1>Really, I'll be honest with you, because like a lot

0:16:10.360 --> 0:16:14.760
<v Speaker 1>of my education just comes from like the revival shows

0:16:14.800 --> 0:16:16.640
<v Speaker 1>that they were doing in the seventies and eighties, like

0:16:16.720 --> 0:16:19.880
<v Speaker 1>past the I don't know if I have a visual

0:16:19.880 --> 0:16:23.640
<v Speaker 1>of of of any of the Philly legends in their prime,

0:16:23.720 --> 0:16:26.640
<v Speaker 1>you know, late fifties, sixties, because obviously I wasn't born then.

0:16:27.000 --> 0:16:31.560
<v Speaker 5>Guys really well, okay, so Lenny, Mike Freeda and Lenny

0:16:31.600 --> 0:16:36.360
<v Speaker 5>Barry really close friends of mine, and yeah, yeah, they

0:16:36.360 --> 0:16:37.000
<v Speaker 5>were real.

0:16:36.840 --> 0:16:38.560
<v Speaker 4>Man, I mean they came from they came from the

0:16:38.600 --> 0:16:39.040
<v Speaker 4>real thing.

0:16:40.560 --> 0:16:44.120
<v Speaker 1>Well, I got to ask an eyewitness, have you ever

0:16:44.160 --> 0:16:46.720
<v Speaker 1>seen my dad before? This is one of the weirdest

0:16:46.760 --> 0:16:49.240
<v Speaker 1>questions on this show.

0:16:50.440 --> 0:16:52.800
<v Speaker 4>One of the first records I ever bought was your dad.

0:16:53.680 --> 0:16:57.160
<v Speaker 2>Really see again? Only I only know that dad.

0:16:57.160 --> 0:16:58.920
<v Speaker 1>I only know my dad from the second phase of

0:16:58.960 --> 0:17:02.600
<v Speaker 1>his career, because there really was a documentation of, you know,

0:17:03.040 --> 0:17:04.720
<v Speaker 1>of his career before then.

0:17:04.840 --> 0:17:07.280
<v Speaker 2>So I can only go on word of mouth of.

0:17:07.280 --> 0:17:10.199
<v Speaker 3>Oh, I used to see your dad's stories. Then I

0:17:10.240 --> 0:17:10.679
<v Speaker 3>want to know.

0:17:11.280 --> 0:17:14.000
<v Speaker 1>Well, yeah, so okay, Like, can you tell me what

0:17:14.040 --> 0:17:18.680
<v Speaker 1>a typical lineup was in if you were going to

0:17:18.680 --> 0:17:22.240
<v Speaker 1>to the Uptown in Philadelphia, which for our listeners out there,

0:17:22.960 --> 0:17:24.520
<v Speaker 1>you know, there are a few there are a few

0:17:25.600 --> 0:17:30.520
<v Speaker 1>houses for black acts that were quote unquote upscale in

0:17:30.560 --> 0:17:33.480
<v Speaker 1>the Chiplan Circuit. If you're in New York, the Apollos

0:17:33.520 --> 0:17:37.159
<v Speaker 1>a Highlight. If you're in d C, the Howard. If

0:17:37.200 --> 0:17:40.280
<v Speaker 1>you're in Chicago, Uh, is it the State Theater?

0:17:40.520 --> 0:17:43.120
<v Speaker 4>I believe, Yeah, Yeah, I.

0:17:43.040 --> 0:17:44.440
<v Speaker 2>Think it's the State. Yeah.

0:17:44.480 --> 0:17:47.640
<v Speaker 1>And if you're in Philadelphia, you're you're you're at the Uptown.

0:17:48.080 --> 0:17:51.560
<v Speaker 1>Could you explain like what a typical bill would look

0:17:51.640 --> 0:17:54.679
<v Speaker 1>like like is it hosted by Georgie Woods?

0:17:54.800 --> 0:17:57.200
<v Speaker 2>Is it you know, is it an all day thing?

0:17:57.280 --> 0:17:57.359
<v Speaker 4>Like?

0:17:57.400 --> 0:17:59.560
<v Speaker 1>Do you go there twelve in the afternoon, you stay

0:17:59.680 --> 0:18:01.600
<v Speaker 1>till all the shows are over.

0:18:02.280 --> 0:18:05.239
<v Speaker 5>I used to do that occasionally. Yeah, I mean it

0:18:05.280 --> 0:18:08.680
<v Speaker 5>was it was whoever was popular at the time. You know,

0:18:08.720 --> 0:18:12.000
<v Speaker 5>it would be anybody for like Billy Stewart, Demand Lads

0:18:12.040 --> 0:18:15.960
<v Speaker 5>to Well Gladys Slade and the Pips and the Temps

0:18:16.000 --> 0:18:20.360
<v Speaker 5>obviously and everything in between. I mean, it just depended

0:18:20.400 --> 0:18:23.000
<v Speaker 5>who was, you know, who was touring at the time.

0:18:23.800 --> 0:18:24.720
<v Speaker 2>You know, my generation.

0:18:25.000 --> 0:18:30.120
<v Speaker 1>If you go see Okay Run DMC, you're expecting an

0:18:30.160 --> 0:18:33.760
<v Speaker 1>hour or so of just that act. But I mean,

0:18:33.920 --> 0:18:36.199
<v Speaker 1>was there ever an act that I mean, I know

0:18:36.200 --> 0:18:39.600
<v Speaker 1>that James Brown was his own self contained unit, but

0:18:39.640 --> 0:18:41.280
<v Speaker 1>even he had a variety show.

0:18:41.400 --> 0:18:43.840
<v Speaker 2>But was it just expected for like.

0:18:43.760 --> 0:18:46.360
<v Speaker 1>An act to come out and do fifteen to twenty

0:18:46.440 --> 0:18:48.280
<v Speaker 1>minutes and then that's it and you're out.

0:18:48.680 --> 0:18:51.720
<v Speaker 4>Yeah, that was usually the way it was. People didn't

0:18:51.720 --> 0:18:55.040
<v Speaker 4>do long shows. It was it was usually some kind

0:18:55.080 --> 0:18:59.440
<v Speaker 4>of review, you know, in a mixture of people. For sure.

0:18:59.480 --> 0:19:02.560
<v Speaker 3>Okay, I never knew this what review meant, thank y'all.

0:19:02.600 --> 0:19:04.040
<v Speaker 3>I kind of knew that it meant. It was a

0:19:04.080 --> 0:19:06.520
<v Speaker 3>time limit. When you say review referring to a.

0:19:06.480 --> 0:19:09.199
<v Speaker 1>Show, Yeah, like you know, just from the days of

0:19:09.280 --> 0:19:13.920
<v Speaker 1>like well, I meant most people sight yeah, or even

0:19:14.000 --> 0:19:18.480
<v Speaker 1>like modern the modern era of like where Mom Rainey's yeah,

0:19:18.560 --> 0:19:22.239
<v Speaker 1>Mom Rainey's traveling circus and then that sort of you know,

0:19:22.480 --> 0:19:26.640
<v Speaker 1>morphed into vaudeville, which then morphed into the review, which

0:19:26.720 --> 0:19:29.200
<v Speaker 1>I mean at the time only Motown and James Brown

0:19:29.320 --> 0:19:33.440
<v Speaker 1>really had a strong enough presence to carry you know,

0:19:33.760 --> 0:19:34.560
<v Speaker 1>other people with them.

0:19:34.600 --> 0:19:37.119
<v Speaker 2>Multiple Yeah. Back in the day, it was it was

0:19:37.240 --> 0:19:38.080
<v Speaker 2>the radio guy.

0:19:38.359 --> 0:19:41.240
<v Speaker 1>It was the Georgie Wood, you know, the funk reflex

0:19:41.320 --> 0:19:44.760
<v Speaker 1>of that period that would throw these shows and whatnot.

0:19:45.240 --> 0:19:48.800
<v Speaker 1>So were you ever in a house band situation, like

0:19:49.000 --> 0:19:52.439
<v Speaker 1>usually if we talked to New York guys and they say, like,

0:19:52.560 --> 0:19:54.640
<v Speaker 1>you know, I played I was a back and band

0:19:54.680 --> 0:19:56.880
<v Speaker 1>in the Apollo, Like, were you ever in a house

0:19:56.920 --> 0:19:59.560
<v Speaker 1>band situation having to back these acts up when they.

0:20:01.320 --> 0:20:04.359
<v Speaker 5>I didn't do it at the Uptown I did it

0:20:04.640 --> 0:20:06.680
<v Speaker 5>at a couple other places in the Philadelphia area. I

0:20:06.680 --> 0:20:09.320
<v Speaker 5>would do like I I would play with the Stylistics

0:20:09.400 --> 0:20:11.800
<v Speaker 5>or somebody like that, But I didn't do I didn't

0:20:11.840 --> 0:20:15.720
<v Speaker 5>do a lot of background play. No, I was no, no, okay.

0:20:15.800 --> 0:20:19.159
<v Speaker 1>So if you're playing with the stylistics, you know, today,

0:20:19.440 --> 0:20:23.040
<v Speaker 1>it's it's easier for acts to because of the Internet.

0:20:23.359 --> 0:20:26.600
<v Speaker 1>I can easily google something, I can easily easily reference something.

0:20:27.119 --> 0:20:31.040
<v Speaker 1>But in your day, how easy is it to pick

0:20:31.119 --> 0:20:35.160
<v Speaker 1>up someone's music? Or is this just a thing where

0:20:35.240 --> 0:20:36.840
<v Speaker 1>like you hear in the radio a few times and

0:20:36.920 --> 0:20:39.720
<v Speaker 1>you instantly know what the chords are? Like, do you

0:20:39.720 --> 0:20:42.240
<v Speaker 1>get enough prep time to I'm just trying to figure

0:20:42.280 --> 0:20:44.320
<v Speaker 1>out the mind state of a person that is.

0:20:44.840 --> 0:20:46.560
<v Speaker 4>I mean we used to do I did.

0:20:46.680 --> 0:20:48.919
<v Speaker 5>I worked at Sigma a lot, and you know, I

0:20:48.960 --> 0:20:53.240
<v Speaker 5>did a lot of recording with people and just record charts.

0:20:53.640 --> 0:20:55.480
<v Speaker 5>I mean that was how you did it, all.

0:20:55.480 --> 0:20:57.920
<v Speaker 1>Right, So you're a court chart reading Can you name

0:20:58.000 --> 0:21:01.320
<v Speaker 1>some of the singles that you played on and those

0:21:01.400 --> 0:21:02.119
<v Speaker 1>like early.

0:21:03.440 --> 0:21:05.120
<v Speaker 5>I can't even remember. I used to work a lot

0:21:05.160 --> 0:21:07.440
<v Speaker 5>with Norman Harris. He was one of the guys, the

0:21:07.720 --> 0:21:12.840
<v Speaker 5>guitar player and m mfs B you know whatever, and

0:21:12.960 --> 0:21:17.679
<v Speaker 5>uh uh uh, man, I can't you know. I I

0:21:18.440 --> 0:21:21.240
<v Speaker 5>so long ago, man, I I did, Like I remember

0:21:21.280 --> 0:21:24.000
<v Speaker 5>getting to remember doing a Clyde MCFA record, you know

0:21:24.000 --> 0:21:26.919
<v Speaker 5>what I mean, Like that's stick in my mind. We

0:21:26.960 --> 0:21:28.720
<v Speaker 5>did a lot of stuff where we would do demos

0:21:28.760 --> 0:21:31.199
<v Speaker 5>and and it wouldn't even get anywhere. It was this

0:21:31.240 --> 0:21:33.440
<v Speaker 5>guy George Tinley. I used to work with him. Uh,

0:21:33.960 --> 0:21:36.200
<v Speaker 5>I think I played. I think I played on the

0:21:36.240 --> 0:21:38.600
<v Speaker 5>Delphonics record.

0:21:39.600 --> 0:21:40.080
<v Speaker 1>Was it was?

0:21:40.080 --> 0:21:40.399
<v Speaker 2>It?

0:21:40.480 --> 0:21:43.240
<v Speaker 1>Was it a good living? As I mean for you

0:21:43.359 --> 0:21:45.760
<v Speaker 1>like in that time period? Was it was it for you?

0:21:45.800 --> 0:21:46.720
<v Speaker 2>Like? Is it a good living?

0:21:46.800 --> 0:21:49.960
<v Speaker 1>Like Okay, I'm I'm assessing musician or did you instantly

0:21:50.040 --> 0:21:52.960
<v Speaker 1>know Nah, it's it's in front of the microphone, like

0:21:53.040 --> 0:21:55.520
<v Speaker 1>that's where the real that's where I want to be.

0:21:56.240 --> 0:21:58.399
<v Speaker 5>Yeah, it was it was I I wanted to be

0:21:58.440 --> 0:22:00.719
<v Speaker 5>in front of the microphone. I liked doing it, and

0:22:00.760 --> 0:22:02.880
<v Speaker 5>it was it was an experience and I learned it

0:22:03.119 --> 0:22:04.880
<v Speaker 5>and I would be like, you know, I was never

0:22:05.480 --> 0:22:08.239
<v Speaker 5>I was like third string or whatever, you know, but

0:22:08.320 --> 0:22:12.080
<v Speaker 5>I was, you know, I'm still in school and uh

0:22:11.800 --> 0:22:15.400
<v Speaker 5>uh I you know. I did a lot of writing too,

0:22:15.520 --> 0:22:18.680
<v Speaker 5>you know. It was it was sort of a combination

0:22:18.760 --> 0:22:21.200
<v Speaker 5>of studio work and writing at the same time I worked.

0:22:21.359 --> 0:22:24.920
<v Speaker 5>I worked with this guy John Madera. We talk about

0:22:25.000 --> 0:22:27.639
<v Speaker 5>Danny and the Juniors. He wrote he wrote out the

0:22:27.680 --> 0:22:30.040
<v Speaker 5>hop you know, and he really yeah, he was in

0:22:30.119 --> 0:22:31.760
<v Speaker 5>the Schubert building and.

0:22:31.480 --> 0:22:35.760
<v Speaker 4>And and gamble and Huff were like a couple floors down.

0:22:36.040 --> 0:22:38.400
<v Speaker 4>Tommy Bell was in there, so we all knew each

0:22:38.440 --> 0:22:40.520
<v Speaker 4>other and hung out together.

0:22:40.880 --> 0:22:43.600
<v Speaker 5>And uh so it was a combination of being to

0:22:43.880 --> 0:22:46.120
<v Speaker 5>being in the studio and writing at the same time.

0:22:46.280 --> 0:22:51.359
<v Speaker 1>Yeah, well at the time period where Gamble and Huff

0:22:51.440 --> 0:22:54.800
<v Speaker 1>sort of or at least they dropped the anchor as

0:22:54.880 --> 0:22:59.760
<v Speaker 1>the the alphas in this in this Sound of Philadelphia thing,

0:23:00.000 --> 0:23:04.000
<v Speaker 1>which always confused me because you know, I'm assuming that

0:23:05.320 --> 0:23:09.120
<v Speaker 1>you know, not having the aid of liner notes when

0:23:09.160 --> 0:23:16.080
<v Speaker 1>I'm listening to either their work or you know, or

0:23:16.119 --> 0:23:19.840
<v Speaker 1>the work of Dexter Wanzel or any of the other

0:23:19.960 --> 0:23:24.000
<v Speaker 1>second string Philly international people. I'm assuming that you know

0:23:24.080 --> 0:23:27.800
<v Speaker 1>this is all under the guise of Gamble and Huff,

0:23:27.880 --> 0:23:31.399
<v Speaker 1>only later to find out that they were just all

0:23:31.560 --> 0:23:34.119
<v Speaker 1>using the same session musicians and had nothing to do

0:23:34.160 --> 0:23:38.439
<v Speaker 1>with each other. But sonically it all sounded like the

0:23:38.480 --> 0:23:41.160
<v Speaker 1>Sound of Philadelphia and Gamble and Huff. Did you ever

0:23:41.480 --> 0:23:44.440
<v Speaker 1>at one point like try to approach them and say like, hey,

0:23:44.480 --> 0:23:47.680
<v Speaker 1>I produce an I singer song, right like.

0:23:47.640 --> 0:23:48.600
<v Speaker 2>Can I join the fray?

0:23:48.880 --> 0:23:52.639
<v Speaker 1>Or was it instantly like I want to establish my

0:23:52.720 --> 0:23:55.720
<v Speaker 1>own thing and not be under Yeah.

0:23:55.400 --> 0:23:58.720
<v Speaker 5>That's what happened actually is Kenny actually said to me,

0:23:58.880 --> 0:24:03.399
<v Speaker 5>would you like to him to Philly International and write

0:24:03.480 --> 0:24:06.439
<v Speaker 5>and do whatever you know, the record and and that

0:24:06.600 --> 0:24:08.760
<v Speaker 5>was just when I was get ready to leaf for

0:24:09.520 --> 0:24:11.480
<v Speaker 5>to go to to move to New York with John.

0:24:12.119 --> 0:24:15.399
<v Speaker 5>And I said, well, you know, I was tempted, I

0:24:15.440 --> 0:24:17.960
<v Speaker 5>got to say, but I figured that what we wanted

0:24:17.960 --> 0:24:21.560
<v Speaker 5>to do what became the Hall and Oaks sound or

0:24:21.600 --> 0:24:22.280
<v Speaker 5>whatever it was.

0:24:22.359 --> 0:24:22.680
<v Speaker 4>It was.

0:24:22.880 --> 0:24:25.040
<v Speaker 5>It was a Philly sound, but it wasn't the gamble

0:24:25.040 --> 0:24:27.000
<v Speaker 5>and hoofs sound, you know. And I wanted to do

0:24:27.080 --> 0:24:29.560
<v Speaker 5>my own thing, just what you said. I wanted to

0:24:29.560 --> 0:24:33.640
<v Speaker 5>to create my own version of Philly music. And so

0:24:34.200 --> 0:24:35.840
<v Speaker 5>I turned that idea down.

0:24:35.920 --> 0:24:45.840
<v Speaker 1>You know, John had casually mentioned how you two had met,

0:24:46.119 --> 0:24:50.520
<v Speaker 1>but I got to hear the details. He he mentioned

0:24:50.520 --> 0:24:53.600
<v Speaker 1>that I guess a fight had broken out at a

0:24:53.640 --> 0:24:55.160
<v Speaker 1>show and that's how you met.

0:24:55.200 --> 0:24:57.480
<v Speaker 2>But could you tell us how you met.

0:24:59.119 --> 0:25:02.080
<v Speaker 5>We've told that story so many times, I mean singlely

0:25:02.160 --> 0:25:02.959
<v Speaker 5>and together.

0:25:03.400 --> 0:25:05.680
<v Speaker 2>Uh, I mean listeners have not heard that.

0:25:05.760 --> 0:25:07.680
<v Speaker 5>I guarantee you there was a record hop out in

0:25:07.960 --> 0:25:10.240
<v Speaker 5>the Adelphi Ballroom in West Philly.

0:25:10.440 --> 0:25:13.720
<v Speaker 4>And the Second Street, Yeah, and that's where it was.

0:25:13.880 --> 0:25:17.360
<v Speaker 4>And and uh, I forget who was on the bill.

0:25:17.400 --> 0:25:20.040
<v Speaker 5>I remember our tate was on the bill and and

0:25:20.160 --> 0:25:23.920
<v Speaker 5>uh five stair steps and and and then they had

0:25:23.960 --> 0:25:26.040
<v Speaker 5>you know the bottom of the bill was the Temptones

0:25:26.080 --> 0:25:30.120
<v Speaker 5>and John's band and uh and uh.

0:25:29.720 --> 0:25:31.480
<v Speaker 4>We you know, we were waiting to go on.

0:25:31.720 --> 0:25:35.480
<v Speaker 5>We were and and you know those days, ship happened

0:25:35.800 --> 0:25:38.280
<v Speaker 5>and in some kind of fight broke out and they

0:25:38.400 --> 0:25:41.000
<v Speaker 5>and they closed the whole thing down and it was up.

0:25:41.280 --> 0:25:43.080
<v Speaker 5>It was on a second floor, so we had to

0:25:43.080 --> 0:25:45.200
<v Speaker 5>get in an elevator to go downstairs to go to

0:25:45.440 --> 0:25:47.720
<v Speaker 5>go to the street. And that's how I met John.

0:25:47.800 --> 0:25:49.480
<v Speaker 5>He was in the elevator with me, you know, and

0:25:49.520 --> 0:25:52.120
<v Speaker 5>I said, hey, when you go to Temple University blah

0:25:52.160 --> 0:25:57.119
<v Speaker 5>blah blah, and uh uh we we started kind of

0:25:58.240 --> 0:25:59.840
<v Speaker 5>being friends, you know, hanging out.

0:26:00.680 --> 0:26:01.000
<v Speaker 1>What was it?

0:26:01.080 --> 0:26:05.960
<v Speaker 2>Where was your major at Temple Music? Okay? Did they

0:26:06.000 --> 0:26:08.639
<v Speaker 2>have an RTF program backman? Or was that?

0:26:08.720 --> 0:26:08.800
<v Speaker 4>Like?

0:26:09.640 --> 0:26:12.520
<v Speaker 5>Yeah, John was RTF. I believe he was a journal

0:26:12.680 --> 0:26:14.480
<v Speaker 5>He was a journalism of RTF.

0:26:14.240 --> 0:26:16.320
<v Speaker 4>Kind of major. But I was a music major.

0:26:16.560 --> 0:26:16.959
<v Speaker 2>First of all.

0:26:17.000 --> 0:26:19.360
<v Speaker 1>How many members were the Temptones? I know, you guys were.

0:26:20.600 --> 0:26:22.800
<v Speaker 1>It was an imitations and influence, but.

0:26:23.680 --> 0:26:25.800
<v Speaker 5>It was a revolving We call it Temptones because of

0:26:25.840 --> 0:26:28.040
<v Speaker 5>Temple University now because of Temptations.

0:26:28.680 --> 0:26:31.760
<v Speaker 2>Oh wow, Okay, see okay, I thought it was.

0:26:32.640 --> 0:26:37.040
<v Speaker 5>But yeah, it was revolving, but it was basically at

0:26:37.040 --> 0:26:38.840
<v Speaker 5>the same time singing it would be four people.

0:26:39.520 --> 0:26:42.479
<v Speaker 2>Yeah, I get it.

0:26:42.560 --> 0:26:46.600
<v Speaker 1>So what was the deciding factor that that told you like, okay,

0:26:46.600 --> 0:26:50.680
<v Speaker 1>well let me try this out, you know, leaving it

0:26:50.760 --> 0:26:53.760
<v Speaker 1>like it's the Temptones only thing. It's like casual school stuff,

0:26:53.800 --> 0:26:56.680
<v Speaker 1>casual Philadelphia stuff. And they weren't serious about it or

0:26:56.960 --> 0:26:58.440
<v Speaker 1>were you more serious than they were?

0:26:59.240 --> 0:27:03.359
<v Speaker 5>Well, yeah, probably, I probably was. But it all just

0:27:03.359 --> 0:27:06.280
<v Speaker 5>came out of street corner music. I mean that's how

0:27:06.320 --> 0:27:09.840
<v Speaker 5>it all started, you know, digging together and then we

0:27:10.080 --> 0:27:13.399
<v Speaker 5>decided to call it something, and it was various people

0:27:13.400 --> 0:27:17.879
<v Speaker 5>coming in and out, and and then we eventually we

0:27:17.920 --> 0:27:20.760
<v Speaker 5>got we got a little rhythm section to back us

0:27:20.800 --> 0:27:23.600
<v Speaker 5>up and event and John wound up being one of

0:27:23.600 --> 0:27:26.520
<v Speaker 5>those people at the very very end, and that's how

0:27:27.040 --> 0:27:30.480
<v Speaker 5>sort of continued, you know, the whole it kind of

0:27:30.600 --> 0:27:34.960
<v Speaker 5>morphed into just being John working together and writing songs.

0:27:35.280 --> 0:27:38.160
<v Speaker 1>I was like as a singer at least back then

0:27:39.400 --> 0:27:43.280
<v Speaker 1>like who who was your north star? Who? As far

0:27:43.359 --> 0:27:47.640
<v Speaker 1>as like who you idolized as a singer? And then

0:27:47.720 --> 0:27:49.520
<v Speaker 1>I guess who were you not emulating?

0:27:49.560 --> 0:27:50.760
<v Speaker 2>But who do you felt like.

0:27:50.760 --> 0:27:52.840
<v Speaker 1>Influenced your your your vocal style?

0:27:53.119 --> 0:27:58.160
<v Speaker 5>I mean I was trying and you know Smokey loves

0:27:58.359 --> 0:28:00.320
<v Speaker 5>and then I and I loved all the same are

0:28:00.320 --> 0:28:03.520
<v Speaker 5>the Temptatians. I was really into all that stuff. But

0:28:03.600 --> 0:28:06.320
<v Speaker 5>a lot of street corner people. You know, uh, your

0:28:06.320 --> 0:28:10.840
<v Speaker 5>father man, I loved him later, you know Felipe Winn

0:28:11.440 --> 0:28:11.760
<v Speaker 5>you know.

0:28:12.119 --> 0:28:14.520
<v Speaker 7>Uh yeah, Spinners and.

0:28:16.320 --> 0:28:19.080
<v Speaker 5>These are the people that I idolized and I I

0:28:19.119 --> 0:28:21.880
<v Speaker 5>will Yeah, I guess when I was a kid emulate,

0:28:22.000 --> 0:28:22.720
<v Speaker 5>Yes for sure.

0:28:23.240 --> 0:28:25.920
<v Speaker 8>Well, I mean just in terms of influence, That's all

0:28:26.680 --> 0:28:31.320
<v Speaker 8>I was going to say. Costello mentioned mister Wynd also

0:28:31.359 --> 0:28:35.960
<v Speaker 8>from the Spinners as his his all time you know,

0:28:36.119 --> 0:28:37.240
<v Speaker 8>vocal idol.

0:28:38.720 --> 0:28:39.480
<v Speaker 2>Now he's a monster.

0:28:39.880 --> 0:28:42.160
<v Speaker 3>Darryl. Can I just ask what your parents have are

0:28:42.200 --> 0:28:44.240
<v Speaker 3>thinking on your journey, Like did they expect you to

0:28:44.360 --> 0:28:46.360
<v Speaker 3>just be an art I mean it's a blessing that

0:28:46.400 --> 0:28:48.280
<v Speaker 3>you had two parents there were artists, But were they

0:28:48.280 --> 0:28:49.480
<v Speaker 3>thinking that's where you were going to go? And were

0:28:49.480 --> 0:28:50.320
<v Speaker 3>they happy about it?

0:28:51.040 --> 0:28:56.040
<v Speaker 5>They always supported me, always supported me. There was never

0:28:56.080 --> 0:28:59.240
<v Speaker 5>any question about it. To tell you the truth. They

0:28:59.280 --> 0:29:01.680
<v Speaker 5>wanted to make sure I was going to like do

0:29:01.880 --> 0:29:04.800
<v Speaker 5>something that I would make some money yet right hopefully,

0:29:05.320 --> 0:29:08.600
<v Speaker 5>But it was you know, they always supported me, always, always.

0:29:09.080 --> 0:29:09.960
<v Speaker 7>That's so dope, man.

0:29:10.360 --> 0:29:14.360
<v Speaker 8>With John was the chemistry with you guys, honest, mostly

0:29:14.360 --> 0:29:17.600
<v Speaker 8>on the songwriting tip or was it a musical thing

0:29:17.880 --> 0:29:19.960
<v Speaker 8>or vocal vocal harmony kind of thing.

0:29:20.480 --> 0:29:23.760
<v Speaker 5>It was sort of songwriting more than anything. I was

0:29:23.840 --> 0:29:26.840
<v Speaker 5>interested in what he was doing because he was he

0:29:27.040 --> 0:29:29.800
<v Speaker 5>was way out of my realm of experience.

0:29:29.880 --> 0:29:30.040
<v Speaker 4>You know.

0:29:30.080 --> 0:29:32.800
<v Speaker 5>He liked bluegrass music and all the stuff that I

0:29:32.880 --> 0:29:36.000
<v Speaker 5>had never heard of, you know, or heard I heard of,

0:29:36.160 --> 0:29:40.240
<v Speaker 5>but I never heard and I was sort of you know,

0:29:40.320 --> 0:29:42.360
<v Speaker 5>I was in my student mode, so I was learning

0:29:42.360 --> 0:29:45.280
<v Speaker 5>about all these things, and so I was really interested

0:29:45.320 --> 0:29:47.440
<v Speaker 5>with what he brought to the table that way. So

0:29:47.760 --> 0:29:50.120
<v Speaker 5>it was more of a friendship than anything else, tell

0:29:50.160 --> 0:29:50.680
<v Speaker 5>you the truth.

0:29:50.800 --> 0:29:51.840
<v Speaker 4>I mean, we.

0:29:51.840 --> 0:29:54.720
<v Speaker 5>Decided we were going to share a stage but be

0:29:54.880 --> 0:29:57.440
<v Speaker 5>very separate, which we've never changed. You know, he has

0:29:57.480 --> 0:29:59.800
<v Speaker 5>his own musical style. I got my own one week

0:30:00.120 --> 0:30:03.040
<v Speaker 5>somehow put it together when we when we work together.

0:30:03.160 --> 0:30:07.720
<v Speaker 5>But yeah, it was more. It really evolved from a

0:30:07.760 --> 0:30:10.240
<v Speaker 5>friendship to something a little more than that.

0:30:11.000 --> 0:30:15.400
<v Speaker 1>The original al Cast, original mob.

0:30:16.320 --> 0:30:19.320
<v Speaker 8>Yeah, you both write music and you both wrote lyrics,

0:30:19.400 --> 0:30:21.400
<v Speaker 8>and it was how did that work?

0:30:21.840 --> 0:30:25.280
<v Speaker 5>Occasionally we would work together, That's how it worked, Like

0:30:25.360 --> 0:30:30.160
<v Speaker 5>said the song She's Gone, that's h I would call

0:30:30.200 --> 0:30:32.360
<v Speaker 5>it exception to the rule, if you want the truth.

0:30:33.920 --> 0:30:36.680
<v Speaker 5>John John writes his own kind of songs, and and

0:30:37.080 --> 0:30:42.480
<v Speaker 5>I write mine, and occasionally we would collaborate on lyrics,

0:30:43.160 --> 0:30:45.800
<v Speaker 5>and I would throw things at him. And I also

0:30:45.880 --> 0:30:49.040
<v Speaker 5>collaborate with other people like this. The Allen sisters Sarah

0:30:49.120 --> 0:30:52.680
<v Speaker 5>Allen and her sister Jennau wrote a lot of songs

0:30:52.680 --> 0:30:55.960
<v Speaker 5>with with me and and I would jump into that too.

0:30:55.960 --> 0:31:01.240
<v Speaker 1>Sometimes, are you protective of your work to the point

0:31:01.320 --> 0:31:07.520
<v Speaker 1>where you're not easily persuaded or persuadable when it comes

0:31:07.560 --> 0:31:10.840
<v Speaker 1>to like, Okay, if you submit a song, is it

0:31:11.680 --> 0:31:11.960
<v Speaker 1>you know?

0:31:12.200 --> 0:31:15.239
<v Speaker 2>This is this? Is it? Or is it? Hey? Why

0:31:15.240 --> 0:31:16.360
<v Speaker 2>don't you try this idea?

0:31:16.440 --> 0:31:16.560
<v Speaker 4>No?

0:31:16.440 --> 0:31:17.440
<v Speaker 1>No no, no, no.

0:31:17.040 --> 0:31:18.080
<v Speaker 2>No fix that around.

0:31:18.240 --> 0:31:21.280
<v Speaker 1>I mean I could see the producer doing that. I

0:31:21.320 --> 0:31:24.800
<v Speaker 1>mean in terms of like if Todd's producing or whatever.

0:31:24.880 --> 0:31:27.600
<v Speaker 1>But like with you and Daryl, like are you too,

0:31:27.880 --> 0:31:33.680
<v Speaker 1>allowed to offer unsolicited suggestions of a.

0:31:33.800 --> 0:31:38.880
<v Speaker 5>You know, absolutely the reason I love collaboration. I like

0:31:38.960 --> 0:31:45.840
<v Speaker 5>bouncing off ideas back and forth. John's participation in my

0:31:46.000 --> 0:31:47.960
<v Speaker 5>songs is more like, what do you think of this?

0:31:48.240 --> 0:31:50.480
<v Speaker 5>And then he say, well, once you try that? Or

0:31:50.560 --> 0:31:51.200
<v Speaker 5>is singing that?

0:31:51.360 --> 0:31:55.040
<v Speaker 4>Or do that? And I would generate the song or

0:31:55.080 --> 0:31:59.280
<v Speaker 4>sometimes one of the like Janna Allen would bring a

0:31:59.320 --> 0:32:03.000
<v Speaker 4>song in and I would do that with her. You know,

0:32:03.160 --> 0:32:04.920
<v Speaker 4>works like that. Yeah, very flexible.

0:32:05.120 --> 0:32:07.360
<v Speaker 3>Very you mentioned she's gone, but I don't think we

0:32:07.440 --> 0:32:09.880
<v Speaker 3>got to hear you when you broke down the workflow

0:32:10.280 --> 0:32:11.000
<v Speaker 3>of that song.

0:32:11.520 --> 0:32:14.440
<v Speaker 5>We sat and wrote that. John came up with a

0:32:14.520 --> 0:32:19.560
<v Speaker 5>chorus and it was sort of a more folky kind

0:32:19.560 --> 0:32:21.640
<v Speaker 5>of style, and I said, okay, why don't we do

0:32:21.680 --> 0:32:23.800
<v Speaker 5>it this way? And I started playing that piano riff

0:32:24.040 --> 0:32:27.040
<v Speaker 5>that is the signature of the song. And then and

0:32:27.160 --> 0:32:30.000
<v Speaker 5>I did all that, and then we sat down and

0:32:30.000 --> 0:32:32.000
<v Speaker 5>we wrote lyrics about it. I mean, that was a

0:32:32.040 --> 0:32:38.040
<v Speaker 5>real whole song. We sort of pulled our experiences. There

0:32:38.080 --> 0:32:40.280
<v Speaker 5>were things that were going on with both of us

0:32:40.480 --> 0:32:42.720
<v Speaker 5>separately at the time, and we kind of mixed it

0:32:42.800 --> 0:32:46.680
<v Speaker 5>together and turned it into the what the lyrics are

0:32:46.800 --> 0:32:50.680
<v Speaker 5>that song and then we took it to Atlantic when

0:32:50.760 --> 0:32:53.000
<v Speaker 5>we played it for a reef, He's the one that

0:32:53.080 --> 0:32:55.640
<v Speaker 5>put those that crazy modulation idea into it.

0:32:56.200 --> 0:33:02.000
<v Speaker 1>How does a group pursue a record deal in the seventies?

0:33:03.360 --> 0:33:05.320
<v Speaker 1>You know, now we're in a time where you can

0:33:05.360 --> 0:33:09.000
<v Speaker 1>go viral on YouTube. Someone sees it and chances are

0:33:09.040 --> 0:33:11.479
<v Speaker 1>they'll stalk you and see what your situation is and

0:33:12.080 --> 0:33:14.840
<v Speaker 1>signed to me. But how do you how do you

0:33:14.840 --> 0:33:18.880
<v Speaker 1>gain the attention of the industry? Like when you when

0:33:18.920 --> 0:33:21.360
<v Speaker 1>you and John are like, all right, we're going to

0:33:21.440 --> 0:33:23.920
<v Speaker 1>do this. What's the what's the step in the process

0:33:23.920 --> 0:33:25.000
<v Speaker 1>of getting a record deal?

0:33:25.840 --> 0:33:30.360
<v Speaker 5>We you know, we knocked on doors in New York

0:33:30.400 --> 0:33:35.160
<v Speaker 5>City and everybody liked us, and then we get the word,

0:33:35.280 --> 0:33:37.680
<v Speaker 5>well they liked you, but you know they turned us down,

0:33:38.360 --> 0:33:41.080
<v Speaker 5>so we we want long story show. We actually went

0:33:41.120 --> 0:33:45.760
<v Speaker 5>to la and uh we we went out there and

0:33:45.800 --> 0:33:48.920
<v Speaker 5>we were knocking around. We were introduced to some people

0:33:49.240 --> 0:33:51.480
<v Speaker 5>and I was introduced John and I were introduced to

0:33:51.560 --> 0:33:57.040
<v Speaker 5>this guy named Earl McGrath who had this tiny label

0:33:57.760 --> 0:34:01.760
<v Speaker 5>that was an indie label subsidiary of Atlantic. It was

0:34:01.800 --> 0:34:06.200
<v Speaker 5>called Clean Clean Records, and Earle wanted to sign us.

0:34:06.280 --> 0:34:09.560
<v Speaker 5>He liked what he heard and he said, okay, I'll

0:34:09.600 --> 0:34:13.640
<v Speaker 5>sign you and then he he took it back to

0:34:13.719 --> 0:34:20.040
<v Speaker 5>New York and we auditioned for Ahmed and and a

0:34:20.080 --> 0:34:25.120
<v Speaker 5>Reef and I remember I had the flu man. They

0:34:25.160 --> 0:34:28.120
<v Speaker 5>gave me this piano where all the notes were sticking

0:34:28.160 --> 0:34:31.000
<v Speaker 5>on it, and it was it was the worst audition

0:34:31.080 --> 0:34:35.279
<v Speaker 5>in the world. And whatever happened, a Reef really liked it,

0:34:35.320 --> 0:34:37.959
<v Speaker 5>Amon really liked it. So they basically stole it from Earl.

0:34:38.080 --> 0:34:40.160
<v Speaker 5>They stole us from Earl, and we wound up going

0:34:40.160 --> 0:34:41.480
<v Speaker 5>to Atlantic and that's how we did it.

0:34:42.120 --> 0:34:47.040
<v Speaker 1>My dad mentioned what what we commonly say as a showcase.

0:34:47.440 --> 0:34:50.040
<v Speaker 1>I don't know showcases are as common now as they

0:34:50.120 --> 0:34:50.880
<v Speaker 1>were back then.

0:34:51.360 --> 0:34:53.520
<v Speaker 2>But when you're saying we audition, is it a.

0:34:53.520 --> 0:34:56.840
<v Speaker 1>Thing where you book a gig at the bottom line

0:34:56.920 --> 0:34:59.759
<v Speaker 1>or a club and they come see you. Or are

0:34:59.800 --> 0:35:03.520
<v Speaker 1>you in a confined s I R. Situation or I know,

0:35:03.600 --> 0:35:07.279
<v Speaker 1>like Atlantic has their own facility and room like that,

0:35:07.360 --> 0:35:09.400
<v Speaker 1>Like do you set up there and then you just

0:35:09.480 --> 0:35:13.799
<v Speaker 1>performed for ten suits in a room? Is it is

0:35:13.800 --> 0:35:17.680
<v Speaker 1>that process more jarring and weird like to.

0:35:18.719 --> 0:35:20.080
<v Speaker 4>Yeah, it was. It was.

0:35:20.320 --> 0:35:24.440
<v Speaker 5>It was really like I said, I all the all

0:35:24.480 --> 0:35:25.800
<v Speaker 5>the conditions were the worst.

0:35:25.960 --> 0:35:27.600
<v Speaker 4>We were in this little room with this.

0:35:27.719 --> 0:35:32.839
<v Speaker 5>Shitty panel, I mean, with with the keysticks stuck and uh,

0:35:33.360 --> 0:35:37.359
<v Speaker 5>and we had and across from me on the other

0:35:37.400 --> 0:35:40.720
<v Speaker 5>side of the room was Ahmed a Reef and uh,

0:35:40.840 --> 0:35:42.799
<v Speaker 5>I don't think it might have been Jerry Wexler, I

0:35:42.800 --> 0:35:46.120
<v Speaker 5>can't remember, but they were watching us and it was

0:35:46.160 --> 0:35:49.319
<v Speaker 5>just being John and I'm playing playing like I can't

0:35:49.320 --> 0:35:53.040
<v Speaker 5>even remember what I played. And I thought it went terribly,

0:35:53.120 --> 0:35:56.239
<v Speaker 5>but I guess they saw something, you know, they they

0:35:56.280 --> 0:35:58.680
<v Speaker 5>saw through it all and that's how it was. It

0:35:58.719 --> 0:35:59.840
<v Speaker 5>was really personal.

0:36:00.000 --> 0:36:06.080
<v Speaker 1>Addition, he talk about like, uh, you know, mister Martin

0:36:06.440 --> 0:36:09.640
<v Speaker 1>is one of my idols because one of my favorite

0:36:09.640 --> 0:36:12.839
<v Speaker 1>groups ever was the Average White Band. So having read

0:36:12.840 --> 0:36:16.520
<v Speaker 1>his name on you know, on Average White Band and

0:36:16.840 --> 0:36:20.440
<v Speaker 1>Wreatha Franklin and Donnie Hathaway, can you talk about working

0:36:20.480 --> 0:36:24.480
<v Speaker 1>with Reef Martin as far as his production style and

0:36:24.560 --> 0:36:25.480
<v Speaker 1>what was it like for you?

0:36:25.920 --> 0:36:28.399
<v Speaker 5>He was he was the greatest producer man. I mean,

0:36:29.920 --> 0:36:32.480
<v Speaker 5>in my opinion, a Reef and Quincy are the two

0:36:32.480 --> 0:36:37.560
<v Speaker 5>great producers of all the of the era. And he

0:36:37.719 --> 0:36:42.279
<v Speaker 5>allowed a Reef allowed the artist to do. He was

0:36:42.320 --> 0:36:46.719
<v Speaker 5>so flexible. I can't even describe it. It was he

0:36:46.880 --> 0:36:50.160
<v Speaker 5>allowed you to shine. He had this uncanny ability to

0:36:50.200 --> 0:36:52.200
<v Speaker 5>figure out what it is that you were good at doing,

0:36:52.320 --> 0:36:57.000
<v Speaker 5>and where where where the spark was, and developing that spark.

0:36:57.120 --> 0:36:59.440
<v Speaker 5>And he could add all kinds of He had no

0:36:59.520 --> 0:37:04.399
<v Speaker 5>boundary at all. He would mix genres, He he would

0:37:05.800 --> 0:37:10.200
<v Speaker 5>mixed eras and everything all at once together whatever you

0:37:10.239 --> 0:37:15.239
<v Speaker 5>whatever the the song needed or he thought it would

0:37:15.360 --> 0:37:17.920
<v Speaker 5>it would need, he would just add it. And he

0:37:18.120 --> 0:37:23.080
<v Speaker 5>had an incredible, like an encyclopedic knowledge of of every

0:37:23.160 --> 0:37:25.320
<v Speaker 5>kind of music. And it was it was a really

0:37:25.360 --> 0:37:28.360
<v Speaker 5>amazing And he was such a a gentle guy, but

0:37:28.480 --> 0:37:31.960
<v Speaker 5>yet he knew he knew how to drive the bus.

0:37:32.400 --> 0:37:36.640
<v Speaker 5>And he he was an amazing producer as he That's

0:37:36.680 --> 0:37:37.880
<v Speaker 5>all I can say about it.

0:37:38.000 --> 0:37:42.520
<v Speaker 1>Was he uh hands on in terms of soup the nuts,

0:37:43.719 --> 0:37:48.160
<v Speaker 1>as far as far as picking the songs, picking the mix,

0:37:48.280 --> 0:37:52.680
<v Speaker 1>the mixer, staying there for the mix, Yeah, sequencing your album,

0:37:53.360 --> 0:37:56.920
<v Speaker 1>suggesting singles. Like when he takes on a project, is

0:37:56.960 --> 0:38:02.040
<v Speaker 1>he literally watching every iota of it or is it like, okay, guys,

0:38:02.200 --> 0:38:05.160
<v Speaker 1>I won't be here next week, but that like Jerry's

0:38:05.160 --> 0:38:05.920
<v Speaker 1>going to sit in for me.

0:38:05.960 --> 0:38:07.680
<v Speaker 2>I got to work with the RIFA for this thing.

0:38:07.760 --> 0:38:10.440
<v Speaker 1>And or is it like once he's on your project,

0:38:10.480 --> 0:38:13.680
<v Speaker 1>it's just you and you alone, or are you scheduled

0:38:13.719 --> 0:38:14.720
<v Speaker 1>in between other stuff?

0:38:15.320 --> 0:38:16.319
<v Speaker 4>No, it was he.

0:38:16.239 --> 0:38:18.880
<v Speaker 5>Would do it one at a time. And you mentioned

0:38:18.920 --> 0:38:23.080
<v Speaker 5>Average White Band, who are good friends of mine. He

0:38:23.160 --> 0:38:26.799
<v Speaker 5>went directly. He went directly from Carly Simon to Hall

0:38:26.840 --> 0:38:29.200
<v Speaker 5>and Oates to Average White Band. That was the three

0:38:29.680 --> 0:38:32.680
<v Speaker 5>three things that a row he did okay that period

0:38:32.719 --> 0:38:35.759
<v Speaker 5>of time, and but he would devote whatever it was

0:38:35.880 --> 0:38:37.560
<v Speaker 5>to each one. He didn't mix and match.

0:38:39.160 --> 0:38:41.760
<v Speaker 1>And because I was wondering if he if he loses

0:38:41.800 --> 0:38:44.640
<v Speaker 1>his ears, like if he's working with you on Thursday

0:38:45.160 --> 0:38:47.399
<v Speaker 1>and then he has to you know, start doing pick

0:38:47.480 --> 0:38:50.120
<v Speaker 1>up the pieces tomorrow, Like is it possible for him

0:38:50.120 --> 0:38:51.000
<v Speaker 1>to lose his ears?

0:38:51.120 --> 0:38:56.080
<v Speaker 5>Or well, I don't think it was, because he's he

0:38:56.280 --> 0:38:57.480
<v Speaker 5>had the ability to do that.

0:38:57.560 --> 0:39:00.720
<v Speaker 4>He would just switch projects. But he didn't.

0:39:00.760 --> 0:39:03.960
<v Speaker 5>He you mentioned before, he didn't have nothing to do

0:39:04.040 --> 0:39:05.600
<v Speaker 5>with picking singles.

0:39:05.200 --> 0:39:07.320
<v Speaker 4>Or he would an r it. He would.

0:39:07.640 --> 0:39:09.960
<v Speaker 5>I'd sit there and play songs for him, and he said,

0:39:10.000 --> 0:39:12.960
<v Speaker 5>well this is a good one. Okay, let's walk and

0:39:13.000 --> 0:39:17.240
<v Speaker 5>he would do that. But uh, and then to develop

0:39:17.320 --> 0:39:20.440
<v Speaker 5>the song from beginning to end. But then once the

0:39:20.480 --> 0:39:22.680
<v Speaker 5>song was done, then that that was that it was over.

0:39:22.800 --> 0:39:24.480
<v Speaker 5>You know, he didn't he had nothing to do with

0:39:24.600 --> 0:39:27.040
<v Speaker 5>like this is a good single that was for other people,

0:39:27.200 --> 0:39:29.000
<v Speaker 5>which is the way it should have been, to tell

0:39:29.040 --> 0:39:29.480
<v Speaker 5>you the truth.

0:39:29.880 --> 0:39:33.440
<v Speaker 1>So a song like She's Gone, which is full of drama. Yeah,

0:39:33.640 --> 0:39:37.280
<v Speaker 1>and of course once you get to the payoff key

0:39:37.480 --> 0:39:41.320
<v Speaker 1>of that modulation build, you gotta sell that She's gone.

0:39:42.320 --> 0:39:44.200
<v Speaker 2>Like how how is he?

0:39:44.680 --> 0:39:47.120
<v Speaker 1>Is he nurturing as a producer in terms like that

0:39:47.320 --> 0:39:49.040
<v Speaker 1>or is it like do it again?

0:39:49.280 --> 0:39:50.400
<v Speaker 2>Do it again? Do it again?

0:39:50.520 --> 0:39:50.600
<v Speaker 1>Like?

0:39:51.280 --> 0:39:51.360
<v Speaker 4>No?

0:39:51.560 --> 0:39:56.040
<v Speaker 5>He that that particular one that was just what can

0:39:56.080 --> 0:39:58.440
<v Speaker 5>I say? That was just inspiration from me. I just

0:39:58.520 --> 0:40:01.000
<v Speaker 5>did that, you know, I just opened my mouth.

0:40:00.800 --> 0:40:03.959
<v Speaker 4>And that's okay. I can't even don't know what anymore about.

0:40:04.520 --> 0:40:08.560
<v Speaker 1>But and he lets you, and he lets you suggest

0:40:08.600 --> 0:40:10.040
<v Speaker 1>things and let it happen.

0:40:10.200 --> 0:40:12.200
<v Speaker 4>He let it happen. He went and to keep one.

0:40:12.360 --> 0:40:15.120
<v Speaker 4>Oh that was rudy good. You know he afterward he

0:40:15.239 --> 0:40:17.279
<v Speaker 4>was saying, yeah, that was the ship. He didn't he

0:40:17.320 --> 0:40:19.640
<v Speaker 4>didn't even say even think about saying, can you do

0:40:19.680 --> 0:40:24.880
<v Speaker 4>that again? He just it was it was there, It was.

0:40:24.520 --> 0:40:27.440
<v Speaker 1>I know the story She's gone is that, you know.

0:40:27.840 --> 0:40:31.640
<v Speaker 1>Not many people know that the Tavares brothers from Boston

0:40:32.920 --> 0:40:35.480
<v Speaker 1>actually took that song to the top ten before you

0:40:35.520 --> 0:40:39.000
<v Speaker 1>guys did, even though your version is and now in

0:40:39.040 --> 0:40:42.799
<v Speaker 1>our minds, the definitive version. But were you kind of

0:40:42.840 --> 0:40:46.640
<v Speaker 1>confused or perplexed that your first hit single was actually

0:40:47.280 --> 0:40:48.719
<v Speaker 1>a cover song of your song?

0:40:49.320 --> 0:40:52.279
<v Speaker 4>Yeah, it was a weird thing. It was.

0:40:52.760 --> 0:40:55.399
<v Speaker 5>I was boy, you know, it's a long time ago.

0:40:55.440 --> 0:41:03.160
<v Speaker 5>But our enthusiasm right over over rode our frustration, if

0:41:03.200 --> 0:41:03.799
<v Speaker 5>you know what I mean.

0:41:03.840 --> 0:41:07.919
<v Speaker 1>But is it like seeing your girlfriend with another guy

0:41:08.840 --> 0:41:10.439
<v Speaker 1>or is it just like, hey, I'm in the top

0:41:10.480 --> 0:41:12.719
<v Speaker 1>ten and I wrote this song, so here comes the month.

0:41:13.280 --> 0:41:15.960
<v Speaker 5>Yeah, I mean, I just I can't say I was

0:41:15.960 --> 0:41:18.520
<v Speaker 5>pissed off because I just felt that was the way

0:41:18.520 --> 0:41:21.560
<v Speaker 5>of the world at the time, and I didn't have

0:41:21.560 --> 0:41:24.720
<v Speaker 5>any expect I didn't have any expectations whatever happened.

0:41:24.800 --> 0:41:27.560
<v Speaker 4>I just I rode the horse with whatever direction was

0:41:27.600 --> 0:41:27.960
<v Speaker 4>going in.

0:41:28.520 --> 0:41:31.640
<v Speaker 5>And if Tavares has a hit with it, okay, well

0:41:32.080 --> 0:41:34.560
<v Speaker 5>I wish it was me, but it was them.

0:41:34.760 --> 0:41:36.359
<v Speaker 4>So that's all I can say. You know.

0:41:41.000 --> 0:41:44.560
<v Speaker 1>What was the decision behind working with Todd on the

0:41:44.840 --> 0:41:48.319
<v Speaker 1>War Babies record and not staying with a wreath to

0:41:48.360 --> 0:41:50.040
<v Speaker 1>see if you guys can go further with it.

0:41:50.239 --> 0:41:51.600
<v Speaker 4>I just I.

0:41:51.520 --> 0:41:54.320
<v Speaker 5>Felt that I wanted to do something completely different. I

0:41:54.680 --> 0:41:58.120
<v Speaker 5>don't know what my mindset was in those days. I

0:41:58.200 --> 0:42:01.120
<v Speaker 5>moved to New York City. I wanted to sort of

0:42:01.200 --> 0:42:07.000
<v Speaker 5>like expand my musical world outside of the my sort

0:42:07.040 --> 0:42:12.439
<v Speaker 5>of my Philadelphia, you know, that the Philly sound thing,

0:42:13.000 --> 0:42:15.440
<v Speaker 5>and I wanted to go completely different. I don't know

0:42:15.440 --> 0:42:18.160
<v Speaker 5>why I did, but I did. And I thought that

0:42:18.320 --> 0:42:21.000
<v Speaker 5>maybe working with Todd would be a good thing because

0:42:21.040 --> 0:42:23.360
<v Speaker 5>he did the same thing. He's a Philly guy that

0:42:23.480 --> 0:42:27.040
<v Speaker 5>left New York and created his own musical world. And

0:42:27.080 --> 0:42:29.160
<v Speaker 5>I thought that it would it would be interesting to

0:42:29.520 --> 0:42:32.920
<v Speaker 5>see what would happen if we if he would get

0:42:32.920 --> 0:42:35.319
<v Speaker 5>together with us, and what would come out of it,

0:42:35.400 --> 0:42:37.280
<v Speaker 5>and that that was really what it was all about.

0:42:38.239 --> 0:42:40.960
<v Speaker 1>And were you an immense fan of his early records

0:42:40.960 --> 0:42:43.400
<v Speaker 1>and or the albums that he was doing at the time.

0:42:43.760 --> 0:42:46.120
<v Speaker 5>Yeah, I liked what he was doing. I really liked

0:42:46.120 --> 0:42:47.880
<v Speaker 5>what he was doing at the time with Utopia. It

0:42:47.920 --> 0:42:50.040
<v Speaker 5>was it was really okay.

0:42:50.080 --> 0:42:54.440
<v Speaker 1>Well, having having discovered his disciography twenty years after the fact,

0:42:54.520 --> 0:42:57.600
<v Speaker 1>you know, I discovered him once. It's already established that

0:42:57.640 --> 0:43:00.279
<v Speaker 1>this guy is like a crazy genius. But at the

0:43:00.320 --> 0:43:04.200
<v Speaker 1>time when it's coming out, you know, was it unusual

0:43:04.360 --> 0:43:10.800
<v Speaker 1>because Todd Todd's whole cannon is really it was forward

0:43:10.840 --> 0:43:14.160
<v Speaker 1>thinking for the time period, because he's like one of

0:43:14.200 --> 0:43:17.000
<v Speaker 1>the examples of what we now call the bedroom musician.

0:43:17.160 --> 0:43:20.600
<v Speaker 1>Of course we're used to it now post prints and

0:43:20.640 --> 0:43:23.799
<v Speaker 1>now anyone practically today is a bedroom musician. But that

0:43:23.920 --> 0:43:27.360
<v Speaker 1>was like really unusual back then. And he will push

0:43:27.400 --> 0:43:31.480
<v Speaker 1>the buttons, create creatively on all of his records. Was

0:43:31.480 --> 0:43:35.960
<v Speaker 1>he ever trying to pass his zany ideas onto you guys, like,

0:43:36.880 --> 0:43:39.440
<v Speaker 1>you know, to really push the edge of art as

0:43:39.440 --> 0:43:40.200
<v Speaker 1>far as it can go?

0:43:40.760 --> 0:43:41.319
<v Speaker 4>Well, I was.

0:43:41.560 --> 0:43:43.480
<v Speaker 5>I was into that headspace, so he didn't have to

0:43:43.520 --> 0:43:45.200
<v Speaker 5>push me.

0:43:47.400 --> 0:43:47.640
<v Speaker 7>I was.

0:43:47.800 --> 0:43:50.000
<v Speaker 4>I was right there with him. I said, how far

0:43:50.080 --> 0:43:50.719
<v Speaker 4>can we go?

0:43:51.040 --> 0:43:55.200
<v Speaker 1>That was the whole idea, And how how receptive was

0:43:55.360 --> 0:43:57.040
<v Speaker 1>at the time.

0:43:57.320 --> 0:43:59.000
<v Speaker 4>Not that perceptive? Receptive?

0:44:01.280 --> 0:44:03.480
<v Speaker 1>Okay, Hence.

0:44:05.400 --> 0:44:05.799
<v Speaker 4>I get it.

0:44:06.239 --> 0:44:06.719
<v Speaker 2>I get it.

0:44:07.360 --> 0:44:11.280
<v Speaker 1>Can you talk about Sarah Smile and just the inspiration

0:44:11.400 --> 0:44:12.600
<v Speaker 1>behind it?

0:44:12.719 --> 0:44:14.200
<v Speaker 2>It's one of your most loved songs.

0:44:14.239 --> 0:44:18.320
<v Speaker 5>You know, Sarah Allan, me and John were sharing an apartment,

0:44:18.960 --> 0:44:24.040
<v Speaker 5>a two bedroom apartment in Yorkville, and I had I had,

0:44:24.080 --> 0:44:26.080
<v Speaker 5>I had a keyboard and I just played the song.

0:44:26.200 --> 0:44:28.359
<v Speaker 5>You know, I was writing the song. It just came

0:44:28.400 --> 0:44:32.000
<v Speaker 5>out of real life. I mean, I can't say more

0:44:32.040 --> 0:44:34.680
<v Speaker 5>than that. I just wrote the song about what was

0:44:34.719 --> 0:44:35.440
<v Speaker 5>going on around me.

0:44:36.040 --> 0:44:40.520
<v Speaker 1>I mean, was he receptive in these flowers that you're

0:44:40.880 --> 0:44:44.920
<v Speaker 1>I'm now mocking on paid Bill? Was he receptive or

0:44:44.920 --> 0:44:47.200
<v Speaker 1>was it like cringey like a man, like now you're

0:44:47.200 --> 0:44:49.799
<v Speaker 1>going to mortalize me for the rest of the Like

0:44:49.880 --> 0:44:53.960
<v Speaker 1>what was there feeling towards this song? And actually, can

0:44:54.000 --> 0:44:56.200
<v Speaker 1>you how did you guys meet?

0:44:56.520 --> 0:45:01.640
<v Speaker 5>We met at Philadelphia. John metter and and and introduced

0:45:01.640 --> 0:45:04.759
<v Speaker 5>me to her and and uh we all we all

0:45:04.840 --> 0:45:08.279
<v Speaker 5>sort of uh she she worked for a charter airline

0:45:08.800 --> 0:45:11.400
<v Speaker 5>and that's where Vegas Turnaround came from.

0:45:11.840 --> 0:45:15.319
<v Speaker 4>And uh uh and we all decided to move to

0:45:15.400 --> 0:45:18.799
<v Speaker 4>New York at the same time. It was could she sing?

0:45:19.640 --> 0:45:22.480
<v Speaker 4>She could sing? She's not she could sing, and she

0:45:22.680 --> 0:45:24.480
<v Speaker 4>she's actually a really good songwriter.

0:45:25.320 --> 0:45:29.239
<v Speaker 3>Wow, in retrospect, since we know, since you didn't know

0:45:29.280 --> 0:45:30.840
<v Speaker 3>it was gonna be such a hit song. Would you

0:45:30.920 --> 0:45:34.160
<v Speaker 3>have changed the name if you would have known you'd

0:45:34.160 --> 0:45:35.480
<v Speaker 3>be singing the song so often?

0:45:36.280 --> 0:45:38.000
<v Speaker 4>Oh, I don't know, you know.

0:45:38.920 --> 0:45:40.920
<v Speaker 5>After saying and I split up, man, she says she

0:45:40.920 --> 0:45:42.520
<v Speaker 5>couldn't go to the supermarket for bet.

0:45:43.000 --> 0:45:46.360
<v Speaker 2>Yeah, that's what I'm saying. How is it, how.

0:45:48.040 --> 0:45:50.160
<v Speaker 1>Like I'll never sing that song again if you guys

0:45:50.160 --> 0:45:51.160
<v Speaker 1>break up and you know.

0:45:52.000 --> 0:45:55.960
<v Speaker 5>Yeah, but you know that song, that song transcends relationships

0:45:55.960 --> 0:46:00.200
<v Speaker 5>and all that. It's you know, it's it's a bigger

0:46:00.239 --> 0:46:01.280
<v Speaker 5>than that, you know.

0:46:01.440 --> 0:46:03.440
<v Speaker 3>And every Sarah in the world, and it's just about her.

0:46:03.520 --> 0:46:04.320
<v Speaker 3>So it's great.

0:46:04.680 --> 0:46:06.200
<v Speaker 4>True, that's true.

0:46:07.280 --> 0:46:09.960
<v Speaker 2>So the time period between.

0:46:11.520 --> 0:46:15.520
<v Speaker 1>The I'm about to say the silver cover of the

0:46:15.880 --> 0:46:21.560
<v Speaker 1>Darrel Hall and John Notes self title record with Sarah

0:46:21.600 --> 0:46:26.799
<v Speaker 1>on it. Yeah, between that and you know, between I

0:46:26.840 --> 0:46:30.600
<v Speaker 1>think Faces, you know, there was kind of a period

0:46:31.200 --> 0:46:34.680
<v Speaker 1>or not Face's voices forgive Me in eighty that.

0:46:34.719 --> 0:46:36.920
<v Speaker 2>That five year period where.

0:46:38.120 --> 0:46:43.920
<v Speaker 1>You know, you guys weren't exactly sticking in terms of

0:46:45.520 --> 0:46:48.920
<v Speaker 1>finding an audience that's recepted to you. Just between that period,

0:46:49.320 --> 0:46:51.320
<v Speaker 1>what was it like between seventy five.

0:46:51.120 --> 0:46:51.960
<v Speaker 2>And eighty.

0:46:53.960 --> 0:46:57.440
<v Speaker 4>Well, we had rich Girl first, Well yeah, I mean yeah.

0:46:57.840 --> 0:47:01.840
<v Speaker 5>Yeah, but but it was you know, in music, it

0:47:01.920 --> 0:47:05.319
<v Speaker 5>was a transitional time. There was that weird shit going on,

0:47:05.800 --> 0:47:08.839
<v Speaker 5>you know, rock versus disco and all that, and man,

0:47:08.920 --> 0:47:11.839
<v Speaker 5>that that put that put that put us in a

0:47:11.960 --> 0:47:18.040
<v Speaker 5>really strange place because I you know, it was a

0:47:18.080 --> 0:47:21.719
<v Speaker 5>time of categorization and and what's cool and what's not

0:47:21.920 --> 0:47:25.640
<v Speaker 5>cool and all this stuff, and it was a hard

0:47:25.880 --> 0:47:30.319
<v Speaker 5>it was a hard hard to figure out how to

0:47:30.440 --> 0:47:32.000
<v Speaker 5>how to maneuver through all that.

0:47:32.239 --> 0:47:32.520
<v Speaker 4>It was.

0:47:32.600 --> 0:47:36.239
<v Speaker 5>It was a really strange time. And it seemed like

0:47:36.960 --> 0:47:40.920
<v Speaker 5>in nineteen eighty it turned around and something else happened.

0:47:41.040 --> 0:47:46.880
<v Speaker 5>Also we started producing ourselves and that changed. I don't know,

0:47:46.960 --> 0:47:48.439
<v Speaker 5>I think the world changed.

0:47:48.080 --> 0:47:48.840
<v Speaker 4>And we changed.

0:47:49.520 --> 0:47:53.840
<v Speaker 1>So, having spoken with our previous QLs guess Denise Williams

0:47:53.880 --> 0:48:00.760
<v Speaker 1>about her experiences, I know that David Foster produced the Along,

0:48:00.840 --> 0:48:05.120
<v Speaker 1>the red Ledge Record and the Static record. What was

0:48:05.160 --> 0:48:06.640
<v Speaker 1>it about? What was it one?

0:48:06.680 --> 0:48:08.320
<v Speaker 2>What was it like working with David Foster?

0:48:08.880 --> 0:48:13.440
<v Speaker 1>And you know, I'm trying to it's weird because whenever

0:48:13.680 --> 0:48:18.920
<v Speaker 1>David Foster enters the picture for any artist, at least

0:48:18.960 --> 0:48:22.920
<v Speaker 1>between the period of like the late seventies to the

0:48:22.960 --> 0:48:28.040
<v Speaker 1>mid eighties, it's rather controversial. But you know, as far

0:48:28.080 --> 0:48:32.120
<v Speaker 1>as his work with Earth, Wind and Fire Denise Williams, Chicago,

0:48:33.520 --> 0:48:36.239
<v Speaker 1>Like whenever there's a documentary, it's always like and then

0:48:36.320 --> 0:48:39.800
<v Speaker 1>David Foster came in, it's like that, and he always

0:48:39.880 --> 0:48:44.279
<v Speaker 1>drastically changes the sound. So one, why did you guys

0:48:44.400 --> 0:48:47.360
<v Speaker 1>choose David Foster? And you know what was that experience

0:48:47.400 --> 0:48:48.360
<v Speaker 1>like working with them?

0:48:48.440 --> 0:48:51.080
<v Speaker 4>Well, actually Tommy Mattola chose him.

0:48:51.600 --> 0:48:57.000
<v Speaker 1>So okay, well livingly ask you well at the time,

0:48:57.040 --> 0:48:59.200
<v Speaker 1>I mean, he wasn't the time of Watola. I grew

0:48:59.280 --> 0:49:03.520
<v Speaker 1>up knowing like the established CBS, you know, executive.

0:49:03.880 --> 0:49:05.560
<v Speaker 2>How did you guys discover Timmy went.

0:49:06.800 --> 0:49:10.000
<v Speaker 4>I've known Tommy since he was twenty twenty years old?

0:49:10.560 --> 0:49:12.680
<v Speaker 4>He uh, he.

0:49:12.719 --> 0:49:14.840
<v Speaker 5>Was working at Chapel Music. He was our first manager.

0:49:15.000 --> 0:49:18.400
<v Speaker 5>We were a trio. It was Mattola, me and John

0:49:18.560 --> 0:49:22.560
<v Speaker 5>and and and and that's I mean, he was our manager.

0:49:22.719 --> 0:49:22.959
<v Speaker 4>True.

0:49:23.000 --> 0:49:25.920
<v Speaker 2>I can't imagine Tom Rattola is a teenager.

0:49:26.400 --> 0:49:28.240
<v Speaker 4>He was pretty much the same, just younger.

0:49:28.800 --> 0:49:30.760
<v Speaker 3>And how is he good enough to be your manager

0:49:30.920 --> 0:49:32.480
<v Speaker 3>as a team? Like, how did you see that as

0:49:32.520 --> 0:49:33.040
<v Speaker 3>a teenager?

0:49:33.120 --> 0:49:34.200
<v Speaker 4>Yeah? What did he show? Y'all?

0:49:34.280 --> 0:49:37.120
<v Speaker 5>Yeah, he's one of those people just acts like a manager,

0:49:37.200 --> 0:49:43.360
<v Speaker 5>even if Yeah.

0:49:40.960 --> 0:49:44.320
<v Speaker 1>So when did he was he managing guys from the beginning,

0:49:44.400 --> 0:49:45.080
<v Speaker 1>the very beginning.

0:49:45.640 --> 0:49:48.239
<v Speaker 4>Yeah, we were his first project or whatever you want

0:49:48.280 --> 0:49:49.600
<v Speaker 4>to call it. We were a team.

0:49:49.840 --> 0:49:53.920
<v Speaker 5>It was me, John Mey and Tommy and it was

0:49:53.960 --> 0:49:56.600
<v Speaker 5>that way all the way up till he discovered Mariah

0:49:56.680 --> 0:49:58.120
<v Speaker 5>Man and then he don't mean.

0:50:00.719 --> 0:50:02.920
<v Speaker 1>Wow sound by for Yeah, it's okay.

0:50:03.400 --> 0:50:06.799
<v Speaker 8>Everybody's always talking about Hall and Oates albums, and rightfully so,

0:50:06.920 --> 0:50:11.880
<v Speaker 8>but you also release solo records and in seventy seven

0:50:12.320 --> 0:50:15.160
<v Speaker 8>you work with Robert Fripp on Sacred Songs.

0:50:15.800 --> 0:50:18.480
<v Speaker 7>So can you tell us what was the.

0:50:18.480 --> 0:50:22.520
<v Speaker 8>Impetus for releasing a solo prod pict a that in

0:50:22.560 --> 0:50:25.719
<v Speaker 8>that year and what was the story it took like

0:50:25.760 --> 0:50:27.439
<v Speaker 8>three years for to come out.

0:50:27.840 --> 0:50:28.200
<v Speaker 4>Yeah.

0:50:28.320 --> 0:50:30.560
<v Speaker 5>Yeah, Well one of the reasons we're talking right now

0:50:30.600 --> 0:50:33.239
<v Speaker 5>is because I have a whole project. I'm releasing all

0:50:33.280 --> 0:50:36.480
<v Speaker 5>my solo records. You know, I've done all you know,

0:50:36.520 --> 0:50:39.120
<v Speaker 5>I have a whole like parallel universe of music that

0:50:39.200 --> 0:50:44.359
<v Speaker 5>I've I've been doing since the seventies. But to talk

0:50:44.360 --> 0:50:48.000
<v Speaker 5>about Robert, Robert and I became friends and we just

0:50:48.040 --> 0:50:49.919
<v Speaker 5>decided we were going to try and see what would

0:50:49.920 --> 0:50:53.080
<v Speaker 5>happen if we put if we work together, and we

0:50:53.120 --> 0:50:57.439
<v Speaker 5>did that album in seventy what was it, seventy eight,

0:50:57.560 --> 0:51:02.120
<v Speaker 5>seventy seven, immediately rat up against the machine that was

0:51:02.400 --> 0:51:07.600
<v Speaker 5>trying was unrecepted to the idea that I was not

0:51:07.760 --> 0:51:13.120
<v Speaker 5>doing Rich Girl Junior, you know, and doing something different,

0:51:13.400 --> 0:51:16.239
<v Speaker 5>and and they didn't want to hear about it. And

0:51:16.239 --> 0:51:20.160
<v Speaker 5>that's that's been sort of a recurring theme with whenever

0:51:20.239 --> 0:51:22.800
<v Speaker 5>I do my projects, it always sort of takes the

0:51:23.760 --> 0:51:28.920
<v Speaker 5>back seat to the cash cow and very frustrating.

0:51:29.520 --> 0:51:32.200
<v Speaker 1>And have you ever wanted to keep a song for

0:51:32.280 --> 0:51:36.200
<v Speaker 1>yourself or is it are you basically just saying that, Well,

0:51:36.239 --> 0:51:37.560
<v Speaker 1>I write for projects.

0:51:37.640 --> 0:51:40.120
<v Speaker 5>I write for projects. The difference to me, it depends

0:51:40.160 --> 0:51:44.960
<v Speaker 5>on who we're working with. So I I don't think

0:51:45.000 --> 0:51:46.880
<v Speaker 5>I ever said I'm going to hold this song for

0:51:46.960 --> 0:51:49.319
<v Speaker 5>a solo record, or hold this song for a Hole

0:51:49.360 --> 0:51:51.440
<v Speaker 5>and Oates record or anything like that. Just you know,

0:51:51.600 --> 0:51:52.719
<v Speaker 5>I work for projects.

0:51:53.120 --> 0:51:53.319
<v Speaker 2>You know.

0:51:53.480 --> 0:51:55.920
<v Speaker 1>One of the very first sounds of a drum machcene

0:51:55.960 --> 0:51:59.480
<v Speaker 1>that I've ever heard was, I mean, at the time

0:51:59.520 --> 0:52:01.319
<v Speaker 1>that I was a of it was I can't go

0:52:01.440 --> 0:52:05.560
<v Speaker 1>for that. As far as like technology is concerned and

0:52:05.600 --> 0:52:09.360
<v Speaker 1>all those things, like for you Can you just explain

0:52:09.600 --> 0:52:14.480
<v Speaker 1>how you know, how intricate or how involved you were

0:52:14.600 --> 0:52:17.360
<v Speaker 1>with like finding new sounds and whatnot. I don't know

0:52:17.400 --> 0:52:20.560
<v Speaker 1>if it's like you purposely wanted to find a new sound,

0:52:20.760 --> 0:52:22.560
<v Speaker 1>but you know, I can't go for that. It was

0:52:22.760 --> 0:52:28.480
<v Speaker 1>such a radical sound that what was U kind of

0:52:29.800 --> 0:52:36.480
<v Speaker 1>the standard for what was sonically the standard for music.

0:52:37.800 --> 0:52:40.440
<v Speaker 1>Can you just explained that process? I mean, so stripped

0:52:40.440 --> 0:52:42.320
<v Speaker 1>down but so timeless at the same time.

0:52:42.719 --> 0:52:45.840
<v Speaker 5>Yeah, it's it's a funny thing. It happened by accident.

0:52:46.239 --> 0:52:49.880
<v Speaker 5>There was no plan. I sat down and I turned

0:52:49.880 --> 0:52:53.480
<v Speaker 5>on a roll in copy rhythm, which is the simplest

0:52:54.800 --> 0:52:58.319
<v Speaker 5>drum machine that you could ever imagine, and it was,

0:52:58.360 --> 0:53:02.080
<v Speaker 5>and I pushed rock and roll on, which is that beat,

0:53:02.960 --> 0:53:07.400
<v Speaker 5>and I started playing. I had this cork organ and

0:53:07.400 --> 0:53:09.960
<v Speaker 5>I started playing the bassline to it, and then I

0:53:09.960 --> 0:53:12.800
<v Speaker 5>started playing the right hand to it, and that's.

0:53:12.680 --> 0:53:13.719
<v Speaker 4>Where the song came from.

0:53:13.800 --> 0:53:16.680
<v Speaker 5>I mean, it all just happened spontaneously and there was

0:53:16.719 --> 0:53:21.000
<v Speaker 5>no no plan to I was just using what was

0:53:21.040 --> 0:53:21.560
<v Speaker 5>in front of me.

0:53:21.920 --> 0:53:22.919
<v Speaker 4>It was really like that.

0:53:23.600 --> 0:53:28.839
<v Speaker 1>You mentioned Quincy Jones earlier, having worked with both of them,

0:53:29.239 --> 0:53:33.440
<v Speaker 1>did you are there any stories or experiences from that.

0:53:33.840 --> 0:53:37.680
<v Speaker 1>How surreal was that night doing USA for Africa? Well,

0:53:38.520 --> 0:53:40.279
<v Speaker 1>I know that you were part of the We Are

0:53:40.280 --> 0:53:41.120
<v Speaker 1>the World recording.

0:53:41.760 --> 0:53:42.080
<v Speaker 4>It was.

0:53:42.160 --> 0:53:44.319
<v Speaker 5>It was one of the weirdest things that I've ever

0:53:44.360 --> 0:53:45.800
<v Speaker 5>done in my life.

0:53:47.360 --> 0:53:52.600
<v Speaker 8>Talk about it, well, first, first of all, I mean,

0:53:52.680 --> 0:53:55.200
<v Speaker 8>I'm the whole idea is that you're not allowed to

0:53:55.480 --> 0:53:56.360
<v Speaker 8>You're not allowed.

0:53:56.080 --> 0:53:58.600
<v Speaker 4>To bring anybody in with you into the room.

0:53:58.760 --> 0:54:01.840
<v Speaker 5>So that's that's a big change for most people, you know,

0:54:01.880 --> 0:54:04.239
<v Speaker 5>because everybody's got their people that they walk around with

0:54:04.320 --> 0:54:07.560
<v Speaker 5>and they hang with and they depend on and do whatever.

0:54:07.880 --> 0:54:10.640
<v Speaker 5>And no one was allowed in the room except for

0:54:10.680 --> 0:54:14.520
<v Speaker 5>the actual artists that were performing and working. So we

0:54:14.560 --> 0:54:18.080
<v Speaker 5>were all in there together and I didn't know everybody.

0:54:18.160 --> 0:54:21.920
<v Speaker 5>I mean, it was it was an outrageous assemblage of people.

0:54:22.040 --> 0:54:25.160
<v Speaker 5>I mean it was like, right, Charleston at the piano,

0:54:25.280 --> 0:54:29.280
<v Speaker 5>and Diana was there, and Tina Turner and I I'm Dead,

0:54:29.560 --> 0:54:31.200
<v Speaker 5>on and on and on, and.

0:54:32.000 --> 0:54:36.320
<v Speaker 4>It was nobody knew how to act because it was awkward.

0:54:36.719 --> 0:54:40.239
<v Speaker 4>It was awkward, So everybody reverted to being like.

0:54:40.239 --> 0:54:44.520
<v Speaker 5>An eighth grade chorus because we're all all standing on

0:54:44.880 --> 0:54:49.760
<v Speaker 5>those you know, the police, and that's how people started

0:54:49.800 --> 0:54:53.200
<v Speaker 5>acting they started to like kids, and everybody's like making

0:54:53.239 --> 0:54:56.520
<v Speaker 5>these weird kind of like kid jokes and stuff, and

0:54:56.600 --> 0:54:57.880
<v Speaker 5>everybody asking each other.

0:54:57.760 --> 0:55:00.319
<v Speaker 4>For their autographs and all this kind of thing and

0:55:00.440 --> 0:55:03.360
<v Speaker 4>really being really open.

0:55:03.800 --> 0:55:08.360
<v Speaker 5>I've never seen a group of artists be so open

0:55:08.440 --> 0:55:12.040
<v Speaker 5>with each others as they as they we all were

0:55:12.120 --> 0:55:14.440
<v Speaker 5>that night, and it went on too.

0:55:14.520 --> 0:55:17.680
<v Speaker 4>It went on well into the night. You know, some some.

0:55:17.600 --> 0:55:19.760
<v Speaker 5>People were still there at like four o'clock in the morning,

0:55:20.480 --> 0:55:22.480
<v Speaker 5>and it was it was crazy.

0:55:22.600 --> 0:55:24.800
<v Speaker 4>It was really it was a crazy experience.

0:55:25.280 --> 0:55:27.080
<v Speaker 2>In cutting those vocals.

0:55:27.480 --> 0:55:29.440
<v Speaker 1>Is it intimidating, like doing it in front of other

0:55:29.560 --> 0:55:32.000
<v Speaker 1>artists or are you the kind of guy that needs

0:55:32.719 --> 0:55:35.160
<v Speaker 1>to be isolated in a room alone to give your

0:55:35.160 --> 0:55:39.040
<v Speaker 1>best performance? Like what's your modus operandi?

0:55:39.120 --> 0:55:39.840
<v Speaker 2>What do you prefer?

0:55:40.560 --> 0:55:43.600
<v Speaker 4>Actually? I like doing it in front of people. It works,

0:55:43.760 --> 0:55:44.400
<v Speaker 4>It works for me.

0:55:44.880 --> 0:55:47.360
<v Speaker 2>I mean, so that pressure is good for you, Yeah, that's.

0:55:47.480 --> 0:55:49.920
<v Speaker 5>Yeah, Yeah, it makes me do my best work. I

0:55:49.960 --> 0:55:51.719
<v Speaker 5>just opened my mouth and said that little bit that

0:55:51.760 --> 0:55:53.960
<v Speaker 5>I did. I just sang it. That was it, you know,

0:55:54.280 --> 0:55:58.160
<v Speaker 5>one take. But some people had to redo their stuff.

0:55:59.480 --> 0:56:01.120
<v Speaker 4>But it was differ, you know, I get it.

0:56:02.200 --> 0:56:05.440
<v Speaker 1>I would also like to ask you about the Apollo

0:56:05.480 --> 0:56:12.960
<v Speaker 1>Record with Eddie and UH and David. Well, okay, you

0:56:13.040 --> 0:56:16.200
<v Speaker 1>told me that Timptones were more based on Temple. I

0:56:16.280 --> 0:56:19.680
<v Speaker 1>always were from the Temptations. But could you describe your

0:56:19.680 --> 0:56:22.920
<v Speaker 1>fandom for the Temptations, like and how was that a

0:56:22.920 --> 0:56:25.560
<v Speaker 1>special moment or was it just like okay, that was.

0:56:25.520 --> 0:56:28.120
<v Speaker 5>Cool and no, no, no, it was it was. It

0:56:28.160 --> 0:56:30.359
<v Speaker 5>was one of the special moments. I mean, you're you're

0:56:30.440 --> 0:56:32.319
<v Speaker 5>hitting on all the things that actually matter.

0:56:33.239 --> 0:56:36.160
<v Speaker 4>Yeah. Yeah, with the Temptones were Temple University.

0:56:36.200 --> 0:56:39.400
<v Speaker 5>But I idolized the Temptations and I and I got to

0:56:39.480 --> 0:56:41.040
<v Speaker 5>know them back in those days.

0:56:41.600 --> 0:56:44.879
<v Speaker 4>There's a picture of me with those guys back then

0:56:44.960 --> 0:56:47.759
<v Speaker 4>in nineteen sixty seven, and I really did get to

0:56:47.840 --> 0:56:51.120
<v Speaker 4>know them all and hung out with them, sang with them,

0:56:51.120 --> 0:56:54.160
<v Speaker 4>did all that kind of stuff. I was especially friends

0:56:54.160 --> 0:56:58.120
<v Speaker 4>with with with Paul Williams and Eddie and.

0:56:58.160 --> 0:56:59.200
<v Speaker 2>You knew Paul Williams.

0:56:59.520 --> 0:57:04.319
<v Speaker 1>Wow, oh god, please, could you Okay, I've never heard

0:57:04.320 --> 0:57:05.560
<v Speaker 1>of Paul Williams story in my life.

0:57:05.640 --> 0:57:07.440
<v Speaker 2>Can you just describe.

0:57:07.480 --> 0:57:10.160
<v Speaker 5>One time I took him to Linton's Diner out in

0:57:10.200 --> 0:57:18.160
<v Speaker 5>West Philadelphia and Overbrook Park and I was I was

0:57:18.200 --> 0:57:20.400
<v Speaker 5>the celebrity of the Evening Man because I put him

0:57:20.440 --> 0:57:21.680
<v Speaker 5>into this fucking diner.

0:57:22.040 --> 0:57:26.320
<v Speaker 3>Oh yeah, yeah, you.

0:57:26.440 --> 0:57:29.320
<v Speaker 5>Brought Paul Williams because you know, everybody was a Temptations fan,

0:57:30.120 --> 0:57:31.400
<v Speaker 5>and I brought him into the place.

0:57:31.440 --> 0:57:34.640
<v Speaker 4>Man, And I really like Paul.

0:57:34.880 --> 0:57:36.320
<v Speaker 5>I had a lot of heart to heart talks with

0:57:36.400 --> 0:57:38.920
<v Speaker 5>Paul Man and he used to listen to the records

0:57:38.960 --> 0:57:40.560
<v Speaker 5>and listen to my songs and stuff.

0:57:40.840 --> 0:57:42.400
<v Speaker 3>I was just about to ask you, what did some

0:57:42.480 --> 0:57:44.800
<v Speaker 3>of the guys think of your voice and what you did? Like,

0:57:44.800 --> 0:57:46.520
<v Speaker 3>what did the Temptations say about that?

0:57:47.560 --> 0:57:51.440
<v Speaker 5>I actually sometimes after hours I'd go into one of

0:57:51.480 --> 0:57:53.520
<v Speaker 5>their rooms or whatever, and they'd all sit around and

0:57:53.520 --> 0:57:57.480
<v Speaker 5>sing and wow, David was never there. David was never there.

0:57:57.560 --> 0:58:01.160
<v Speaker 5>He was always someone Yes, well I take David's parts,

0:58:01.200 --> 0:58:06.640
<v Speaker 5>and I.

0:58:04.160 --> 0:58:06.120
<v Speaker 3>Really and they would say what I just want to

0:58:06.240 --> 0:58:08.280
<v Speaker 3>I just I feel like I want to know about

0:58:08.280 --> 0:58:10.080
<v Speaker 3>the like the first time they heard your voice, and

0:58:10.120 --> 0:58:10.640
<v Speaker 3>there's like.

0:58:13.200 --> 0:58:16.240
<v Speaker 5>I guess they saw what or heard what they heard,

0:58:16.360 --> 0:58:19.520
<v Speaker 5>you know. I mean that's all I can say.

0:58:19.480 --> 0:58:21.880
<v Speaker 7>Yea, the fact they let you come into room that says.

0:58:21.600 --> 0:58:25.600
<v Speaker 5>That one of the double bets, you know, and sing

0:58:25.800 --> 0:58:29.040
<v Speaker 5>sing ship damn.

0:58:29.960 --> 0:58:35.120
<v Speaker 1>Wow, that's okay. So I mean for me, that's like

0:58:35.160 --> 0:58:38.600
<v Speaker 1>to make an album with my idol. You know, that's

0:58:39.120 --> 0:58:40.880
<v Speaker 1>that that is special. I'm glad that was a good

0:58:40.920 --> 0:58:45.640
<v Speaker 1>experience for you. Any memories of the Three Hearts, uh

0:58:45.840 --> 0:58:48.240
<v Speaker 1>and a happy Ending Machine record. I know that by

0:58:48.280 --> 0:58:53.080
<v Speaker 1>that point, even though you two will have made like

0:58:53.280 --> 0:58:56.640
<v Speaker 1>one or your your final, at least of that hall

0:58:56.680 --> 0:58:59.760
<v Speaker 1>of notes run the one for Arista. In making that

0:59:00.080 --> 0:59:04.400
<v Speaker 1>good and working with with with David Stewart and and

0:59:05.720 --> 0:59:08.240
<v Speaker 1>oh my god, I didn't even mention t Bone your

0:59:08.280 --> 0:59:10.280
<v Speaker 1>bass player and and your musicians.

0:59:11.280 --> 0:59:15.200
<v Speaker 2>What was that for you? What was that process?

0:59:15.360 --> 0:59:15.480
<v Speaker 1>Like?

0:59:16.320 --> 0:59:19.960
<v Speaker 5>Well, Dave and I again, we I tend to work

0:59:20.000 --> 0:59:21.400
<v Speaker 5>with people that I get friendly with.

0:59:21.800 --> 0:59:24.960
<v Speaker 4>First. David and I got friendly and we.

0:59:24.840 --> 0:59:27.880
<v Speaker 5>Started writing songs together right away. I mean we're still

0:59:27.880 --> 0:59:31.680
<v Speaker 5>really close friends. And uh, it was it was very natural.

0:59:31.840 --> 0:59:32.080
<v Speaker 3>You know.

0:59:32.200 --> 0:59:35.280
<v Speaker 5>He had his own studio in London, and actually we

0:59:35.360 --> 0:59:38.200
<v Speaker 5>started it in Paris because he just wanted to do

0:59:38.280 --> 0:59:42.040
<v Speaker 5>something different, and we wound up uh doing a good

0:59:42.080 --> 0:59:45.200
<v Speaker 5>part of that album in Paris. But uh, t Bone

0:59:45.240 --> 0:59:46.680
<v Speaker 5>was sort of the in the middle of it all.

0:59:46.720 --> 0:59:48.960
<v Speaker 5>He was the voice of reason because David, David is

0:59:49.080 --> 0:59:52.680
<v Speaker 5>very he and I are very similar. You know, we

0:59:52.840 --> 0:59:54.720
<v Speaker 5>just go for it, you know, and it's all over

0:59:54.880 --> 0:59:58.439
<v Speaker 5>the place and and and we.

0:59:58.280 --> 1:00:02.040
<v Speaker 4>It's it's very loose and spontaneous, and T Bone.

1:00:01.760 --> 1:00:04.680
<v Speaker 5>Was sort of holding down the ford and he was

1:00:04.720 --> 1:00:08.000
<v Speaker 5>the you know, the voice of reason within it all.

1:00:08.680 --> 1:00:10.680
<v Speaker 5>And so that's what it was like. It was it

1:00:10.720 --> 1:00:13.080
<v Speaker 5>was it was a lot of fun making that record.

1:00:13.800 --> 1:00:15.880
<v Speaker 2>How did you guys induct him?

1:00:16.000 --> 1:00:19.600
<v Speaker 1>You know, even before like we got to know musicians

1:00:19.640 --> 1:00:23.920
<v Speaker 1>or whatnot, you guys had like a really charismatic band.

1:00:24.360 --> 1:00:27.880
<v Speaker 2>So you know, I knew of of t Bone, I

1:00:27.960 --> 1:00:28.439
<v Speaker 2>knew of.

1:00:29.760 --> 1:00:37.640
<v Speaker 1>Your guitarist, Like, how did how did you guys assemble

1:00:37.720 --> 1:00:38.680
<v Speaker 1>that particular band?

1:00:38.840 --> 1:00:42.320
<v Speaker 2>Were they just like New York's finist? And do you arty?

1:00:43.920 --> 1:00:47.520
<v Speaker 4>Let me let me think, Uh, g was worked with

1:00:47.600 --> 1:00:52.520
<v Speaker 4>Dan Hartman. Okay, now don't ask me how.

1:00:52.480 --> 1:00:55.800
<v Speaker 1>That, Oh instant you played Dan Hartman?

1:00:55.880 --> 1:00:58.640
<v Speaker 5>Okay, yeah, yeah, that that Dan Harmon and and then

1:00:59.760 --> 1:01:02.080
<v Speaker 5>and Dan wasn't working so somehow ge.

1:01:03.880 --> 1:01:06.720
<v Speaker 4>Man I can't remember he is. Somehow he got introduced

1:01:06.760 --> 1:01:08.480
<v Speaker 4>to me and I said, do you want to join

1:01:08.520 --> 1:01:08.880
<v Speaker 4>the band?

1:01:09.480 --> 1:01:12.520
<v Speaker 5>And and I brought him in and uh who else

1:01:12.600 --> 1:01:13.000
<v Speaker 5>was playing?

1:01:13.600 --> 1:01:13.960
<v Speaker 4>Uh?

1:01:14.840 --> 1:01:17.760
<v Speaker 5>Jerry Murder, Yeah, Jerry Murata was it was playing drums

1:01:17.760 --> 1:01:21.280
<v Speaker 5>with us, right, Okay, so it kind of happened gradually.

1:01:21.480 --> 1:01:23.200
<v Speaker 5>And then and then we were looking for a bass

1:01:23.200 --> 1:01:26.320
<v Speaker 5>player and and we the guy that we were usually

1:01:26.320 --> 1:01:27.240
<v Speaker 5>couldn't do it anymore.

1:01:27.360 --> 1:01:28.440
<v Speaker 4>It was a John Siegler.

1:01:28.680 --> 1:01:30.800
<v Speaker 5>He went back to Todd or something that because he

1:01:30.880 --> 1:01:35.600
<v Speaker 5>was working with Todd and uh and t Bone auditioned

1:01:35.760 --> 1:01:38.480
<v Speaker 5>and and yeah, there he is.

1:01:38.480 --> 1:01:40.040
<v Speaker 4>Man. I said, well, this guy's a monster.

1:01:40.280 --> 1:01:43.840
<v Speaker 1>And so I forgot to mention on on on John's episode,

1:01:43.880 --> 1:01:47.760
<v Speaker 1>but well I mentioned that when you guys were coming

1:01:47.800 --> 1:01:51.960
<v Speaker 1>on the tonight show and unfortunately you had to cancel

1:01:52.040 --> 1:01:57.200
<v Speaker 1>because t boneet passed away two days before I got

1:01:57.200 --> 1:02:00.480
<v Speaker 1>to also mentioned, at least for our fans that that's

1:02:00.560 --> 1:02:08.080
<v Speaker 1>t Boom, that's the bass player on Curtis blows the breaks.

1:02:08.640 --> 1:02:12.800
<v Speaker 1>So you know, legendary, legendary cat.

1:02:13.120 --> 1:02:16.160
<v Speaker 4>Yeah did that before he even before he joined us.

1:02:16.440 --> 1:02:19.160
<v Speaker 4>That was that was his first thing he did. He did.

1:02:19.600 --> 1:02:22.720
<v Speaker 2>Really yeah, oh shit, that I did not know.

1:02:27.360 --> 1:02:32.040
<v Speaker 1>After the initial implosion of Hall of Notes, Like how

1:02:32.920 --> 1:02:35.680
<v Speaker 1>how hard was it to come to that decision? After

1:02:35.720 --> 1:02:38.480
<v Speaker 1>the oh yeah record? And you guys go in your

1:02:38.520 --> 1:02:41.680
<v Speaker 1>separate ways to do your solo endeavors, Like, did you

1:02:41.800 --> 1:02:45.720
<v Speaker 1>know that at least that initial run of Hall of

1:02:45.800 --> 1:02:50.680
<v Speaker 1>Notes from seventy to the eighty eight that you had

1:02:50.800 --> 1:02:51.600
<v Speaker 1>enough at that point?

1:02:51.640 --> 1:02:54.080
<v Speaker 5>Like it only looks that way when you look back

1:02:54.120 --> 1:02:56.240
<v Speaker 5>on it. I mean, when we were in it, we

1:02:56.400 --> 1:02:58.120
<v Speaker 5>just said, Okay, we're going to do this. We're going

1:02:58.200 --> 1:03:01.000
<v Speaker 5>to do that. We never really stopped making records. We

1:03:01.160 --> 1:03:02.440
<v Speaker 5>made records through the nineties.

1:03:03.040 --> 1:03:05.080
<v Speaker 1>Uh, well, I know you did it, but it's always

1:03:05.080 --> 1:03:08.480
<v Speaker 1>built as like a comeback record or like a reunion album,

1:03:08.560 --> 1:03:09.360
<v Speaker 1>which other.

1:03:09.280 --> 1:03:13.640
<v Speaker 4>People's perceptions than ours. Uh, But Okay, we sort.

1:03:13.480 --> 1:03:16.439
<v Speaker 5>Of morphed into just this, uh, into a touring band,

1:03:16.920 --> 1:03:19.400
<v Speaker 5>and that's that's really what we are now now you

1:03:19.440 --> 1:03:22.080
<v Speaker 5>know we we're a performance band. We don't we don't

1:03:22.120 --> 1:03:25.000
<v Speaker 5>really you know, we have this outrageous body of work

1:03:25.280 --> 1:03:28.880
<v Speaker 5>that we can that we can draw from, and uh,

1:03:29.040 --> 1:03:31.880
<v Speaker 5>and that's that's really where we come together at this point.

1:03:31.880 --> 1:03:34.880
<v Speaker 5>And that's sort of it just turned into that and

1:03:35.080 --> 1:03:39.440
<v Speaker 5>we decided to be more individuals, which is what I

1:03:39.440 --> 1:03:42.320
<v Speaker 5>think tends to happen as you go on in life.

1:03:42.360 --> 1:03:46.320
<v Speaker 5>You one become more yourself and it's part of maturity

1:03:46.440 --> 1:03:51.080
<v Speaker 5>or whatever. And knowing yourself and that's what.

1:03:51.040 --> 1:03:52.560
<v Speaker 4>That's that's where we're at right now.

1:03:52.720 --> 1:03:55.439
<v Speaker 9>You know, y'all are still good friends and still like work,

1:03:55.520 --> 1:03:57.760
<v Speaker 9>but just not recording, Yeah, just touring.

1:03:58.440 --> 1:04:01.120
<v Speaker 5>Just if I want to make a record, I'd rather

1:04:01.160 --> 1:04:03.120
<v Speaker 5>make a record with me. And he feels the same way.

1:04:03.280 --> 1:04:06.280
<v Speaker 7>You know, I get it. I completely get it.

1:04:07.800 --> 1:04:10.600
<v Speaker 1>Fante's kind of in that situation himself.

1:04:12.720 --> 1:04:15.360
<v Speaker 3>In a whole different way. Like it's like, it's interesting

1:04:15.360 --> 1:04:17.680
<v Speaker 3>I'm thinking about I'm looking at Fante and his group situation.

1:04:17.720 --> 1:04:20.200
<v Speaker 3>I'm looking thinking about you and Black Thought and existing

1:04:20.240 --> 1:04:21.440
<v Speaker 3>separately in your projects.

1:04:21.440 --> 1:04:23.400
<v Speaker 1>It's kind of interesting. But the but the thing is

1:04:23.400 --> 1:04:27.040
<v Speaker 1>is that the roots, like for me, like Tarika and

1:04:27.040 --> 1:04:30.600
<v Speaker 1>I have have an agreement that we can go and

1:04:30.680 --> 1:04:34.280
<v Speaker 1>scratch our back like we're we're in a polyamorous relationship.

1:04:34.800 --> 1:04:38.160
<v Speaker 1>So if I need to get my back scratched elsewhere,

1:04:39.200 --> 1:04:40.920
<v Speaker 1>I know that at the end of the day, I'm

1:04:40.920 --> 1:04:45.720
<v Speaker 1>gonna come home and you know, sort of come back

1:04:45.760 --> 1:04:49.400
<v Speaker 1>to home base eventually, like check in, Hey, okay. But

1:04:49.640 --> 1:04:52.800
<v Speaker 1>you know, I guess for a lot of times, there's

1:04:52.880 --> 1:04:54.960
<v Speaker 1>this thing where it's like if you're in a group

1:04:55.080 --> 1:04:58.440
<v Speaker 1>situation that you have to throw the baby out with

1:04:58.480 --> 1:05:01.320
<v Speaker 1>the bathwater, and then and there's always a thing where you

1:05:01.360 --> 1:05:03.280
<v Speaker 1>miss it. In eight years, you're like, all right, let's

1:05:03.280 --> 1:05:06.760
<v Speaker 1>rebuild the house again. You know, I just always won

1:05:06.840 --> 1:05:08.640
<v Speaker 1>day and you start realizing why you left the house

1:05:08.640 --> 1:05:16.840
<v Speaker 1>to begin with. It's like, nah, I should take in

1:05:16.960 --> 1:05:20.680
<v Speaker 1>a And you know, I understand this might be a

1:05:20.720 --> 1:05:25.640
<v Speaker 1>personal question, but in a situation where you I'm certain

1:05:25.640 --> 1:05:29.040
<v Speaker 1>that you can't be partners with someone for that long

1:05:29.080 --> 1:05:32.840
<v Speaker 1>of a time without it being arguments or whatever, or

1:05:33.240 --> 1:05:35.000
<v Speaker 1>at least with a duo. It's kind of different when

1:05:35.040 --> 1:05:37.240
<v Speaker 1>it's in a group dynamic. But do you too, at

1:05:37.320 --> 1:05:40.880
<v Speaker 1>least have your version of not going to bed angry?

1:05:42.240 --> 1:05:42.800
<v Speaker 4>Yes? Sure?

1:05:43.560 --> 1:05:44.520
<v Speaker 2>Or make sure that you're.

1:05:44.400 --> 1:05:47.360
<v Speaker 7>Clear what does conflict resolution look like for you? Guys?

1:05:47.720 --> 1:05:51.400
<v Speaker 4>We don't really fight. It's a funny thing again.

1:05:51.960 --> 1:05:54.280
<v Speaker 5>You know, we've known each other since we're kids. I

1:05:54.320 --> 1:05:57.640
<v Speaker 5>think we sublimated. I think there's a lot of you know,

1:05:59.160 --> 1:06:04.440
<v Speaker 5>maybe maybe uh, maybe there's resentment and and and shipped

1:06:04.480 --> 1:06:05.280
<v Speaker 5>under the surface.

1:06:05.720 --> 1:06:10.040
<v Speaker 4>That doesn't but we don't. We don't. We never fight.

1:06:10.120 --> 1:06:11.480
<v Speaker 4>That's the best way I could put it. We just

1:06:11.520 --> 1:06:13.960
<v Speaker 4>don't fight. We we either let it go or or

1:06:15.280 --> 1:06:15.800
<v Speaker 4>Bury it.

1:06:16.960 --> 1:06:17.360
<v Speaker 2>I see.

1:06:17.480 --> 1:06:20.880
<v Speaker 1>I have a question about your your your your Philly home,

1:06:21.760 --> 1:06:25.240
<v Speaker 1>your your house on Quin Street, the one in Philly

1:06:25.480 --> 1:06:31.400
<v Speaker 1>that still remains. You know why, why was that you know,

1:06:32.400 --> 1:06:34.520
<v Speaker 1>a perfect creative enclay for you and John?

1:06:34.880 --> 1:06:37.360
<v Speaker 5>It was the time, it was There's something about that

1:06:37.400 --> 1:06:39.640
<v Speaker 5>period of time I got that place.

1:06:40.720 --> 1:06:41.960
<v Speaker 4>I was. I was married to.

1:06:41.920 --> 1:06:46.320
<v Speaker 5>This girl at the time, and uh, I was right

1:06:46.360 --> 1:06:49.680
<v Speaker 5>out of school, right out of school, and it was

1:06:49.760 --> 1:06:52.560
<v Speaker 5>just Philly was it was really a good time to

1:06:52.560 --> 1:06:55.480
<v Speaker 5>be in Philadelphia right then. It was great music and

1:06:55.600 --> 1:06:59.680
<v Speaker 5>just a great, great atmosphere, and and that house was great.

1:06:59.680 --> 1:07:00.720
<v Speaker 5>I had was the Hall of.

1:07:00.760 --> 1:07:04.880
<v Speaker 4>Oats birthplace, really right, Okay, that's all I say about it.

1:07:04.920 --> 1:07:07.760
<v Speaker 4>I love that house. I renovated it actually. Yeah.

1:07:07.920 --> 1:07:10.920
<v Speaker 1>For a whole new generation of fans, a lot of

1:07:10.960 --> 1:07:16.120
<v Speaker 1>them had their discovery of you via your legendary show

1:07:16.800 --> 1:07:22.040
<v Speaker 1>Live from Darryl's House, which you know, what was the

1:07:23.000 --> 1:07:24.760
<v Speaker 1>sort of what was the genesis of the idea that

1:07:24.840 --> 1:07:28.160
<v Speaker 1>of you inviting guest over to jam and whatnot?

1:07:28.240 --> 1:07:30.280
<v Speaker 7>And that was the O G teny disc.

1:07:30.560 --> 1:07:31.959
<v Speaker 3>Is it streaming or what?

1:07:32.160 --> 1:07:38.800
<v Speaker 4>Because it's not right now, I'm waiting to restart it again.

1:07:39.200 --> 1:07:42.200
<v Speaker 2>I'm I'm waiting for my invitation.

1:07:47.640 --> 1:07:50.240
<v Speaker 4>I think I actually did give you an invitation and

1:07:50.280 --> 1:07:50.640
<v Speaker 4>we were.

1:07:51.000 --> 1:07:54.840
<v Speaker 2>Yes, you're right, I forgot, Yes, we were. I forgot.

1:07:54.880 --> 1:07:57.280
<v Speaker 2>We were to forgive me my own face.

1:07:57.320 --> 1:08:01.440
<v Speaker 4>Sorry, in some form for sure.

1:08:02.080 --> 1:08:05.439
<v Speaker 8>But Darryl's House is operational all year round.

1:08:05.560 --> 1:08:08.520
<v Speaker 5>Right, Well you mean the club Darryl's House. Yea, yeah,

1:08:09.040 --> 1:08:11.200
<v Speaker 5>that's that's in appalling New York.

1:08:11.280 --> 1:08:11.760
<v Speaker 4>Yeah.

1:08:11.960 --> 1:08:12.160
<v Speaker 7>Right.

1:08:12.280 --> 1:08:17.200
<v Speaker 8>My sister lives in Westport, and yeah, she wants her

1:08:17.240 --> 1:08:19.639
<v Speaker 8>on table there. She's there every show.

1:08:20.120 --> 1:08:23.560
<v Speaker 4>Yeah. I love having a club. I love clubs.

1:08:24.240 --> 1:08:26.640
<v Speaker 3>But seriously, Daryl, can you see old episodes anywhere? I

1:08:26.760 --> 1:08:29.360
<v Speaker 3>was literally literally just thinking about that today because it

1:08:29.400 --> 1:08:31.679
<v Speaker 3>was on an interesting network in the first place.

1:08:32.520 --> 1:08:34.559
<v Speaker 4>What can you see the episodes?

1:08:34.680 --> 1:08:35.919
<v Speaker 3>Can you see the old episodes?

1:08:35.960 --> 1:08:37.680
<v Speaker 1>Yeah? Can you see the old archival?

1:08:37.800 --> 1:08:43.880
<v Speaker 4>Ye? Not all of them. Not. My plan is to

1:08:43.920 --> 1:08:45.160
<v Speaker 4>make them all available.

1:08:45.360 --> 1:08:48.559
<v Speaker 3>Okay, okay, cool, we get that deal. Yes, yes, yes, yes.

1:08:49.360 --> 1:08:52.960
<v Speaker 1>What were the two years of lockdown and quarantine? Like

1:08:53.040 --> 1:08:57.839
<v Speaker 1>for you, were you able to go into other forays

1:08:57.880 --> 1:08:59.800
<v Speaker 1>of creativity in terms of.

1:08:59.760 --> 1:09:03.280
<v Speaker 4>Like, no, I went into hibernation.

1:09:03.560 --> 1:09:08.200
<v Speaker 5>I I this studio house is where I lived, and

1:09:08.720 --> 1:09:10.280
<v Speaker 5>I didn't I stopped making music.

1:09:10.320 --> 1:09:12.360
<v Speaker 4>I didn't do anything because I had.

1:09:12.200 --> 1:09:16.479
<v Speaker 5>This feeling that when this whole thing blew over, that

1:09:16.560 --> 1:09:18.000
<v Speaker 5>it was all going to be different. And I knew

1:09:18.040 --> 1:09:20.040
<v Speaker 5>it was going to be different from me, and I

1:09:20.040 --> 1:09:24.839
<v Speaker 5>had a lot of reevaluation, and just I've been traveling

1:09:24.920 --> 1:09:26.840
<v Speaker 5>my whole life, you know, I've been on the road

1:09:26.920 --> 1:09:31.040
<v Speaker 5>my whole life, and to be in one place in lockdown,

1:09:31.840 --> 1:09:34.400
<v Speaker 5>I just I just sort of embraced it. That's the

1:09:34.479 --> 1:09:36.639
<v Speaker 5>best way I could put it. I just said, Okay,

1:09:37.040 --> 1:09:39.599
<v Speaker 5>here I am. I'm not seeing anybody with my sister

1:09:39.600 --> 1:09:42.840
<v Speaker 5>who lives up the road. And and that's really what

1:09:42.880 --> 1:09:44.280
<v Speaker 5>I did for all that time.

1:09:44.840 --> 1:09:47.000
<v Speaker 1>And this was the longest that you've ever taken a

1:09:47.040 --> 1:09:50.600
<v Speaker 1>break from not music now since I was.

1:09:50.560 --> 1:09:52.679
<v Speaker 4>A teenager, Yeah, for sure.

1:09:53.320 --> 1:09:55.960
<v Speaker 5>And when I realized that it was we were coming

1:09:56.000 --> 1:09:57.920
<v Speaker 5>out of it, I said, Okay, now what am I.

1:09:57.920 --> 1:09:59.520
<v Speaker 4>Going to do? It's reevaluation.

1:10:00.240 --> 1:10:01.960
<v Speaker 5>I think a lot of people are thinking that way,

1:10:02.040 --> 1:10:05.880
<v Speaker 5>but yes, the way I'm looking at my my life,

1:10:05.920 --> 1:10:09.639
<v Speaker 5>my career, my creativity, everything, And that's why I'm putting

1:10:09.640 --> 1:10:11.720
<v Speaker 5>out this body of work album to start it. It's

1:10:11.760 --> 1:10:14.479
<v Speaker 5>sort of a it's a new error to me and

1:10:15.320 --> 1:10:17.840
<v Speaker 5>whatever I wanted to do, I'm doing now. I'm not

1:10:17.880 --> 1:10:23.000
<v Speaker 5>holding it back. I'm not letting circumstances dictate anything. I'm

1:10:23.000 --> 1:10:25.479
<v Speaker 5>just I'm just I used this term before, but I'm

1:10:25.479 --> 1:10:27.599
<v Speaker 5>going to just ride the horse direction it's going in.

1:10:29.080 --> 1:10:31.800
<v Speaker 1>I know that another area of creativity for you is

1:10:31.840 --> 1:10:33.639
<v Speaker 1>like restoring houses and whatnot.

1:10:33.800 --> 1:10:35.040
<v Speaker 2>Is that therapeutic for you?

1:10:36.120 --> 1:10:39.960
<v Speaker 5>Yeah, it's it's therapeutic. It's it's I love history. I

1:10:39.960 --> 1:10:41.920
<v Speaker 5>love all that stuff. You can tell by this room

1:10:41.960 --> 1:10:45.800
<v Speaker 5>that I'm in, But I uh, it's it's sort of

1:10:45.840 --> 1:10:50.280
<v Speaker 5>like naked music. It's it's antique architecture is what it's

1:10:50.280 --> 1:10:54.519
<v Speaker 5>all about with me, and restoring old places and and

1:10:54.520 --> 1:10:59.880
<v Speaker 5>and and bringing them back to their their period, uh

1:10:59.800 --> 1:11:03.000
<v Speaker 5>what they were in their period and uh uh and

1:11:03.600 --> 1:11:06.840
<v Speaker 5>working with all these artisans and artists, which is like

1:11:06.920 --> 1:11:12.439
<v Speaker 5>working with musicians and getting teams together and making making

1:11:12.439 --> 1:11:15.280
<v Speaker 5>a project happen, making making something out of nothing, or

1:11:15.680 --> 1:11:18.639
<v Speaker 5>it's it's uh, it's not unlike making a record.

1:11:18.800 --> 1:11:19.960
<v Speaker 4>It's the same thing.

1:11:20.320 --> 1:11:22.280
<v Speaker 3>Is there an HGTV show I don't know about?

1:11:22.760 --> 1:11:27.160
<v Speaker 4>Or I did a TV show about work restoring an

1:11:27.160 --> 1:11:30.320
<v Speaker 4>old house? You said you did?

1:11:30.360 --> 1:11:34.839
<v Speaker 3>It's not a familiar restoration overhaul that sounds familiar.

1:11:36.400 --> 1:11:39.120
<v Speaker 2>You're before after project.

1:11:39.240 --> 1:11:42.880
<v Speaker 1>Could you tell us like the inspiration behind it and

1:11:42.960 --> 1:11:45.280
<v Speaker 1>the creative process to create it?

1:11:45.760 --> 1:11:46.880
<v Speaker 4>Well, I wanted to.

1:11:47.240 --> 1:11:50.920
<v Speaker 5>I wanted to put together my alternative body of work.

1:11:50.960 --> 1:11:54.719
<v Speaker 5>Everybody knows my work with with John, but as many

1:11:54.720 --> 1:11:57.600
<v Speaker 5>people know, all these things that I've been doing for

1:11:57.640 --> 1:12:02.000
<v Speaker 5>all these years, and I wanted to bring it out

1:12:02.040 --> 1:12:05.200
<v Speaker 5>into the world, you know. And and I took excerpts

1:12:05.240 --> 1:12:08.680
<v Speaker 5>from every album and included excerpts from the life of

1:12:08.760 --> 1:12:10.240
<v Speaker 5>Daryls as show and.

1:12:10.200 --> 1:12:11.559
<v Speaker 4>Put them all together. I didn't.

1:12:11.600 --> 1:12:14.200
<v Speaker 5>I didn't do them in chronological order I had, you know,

1:12:14.600 --> 1:12:17.360
<v Speaker 5>I didn't. I treated him the way I would treat

1:12:17.360 --> 1:12:19.639
<v Speaker 5>any kind of album, and just put the songs together

1:12:19.680 --> 1:12:24.200
<v Speaker 5>as I felt, as I felt the flow would. I

1:12:24.280 --> 1:12:27.760
<v Speaker 5>just felt the flow. And that's that's the best way

1:12:27.800 --> 1:12:30.280
<v Speaker 5>I could put it. I just was showing the world

1:12:30.680 --> 1:12:32.960
<v Speaker 5>that side of my music and the people that I

1:12:33.000 --> 1:12:35.160
<v Speaker 5>worked with and all these different projects I've been doing

1:12:35.200 --> 1:12:35.720
<v Speaker 5>for for.

1:12:35.720 --> 1:12:36.519
<v Speaker 4>Many, many years.

1:12:36.880 --> 1:12:40.439
<v Speaker 1>The ultimate mixtape for you, like the automate retrospective of

1:12:40.600 --> 1:12:43.760
<v Speaker 1>your your favorite songs, your personal favorites from your from

1:12:43.840 --> 1:12:44.719
<v Speaker 1>your solo catalog.

1:12:44.920 --> 1:12:46.760
<v Speaker 5>Yeah, all the all the ones that are my first

1:12:46.840 --> 1:12:49.400
<v Speaker 5>the ones I think are the great, the good, the best.

1:12:49.439 --> 1:12:52.439
<v Speaker 4>The best of the best. You know, and uh and

1:12:52.280 --> 1:12:55.640
<v Speaker 4>and and that's an introduction. It's a it's a reintroduction

1:12:55.720 --> 1:12:57.880
<v Speaker 4>to some people, but it's an introduction for a lot

1:12:57.880 --> 1:12:59.920
<v Speaker 4>of people. And then I'm gonna continue on with it

1:13:00.439 --> 1:13:04.120
<v Speaker 4>and start making original songs. I'm already working on new

1:13:04.240 --> 1:13:06.080
<v Speaker 4>songs with various people. There.

1:13:06.160 --> 1:13:09.360
<v Speaker 9>There's a version. There's a producer named Pomo. He did

1:13:09.400 --> 1:13:11.479
<v Speaker 9>a version of I Can't Go for That? Have you

1:13:11.520 --> 1:13:15.280
<v Speaker 9>heard it? It's I think it's on Spotify. Like that

1:13:15.320 --> 1:13:18.080
<v Speaker 9>shit as hard as fuck. It's like a Pomo he

1:13:18.120 --> 1:13:19.800
<v Speaker 9>did like a it's kind of like a house kind

1:13:19.840 --> 1:13:21.640
<v Speaker 9>of fors to the floor version of I Can't Go

1:13:21.720 --> 1:13:21.880
<v Speaker 9>for That?

1:13:22.160 --> 1:13:25.360
<v Speaker 1>Ye every time? Yes, Yeah, that ship is a jam.

1:13:25.479 --> 1:13:27.599
<v Speaker 1>I think you did it. Are you familiar with people

1:13:27.640 --> 1:13:31.559
<v Speaker 1>dipping into your pass and sort of re reintroducing your

1:13:31.640 --> 1:13:32.559
<v Speaker 1>music to.

1:13:33.200 --> 1:13:37.639
<v Speaker 4>Because they I have to approve number one. So yeah,

1:13:37.680 --> 1:13:37.920
<v Speaker 4>I hear.

1:13:37.960 --> 1:13:41.240
<v Speaker 5>I hear what people are doing, and I love it

1:13:41.280 --> 1:13:44.360
<v Speaker 5>when people mess around with my songs. I think it's great.

1:13:44.520 --> 1:13:46.479
<v Speaker 3>Dara, I always wanted to ask you what do you think?

1:13:46.600 --> 1:13:49.160
<v Speaker 3>After you you guys did your thing and of course

1:13:49.240 --> 1:13:50.960
<v Speaker 3>change the way Philly music is looked at. What do

1:13:51.000 --> 1:13:52.800
<v Speaker 3>you think about after you left and some of the

1:13:52.840 --> 1:13:56.360
<v Speaker 3>other Philadelphia artists that came after you. Have you noticed

1:13:56.360 --> 1:13:58.439
<v Speaker 3>anybody that that locked in your ear?

1:13:59.600 --> 1:14:05.040
<v Speaker 5>I don't know anybody I'm trying to think of.

1:14:05.479 --> 1:14:07.080
<v Speaker 3>It's like the you know, so many errors.

1:14:07.080 --> 1:14:07.559
<v Speaker 7>It was the core.

1:14:07.640 --> 1:14:09.040
<v Speaker 3>I mean, I ain't gonna say the roots because you

1:14:09.040 --> 1:14:11.280
<v Speaker 3>know so and so is here, but as in you know,

1:14:11.320 --> 1:14:16.040
<v Speaker 3>the music, solo childs, the Jill Scott's, the Legend John Legends,

1:14:16.240 --> 1:14:19.120
<v Speaker 3>well College Philly.

1:14:19.320 --> 1:14:22.640
<v Speaker 4>I mean they're all great. I mean carrying them on

1:14:22.680 --> 1:14:23.120
<v Speaker 4>the tradition.

1:14:23.240 --> 1:14:26.800
<v Speaker 1>Then before I go, I definitely want to ask you

1:14:26.840 --> 1:14:29.320
<v Speaker 1>about these tour dates, Like for you, do you like

1:14:29.560 --> 1:14:33.800
<v Speaker 1>touring still or is it is the grass always greener

1:14:33.880 --> 1:14:37.280
<v Speaker 1>on the other side, Like for you at the stage

1:14:37.320 --> 1:14:39.479
<v Speaker 1>in your life when you see because you're you're about

1:14:39.520 --> 1:14:42.639
<v Speaker 1>to do like a three month or two to three

1:14:42.640 --> 1:14:46.439
<v Speaker 1>month run for your solo tour, Like for you, is

1:14:46.479 --> 1:14:51.040
<v Speaker 1>it like like getting up at like the idea of

1:14:51.080 --> 1:14:54.000
<v Speaker 1>lobby call and early stuff and sound check and a

1:14:54.120 --> 1:14:57.960
<v Speaker 1>routine is that you know, is it still exciting to

1:14:58.000 --> 1:14:59.880
<v Speaker 1>you or is it just like I don't know.

1:15:00.120 --> 1:15:02.400
<v Speaker 5>Well, it's you know, when you're out there, you go like,

1:15:02.680 --> 1:15:06.080
<v Speaker 5>oh fuck, yeah, you know, it's it becomes hurry up

1:15:06.120 --> 1:15:10.600
<v Speaker 5>and wait. It's you know, it's it's routine. It's constant,

1:15:10.680 --> 1:15:12.040
<v Speaker 5>you know, moving around.

1:15:11.880 --> 1:15:15.639
<v Speaker 4>Doing all that. But when you're on stage, a bird's

1:15:15.640 --> 1:15:16.519
<v Speaker 4>got to sing, you know.

1:15:16.720 --> 1:15:20.760
<v Speaker 5>I mean, it's it just feels like it's if you're

1:15:20.800 --> 1:15:23.120
<v Speaker 5>having a good night, your monitors are good, and.

1:15:22.960 --> 1:15:28.120
<v Speaker 4>Everything's everything's working. It's uh, it's a spiritual experience.

1:15:28.600 --> 1:15:30.800
<v Speaker 1>And I know you're hitting Carnegie Hall. Is this the

1:15:30.840 --> 1:15:33.160
<v Speaker 1>first time that you're playing Carnegie Hall as this?

1:15:33.280 --> 1:15:33.840
<v Speaker 2>He will act?

1:15:34.400 --> 1:15:37.639
<v Speaker 4>First time I'm playing Cardiig Hall with anybody act? Yeah?

1:15:37.760 --> 1:15:39.920
<v Speaker 7>Oh wow, that's what's up man?

1:15:40.120 --> 1:15:44.280
<v Speaker 8>I have one final question from me, Daryl, and this

1:15:44.360 --> 1:15:46.519
<v Speaker 8>is not you've probably heard this before. That's not an

1:15:46.560 --> 1:15:51.800
<v Speaker 8>original question, okay, and it's not a joke. A lot

1:15:51.840 --> 1:15:53.519
<v Speaker 8>of us out here still waiting for Rock and Soul

1:15:53.640 --> 1:15:58.000
<v Speaker 8>Part two, you know, as promised by the calling the

1:15:58.040 --> 1:15:58.880
<v Speaker 8>original part one.

1:15:59.520 --> 1:16:01.400
<v Speaker 7>So what's wrong with.

1:16:03.560 --> 1:16:07.479
<v Speaker 8>What's wrong with releasing another edition of that part two

1:16:07.600 --> 1:16:12.000
<v Speaker 8>with just deeper cuts from from your immense catalog with John.

1:16:12.360 --> 1:16:16.320
<v Speaker 4>I think it's a good idea. Maybe I'll do it.

1:16:16.880 --> 1:16:20.680
<v Speaker 1>I have a question in closing, and I guess I

1:16:20.680 --> 1:16:23.680
<v Speaker 1>should have asked it earlier. I mean when people mention you,

1:16:24.840 --> 1:16:28.519
<v Speaker 1>of course, uh, you know, the term blue eyed soul

1:16:28.680 --> 1:16:30.720
<v Speaker 1>always gets tagged with you. When you think of blue

1:16:30.720 --> 1:16:34.120
<v Speaker 1>eyed sold at least if you're kind of my age,

1:16:34.160 --> 1:16:36.120
<v Speaker 1>the first thing you think of is hall of notes.

1:16:37.160 --> 1:16:40.320
<v Speaker 1>Did you guys mind miss tag at the time or

1:16:40.479 --> 1:16:42.840
<v Speaker 1>was it? I think every artist sort of rolls that

1:16:42.880 --> 1:16:46.080
<v Speaker 1>collectively rolls their eyes of whatever like is pegged of them.

1:16:46.160 --> 1:16:50.240
<v Speaker 1>But you know, when the term blue eyed soul came up, like,

1:16:51.080 --> 1:16:53.040
<v Speaker 1>I feel like you guys were sort of the first

1:16:53.160 --> 1:16:56.559
<v Speaker 1>out the gate to get that that title, Like, did

1:16:56.600 --> 1:16:57.760
<v Speaker 1>you mind it or was it?

1:16:57.840 --> 1:16:59.559
<v Speaker 2>Like I hate that term?

1:16:59.680 --> 1:17:02.760
<v Speaker 4>Well, the first duo that ever got it was the

1:17:02.840 --> 1:17:03.599
<v Speaker 4>Righteous Brothers.

1:17:03.680 --> 1:17:06.320
<v Speaker 1>That's that I did not know.

1:17:06.600 --> 1:17:11.400
<v Speaker 5>Okay, Righteous Brothers was That's where the term that that

1:17:11.560 --> 1:17:15.280
<v Speaker 5>that's whoever. I don't know what journalists used it, but

1:17:15.320 --> 1:17:17.920
<v Speaker 5>that's that's where it all came from. I'm not nuts

1:17:17.960 --> 1:17:19.640
<v Speaker 5>about it. I don't I don't you know, I'm a

1:17:19.640 --> 1:17:24.400
<v Speaker 5>soul singer. I'm I have blue eyes O Scott brown eyes.

1:17:25.200 --> 1:17:26.000
<v Speaker 4>Whatever you know.

1:17:27.479 --> 1:17:27.920
<v Speaker 1>I don't.

1:17:28.000 --> 1:17:28.600
<v Speaker 4>I don't like to.

1:17:28.720 --> 1:17:31.719
<v Speaker 5>I don't like to break people break categories down, especially

1:17:31.800 --> 1:17:32.759
<v Speaker 5>those kind of categories.

1:17:33.200 --> 1:17:34.400
<v Speaker 2>Mhm, I see.

1:17:34.520 --> 1:17:38.559
<v Speaker 3>Do you feel the honor in existing, thriving and being

1:17:38.600 --> 1:17:41.719
<v Speaker 3>an example and soul music in that way though.

1:17:42.320 --> 1:17:47.000
<v Speaker 5>I'm I'm happy to be respected in in in you know,

1:17:47.160 --> 1:17:49.479
<v Speaker 5>in a world that I care about.

1:17:50.360 --> 1:17:50.719
<v Speaker 4>Uh.

1:17:50.800 --> 1:17:53.360
<v Speaker 5>And it's it's my baby food, it's what I it's

1:17:53.400 --> 1:17:55.719
<v Speaker 5>what I grew up with, it's what it's what I

1:17:55.760 --> 1:18:01.960
<v Speaker 5>it's it's the source of my musical inspiration. So that's yeah.

1:18:02.120 --> 1:18:04.600
<v Speaker 5>I mean, no matter what the production or the arrangement

1:18:04.760 --> 1:18:07.320
<v Speaker 5>or even the song is, I'm still a soul singer

1:18:07.320 --> 1:18:10.240
<v Speaker 5>in my heart. And that's that's that's that's that's where

1:18:10.280 --> 1:18:11.800
<v Speaker 5>it generates from.

1:18:11.960 --> 1:18:14.200
<v Speaker 8>Wow, we're hearing we hearing that so much these days.

1:18:14.200 --> 1:18:17.559
<v Speaker 8>Bonnie from Bonnie Rate said that, and about about the

1:18:17.600 --> 1:18:21.679
<v Speaker 8>Blues and John said that. Costello said that, Yeah, it's

1:18:21.760 --> 1:18:23.840
<v Speaker 8>just you know, if that's what you grow up on,

1:18:24.000 --> 1:18:24.519
<v Speaker 8>that's what.

1:18:24.400 --> 1:18:27.679
<v Speaker 4>You are, That's right, that's absolutely true.

1:18:29.080 --> 1:18:33.640
<v Speaker 1>Well, hey, I just have to say, you know, you

1:18:33.680 --> 1:18:37.960
<v Speaker 1>guys are I mean you in general, like you're you're

1:18:38.000 --> 1:18:41.680
<v Speaker 1>you're the soundtrack of you know, my life as just

1:18:41.720 --> 1:18:45.000
<v Speaker 1>as a music fan and in general. And I'm really

1:18:45.560 --> 1:18:50.280
<v Speaker 1>pleased and happy that we did this episode. And I

1:18:50.400 --> 1:18:53.160
<v Speaker 1>thank you very much, uh Daryl for for doing this

1:18:53.200 --> 1:18:56.519
<v Speaker 1>with us and making us a special episode of Daryl Hall,

1:18:56.840 --> 1:19:02.559
<v Speaker 1>Ladies and Gentlemen, Legendary Philadelphia. And you know, wait a minute,

1:19:02.560 --> 1:19:04.479
<v Speaker 1>Wait a minute, Wait a minute, wait a minute. One

1:19:04.520 --> 1:19:07.160
<v Speaker 1>more question, please, one more question, and I swear to God,

1:19:07.200 --> 1:19:10.400
<v Speaker 1>I'll let you go. I heard a rumor that you

1:19:10.479 --> 1:19:13.000
<v Speaker 1>once stopped a robbery from happening once on tour.

1:19:14.680 --> 1:19:16.000
<v Speaker 2>Yeah, is this true?

1:19:16.960 --> 1:19:18.120
<v Speaker 4>Yeah, that's true.

1:19:19.800 --> 1:19:23.280
<v Speaker 1>Wow, I've heard the rumor of it, but never I'll

1:19:23.280 --> 1:19:25.160
<v Speaker 1>tell you the story. This is the encore, and I

1:19:25.160 --> 1:19:26.320
<v Speaker 1>promise it's over.

1:19:26.560 --> 1:19:30.559
<v Speaker 5>Right, because nobody ever asked about that. We the first

1:19:30.560 --> 1:19:34.360
<v Speaker 5>time that me and John went to Australia, right we

1:19:34.360 --> 1:19:39.519
<v Speaker 5>were We were in Melbourne, Melbourne, Australia, and it was

1:19:39.640 --> 1:19:45.560
<v Speaker 5>after a show and we went to this restaurant and

1:19:45.600 --> 1:19:49.280
<v Speaker 5>nobody was there except for it was after hours and

1:19:49.320 --> 1:19:52.400
<v Speaker 5>nobody was there except these two guys and their wives

1:19:52.720 --> 1:19:56.760
<v Speaker 5>were sitting at a table next to us and my

1:19:56.840 --> 1:20:03.320
<v Speaker 5>bass player, his girlfriend John and one of our minders.

1:20:03.560 --> 1:20:05.519
<v Speaker 5>Was he just some guy that was with us and

1:20:05.600 --> 1:20:10.040
<v Speaker 5>so we're sitting there and suddenly this guy. We look

1:20:10.120 --> 1:20:12.000
<v Speaker 5>up and there's a guy standing on a ski mask

1:20:12.040 --> 1:20:12.760
<v Speaker 5>and a shotgun.

1:20:13.120 --> 1:20:13.960
<v Speaker 4>Oh shotgun.

1:20:14.320 --> 1:20:14.840
<v Speaker 2>Here was this?

1:20:15.360 --> 1:20:19.840
<v Speaker 4>This was nineteen yeah, eighty one, I'll say something like that.

1:20:19.960 --> 1:20:21.960
<v Speaker 1>He's Jesus Christ, this private eye time.

1:20:22.439 --> 1:20:24.759
<v Speaker 4>Yeah. Yeah.

1:20:25.920 --> 1:20:30.040
<v Speaker 5>So the guy he starts waving the gun around and

1:20:30.360 --> 1:20:32.840
<v Speaker 5>he says, you know, he give you your money, give

1:20:32.880 --> 1:20:37.320
<v Speaker 5>me your money. And I remember the bass play. The

1:20:37.360 --> 1:20:39.840
<v Speaker 5>bass players name was Kenny. He pulled out a credit

1:20:39.880 --> 1:20:46.800
<v Speaker 5>card and handed a credit card. Okay, we're all sitting

1:20:46.800 --> 1:20:49.120
<v Speaker 5>there and it's it's an unreal situation.

1:20:49.200 --> 1:20:52.320
<v Speaker 4>I mean, anybody ask anybody in a situation like that,

1:20:52.479 --> 1:20:53.759
<v Speaker 4>it's all very unreal.

1:20:53.800 --> 1:20:55.920
<v Speaker 5>The guy had a ski mask and a shotgun, right,

1:20:56.240 --> 1:21:00.880
<v Speaker 5>and he goes over to the next table, which was

1:21:01.520 --> 1:21:05.080
<v Speaker 5>right next to us, and he starts pointing the gun

1:21:05.400 --> 1:21:07.639
<v Speaker 5>at one of the women and says, give me your

1:21:07.840 --> 1:21:09.920
<v Speaker 5>you know, give you your money out of your purse. Right,

1:21:10.600 --> 1:21:15.200
<v Speaker 5>And he put put the gun down just enough that

1:21:15.280 --> 1:21:17.840
<v Speaker 5>one of the guys grabbed the barrel of the gun

1:21:18.720 --> 1:21:21.000
<v Speaker 5>and pulled it and the other guy jumped on him.

1:21:21.640 --> 1:21:23.840
<v Speaker 5>And then John jumped up and jumped on the guy

1:21:24.400 --> 1:21:27.120
<v Speaker 5>and then we all started jumping on on this guy

1:21:27.680 --> 1:21:30.360
<v Speaker 5>and I tried to jump on him, and the bass

1:21:30.360 --> 1:21:32.720
<v Speaker 5>player's girlfriend grabbed me around the leg and pulled me

1:21:32.840 --> 1:21:35.240
<v Speaker 5>back and says, saved me, saved me, saved me.

1:21:35.640 --> 1:21:37.320
<v Speaker 4>So I couldn't do anything because I'm fighting.

1:21:37.439 --> 1:21:39.439
<v Speaker 5>She's like a little puppy dog or whatever, and I'm

1:21:39.439 --> 1:21:41.640
<v Speaker 5>trying to fight her away and grabbed this guy at

1:21:41.680 --> 1:21:45.439
<v Speaker 5>the same time. We we basically broke the shotgun up,

1:21:45.920 --> 1:21:49.040
<v Speaker 5>took the took the shells out, and then then then okay,

1:21:49.040 --> 1:21:52.160
<v Speaker 5>he was disarmed, so then we held him and by

1:21:52.200 --> 1:21:56.080
<v Speaker 5>then the matre d or whatever it was, the guy

1:21:56.120 --> 1:21:59.360
<v Speaker 5>that was there had called the cops. The cops come

1:21:59.680 --> 1:22:03.519
<v Speaker 5>charged up the stairs because on the second floor and

1:22:03.720 --> 1:22:07.800
<v Speaker 5>grabbed the guy and uh basically threw him down the

1:22:07.800 --> 1:22:12.640
<v Speaker 5>steps and uh and then took him away. And apparently

1:22:12.680 --> 1:22:15.519
<v Speaker 5>he had robbed twenty five restaurants and he was called

1:22:15.520 --> 1:22:16.679
<v Speaker 5>the rusty gun bandit.

1:22:17.960 --> 1:22:21.200
<v Speaker 7>Oh wow, rusting gun rusting gentlemen.

1:22:21.800 --> 1:22:24.240
<v Speaker 2>That sounds like you, Jackson.

1:22:24.320 --> 1:22:25.520
<v Speaker 7>Yeah, Robin.

1:22:25.160 --> 1:22:28.719
<v Speaker 3>I was like, this is Three Hills cop and coming

1:22:28.760 --> 1:22:29.240
<v Speaker 3>to America.

1:22:29.320 --> 1:22:34.240
<v Speaker 1>Okay, yeah, Daryl Hall, legendary crime Stopperlease gentlemen.

1:22:34.400 --> 1:22:37.920
<v Speaker 2>Yeah, that's how you end the show.

1:22:38.600 --> 1:22:42.560
<v Speaker 1>Paid Bill Laya, Siga, Steve Bon, Tigelow and I'm questlove

1:22:43.040 --> 1:22:47.080
<v Speaker 1>the legendary rock and roll Hall of Fame got himself

1:22:47.400 --> 1:22:52.200
<v Speaker 1>Daryl Hall. Thank you very much, question, thank you on

1:22:52.280 --> 1:22:53.080
<v Speaker 1>the next go round.

1:22:53.120 --> 1:23:06.599
<v Speaker 4>Thank you okay, thank you much.

1:23:06.640 --> 1:23:09.280
<v Speaker 2>Love Supreme is a production of iHeart Radio.

1:23:13.080 --> 1:23:17.840
<v Speaker 1>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:23:17.920 --> 1:23:19.599
<v Speaker 1>or wherever you listen to your favorite shows.