WEBVTT - Daryl Hall

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<v Speaker 1>Hello everyone, and welcome to another episode of Inside the

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<v Speaker 1>Studio on iHeart Radio. My name is Jordan runt Dog,

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<v Speaker 1>but enough about me. My guest today is one half

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<v Speaker 1>of the best selling musical duo of all time, Haul

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<v Speaker 1>of Notes. But now he's spotlighting four decades of his

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<v Speaker 1>rich and remarkably varied solo career with his first retrospective

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<v Speaker 1>called Before and After. The two discs set features hits

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<v Speaker 1>and deep cuts from his five solo albums, including his

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<v Speaker 1>fruitful unions with Robert Fripp and Dave Stewart, the consummate

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<v Speaker 1>musical collaborator. He's also included six previously unreleased performances from

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<v Speaker 1>his beloved web series turned cable program Live from Darryll's House,

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<v Speaker 1>in which he shares the intimate stage with a new

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<v Speaker 1>musical guest each episode. The thirty track collection is due

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<v Speaker 1>out April one, the same day he said to embark

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<v Speaker 1>in his first solo US tour in a decade. The

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<v Speaker 1>trek will take him to some of the country's most

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<v Speaker 1>historic venues, including New York's Carnegie Hall, Nashville's Ryman Auditorium,

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<v Speaker 1>and the met in his hometown of Philadelphia. For each

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<v Speaker 1>of these dates, will be joined by another of Philly's

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<v Speaker 1>favorite musical sons, Todd Rundgren. I'm so happy to welcome

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<v Speaker 1>one of the most soulful voices we've ever had on

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<v Speaker 1>this program, Mr Daryl Hall. I hope you enjoy our conversation.

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<v Speaker 1>First and foremost, congratulations on before and after. I I

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<v Speaker 1>know you've said in the past that you rarely listen

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<v Speaker 1>to your own work. What was it like revisiting these

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<v Speaker 1>songs for you? Was it like going through a scrap book?

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<v Speaker 1>Did it take you back to the moment when you

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<v Speaker 1>wrote and recorded these songs. Are they taken on a

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<v Speaker 1>whole new life of their own? Well, sort of like that. Actually,

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<v Speaker 1>it was like going through a scrap book because those

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<v Speaker 1>albums have so many great memories for me, you know,

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<v Speaker 1>in the making the process of making them. Uh, that's

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<v Speaker 1>the one to me that's the most fun about recording

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<v Speaker 1>is the process. Uh is when you're working with but

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<v Speaker 1>you really get along with and really laugh a lot

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<v Speaker 1>with and uh and really good things come out of it.

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<v Speaker 1>It's uh, it's it's it's it's the old story. It's

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<v Speaker 1>the journey, not the destination. Yeah, it was. It was

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<v Speaker 1>amazing to revisit it. And I've realized that it really

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<v Speaker 1>holds up. I mean, I was, I hate to say,

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<v Speaker 1>I was sort of impressed, impressed myself all right on.

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<v Speaker 1>I mean, listen to all these songs back to back.

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<v Speaker 1>It really emphasized the diversity in your work because I

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<v Speaker 1>mean not only your work with your songs, but the

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<v Speaker 1>collaborators I mean, Robert Fripp, Dave Stewart, Tip and Walk.

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<v Speaker 1>I mean, and there are deep cuts in there too,

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<v Speaker 1>mixed with the you know, the familiar favorites. What was

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<v Speaker 1>the process like for you of actually putting the track

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<v Speaker 1>list together? Did you sit down with you know, your

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<v Speaker 1>whole discography? What was it? What did you know? Did

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<v Speaker 1>you were you able to sort of pull off the

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<v Speaker 1>top of your head what you knew you wanted in there. Well,

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<v Speaker 1>a lot of these songs I've been playing on the

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<v Speaker 1>Life from Darrell's House show, so they're not they're not

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<v Speaker 1>even new to the audience in a lot of cases

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<v Speaker 1>if you watch that show. So, Uh, I certainly wanted

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<v Speaker 1>to include those songs, uh, most of those Uh. And uh,

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<v Speaker 1>I really felt like I wanted to do things in

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<v Speaker 1>a non chronological order. Uh, treat it like it's a

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<v Speaker 1>new album, and and put it together according to flow

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<v Speaker 1>and mood and excitement and ups and downs and all

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<v Speaker 1>the things that that you do with either a live

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<v Speaker 1>sheet or you do with the with with the recorded album. Oh.

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<v Speaker 1>I love the fact that it wasn't chronological. I mean

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<v Speaker 1>some of the transitions were so cool, like the crackling

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<v Speaker 1>vinyl sound at the end of n Y C N

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<v Speaker 1>Y into What's Gonna Happen to Us? To me, that

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<v Speaker 1>was almost like the scene in the Wizard of Oz

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<v Speaker 1>when it comes into color, when it goes into crackling

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<v Speaker 1>into the different sonic, or like you know in the

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<v Speaker 1>in the Girl Can't Help It when Tom Yule snaps

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<v Speaker 1>his fingers and everything goes in the color like that

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<v Speaker 1>was such a great transition. I love that. Well good analog.

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<v Speaker 1>I'm that's a very impressive analogy. It's so great. I mean,

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<v Speaker 1>and you mentioned obviously live from Darrel's House. You have

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<v Speaker 1>some incredible performances from there on here too. I mean,

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<v Speaker 1>you did the rhythmics here comes the Rain again with

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<v Speaker 1>Dave Stewart, Todd run Grins. Can we still be friends?

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<v Speaker 1>I mean, so many amazing and diverse artists on your

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<v Speaker 1>show over the years. I mean, Smokey Robinson, Sharon Jones

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<v Speaker 1>to Ben Folds and Chromeo and Hallo Black. Was there

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<v Speaker 1>any one guest on that show that really surprised you,

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<v Speaker 1>either musically or or personality wise? Man, every show was

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<v Speaker 1>a surprise to me. Every an I went in there

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<v Speaker 1>without knowing what was going to happen, even with the

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<v Speaker 1>people that I knew, you know, even with with with

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<v Speaker 1>my friends or with with veteran artists, UH, really didn't know.

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<v Speaker 1>With the new artists, and I don't think they knew either.

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<v Speaker 1>You know a lot of kids kids, Yeah, a lot

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<v Speaker 1>of these young artists. They came in and they were,

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<v Speaker 1>you know, they were relatively inexperienced. And and to to

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<v Speaker 1>go into a situation where you're with all these amazing

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<v Speaker 1>musicians because my band are amazing musicians and uh, and

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<v Speaker 1>and have to be to play, to work on your

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<v Speaker 1>feet because it's it's not rehearsed, you know. And so

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<v Speaker 1>there was a lot of these a lot of scared

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<v Speaker 1>people out there, you know. But part of my job

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<v Speaker 1>was to calm them down and say, look, there is

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<v Speaker 1>you can't make a mistake here. It doesn't matter, you know,

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<v Speaker 1>we'll just cut it out. If something that doesn't work,

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<v Speaker 1>just let yourself go and that with very very varying degrees,

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<v Speaker 1>people would fall into that that pattern, and that's what

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<v Speaker 1>you see. That's the to me, that's the exciting part

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<v Speaker 1>of the show is how people start responding to this,

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<v Speaker 1>uh sort of a new feeling that they haven't experienced before. Absolutely,

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<v Speaker 1>it's such a joy to watch. I know there's a

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<v Speaker 1>question you've been getting quite a lot of lately, but uh,

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<v Speaker 1>do you have any plans to return to to resurrect

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<v Speaker 1>life from Darryl's House and then and then I know

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<v Speaker 1>you have so much in the works now with the

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<v Speaker 1>album going out on tour, but any any plans for

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<v Speaker 1>that to come back in the near future. Yeah, I

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<v Speaker 1>like to do. I would like to to return to

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<v Speaker 1>it very much. So I just need to Hey, I

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<v Speaker 1>need funding. Who uh anybody wants to fund it? Let

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<v Speaker 1>me know. Uh. And I'm not sure what what format

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<v Speaker 1>am going to come back with it, you know, but

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<v Speaker 1>uh uh we're recording one show at the Rabbit Auditorium

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<v Speaker 1>in Nashville. Oh man, Yeah, because Dave's gonna call hi.

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<v Speaker 1>Dave Stewart's gonna be there, and Todd and I, you know,

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<v Speaker 1>worked together and and uh so it'll be sort of

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<v Speaker 1>Darrell's house and uh it'll be streamed around the world.

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<v Speaker 1>So there you go. Oh cool, I can't wait to

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<v Speaker 1>see that. Todd's obviously going out on the road with

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<v Speaker 1>you and you go way back. I know he produced

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<v Speaker 1>war Babies. But what was the point of connection? Initially?

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<v Speaker 1>Was it back in the in the Philly days. We

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<v Speaker 1>didn't we didn't really we knew each other. We we we

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<v Speaker 1>we didn't really connect in the Philly days because he

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<v Speaker 1>he was sort of in the British invasion world, you know,

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<v Speaker 1>and then you have the Nas and all that, and

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<v Speaker 1>I was, you know, I was deep in into the

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<v Speaker 1>Philadelphia soul scene with the Gamble and Huff and Tommy

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<v Speaker 1>Bell and all those all those groups. Uh so we

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<v Speaker 1>didn't really know each other, but uh we met. We

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<v Speaker 1>both moved to New York around the same time, and

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<v Speaker 1>then we we started, you know, knowing, starting to know

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<v Speaker 1>each other. And that's when we said, why don't we

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<v Speaker 1>make a record together? Do the War Babies album? Oh man,

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<v Speaker 1>I mean, my my families from Pennsylvania. I wanted to

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<v Speaker 1>ask you, how much is being from Philadelphia, Being in

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<v Speaker 1>the Philadelphia area, I should say impacted you musically. I

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<v Speaker 1>mean you mentioned Gamble and Huff. I mean, it doesn't

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<v Speaker 1>get more Philly than that. How much has that been

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<v Speaker 1>part of your musical psyche? Every it's everything. I'm part

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<v Speaker 1>of the sound of Philadelphia. I started with those guys,

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<v Speaker 1>you know, I'm of the age where they were just

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<v Speaker 1>they're just a little bit older than me, and and

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<v Speaker 1>we we were all we were all working together at

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<v Speaker 1>the in the very very beginning. We we both we

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<v Speaker 1>we all worked for the same people before that, you know,

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<v Speaker 1>when we were coming up together. Um, so it's it's

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<v Speaker 1>it's all. It's all. I can't separate what I do

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<v Speaker 1>from from where I come from. It's impossible. There's a

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<v Speaker 1>great quote, and I'm trying from you that I'm trying

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<v Speaker 1>to paraphrase something, the fact that soul music was crying

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<v Speaker 1>in tune. I think I have that right. I want

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<v Speaker 1>to ask you more about that. That's such a great line,

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<v Speaker 1>and I feel like that sums up so much of

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<v Speaker 1>what you do and where you come from when you're

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<v Speaker 1>putting these songs across. Yeah, well, I I stick by

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<v Speaker 1>that by that statement, you know, crying a tune, that's

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<v Speaker 1>what it's all about. I mean you touched on this earlier,

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<v Speaker 1>but I mean the hallmark of these Darrell's House performances

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<v Speaker 1>is that they're so intimate and laid back. I mean

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<v Speaker 1>they feel like a bunch of friends in someone's living room.

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<v Speaker 1>How do you bring that lightness and ease to this tour?

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<v Speaker 1>How do you make the stage feel like Darryll's house?

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<v Speaker 1>There are little tricks. I was doing it with hollow

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<v Speaker 1>notes to sub degree, but it's it has to do

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<v Speaker 1>with lighting and how you can bring the audience, make

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<v Speaker 1>the audience well. I I the audience is always interactive

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<v Speaker 1>in my shows on and even enhanced that as much

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<v Speaker 1>as possible. It has to do with lighting and and

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<v Speaker 1>things like that. And uh, I'm not really using on

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<v Speaker 1>This is a theater tour, so I'm not really using screens.

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<v Speaker 1>But when I play bigger places, I make big use

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<v Speaker 1>of screens. So it's not just similar to watching it

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<v Speaker 1>on TV, you know. Um, So there's a lot of things.

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<v Speaker 1>And it's also has to do with with performance style.

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<v Speaker 1>You know, you just bring people in. It's it's it's

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<v Speaker 1>you gotta stay loose and spontaneous. It must feel so

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<v Speaker 1>good to get back out on the road. I mean

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<v Speaker 1>especially after the last two years. Did your relationship to

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<v Speaker 1>music change at all over the course of the pandemic,

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<v Speaker 1>either in in you know what it means to make it,

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<v Speaker 1>or how you appreciate listening to it, all of the above. Yes, absolutely.

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<v Speaker 1>I I for two years, I basically hibernated creatively. I

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<v Speaker 1>didn't do anything, and and that was the I mean,

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<v Speaker 1>the pandemic has affected everybody in different way. With me,

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<v Speaker 1>I've been traveling my entire life around the world, never stopped.

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<v Speaker 1>And uh, you know, I have houses in various places,

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<v Speaker 1>and you know, in and out of the United States.

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<v Speaker 1>I was working, traveling, you know, doing whatever. And for

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<v Speaker 1>two years I didn't. I just sat in this room

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<v Speaker 1>here that you're looking at me at uh with with

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<v Speaker 1>my cat. And I didn't I didn't play that. I

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<v Speaker 1>didn't play the piano. I didn't I did hardly even

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<v Speaker 1>played the guitar. I didn't didn't sing, didn't really do anything.

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<v Speaker 1>And it was sort of like breech charging batteries. It

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<v Speaker 1>was a really uh uh. I can't even describe a

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<v Speaker 1>transcendent experience that I came out of this a different

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<v Speaker 1>sort of a different person. And I realized and I

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<v Speaker 1>think a lot of people share this in their worlds too. Uh.

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<v Speaker 1>I realized that now is the time to just uh

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<v Speaker 1>not be restricted and and do whatever you were going,

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<v Speaker 1>whatever you you should be doing, or what are you

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<v Speaker 1>gonna do, or what do you whatever you want to do,

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<v Speaker 1>do it, and you know, and that that's one of

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<v Speaker 1>the reasons I'm doing this is what I'm this whole

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<v Speaker 1>solo uh, this whole solo experience. I've decided to stop

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<v Speaker 1>being restricted by by uh the good problem that is

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<v Speaker 1>all and outs. You know, it's I don't have to

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<v Speaker 1>just keep playing those same songs over and over again.

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<v Speaker 1>I can I can show my sort of alternative side. Absolutely.

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<v Speaker 1>I mean, you mentioned that the last couple of years

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<v Speaker 1>has been i um, more of a restorative time, a

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<v Speaker 1>regenerative time for you creatively. Is that is that normal?

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<v Speaker 1>Does the creativity and songwriting come and go in waves

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<v Speaker 1>over the years, or is the last couple of years

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<v Speaker 1>been atypical for you in that sense? I tend to

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<v Speaker 1>try and work it that way. I mean, I'm I'm

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<v Speaker 1>normally I've always coming up with ideas, but I tend

0:11:55.360 --> 0:11:58.880
<v Speaker 1>to work for projects. Uh. If I know that I'm

0:11:58.880 --> 0:12:01.840
<v Speaker 1>doing uh working with say Dave Stewart or whatever. I

0:12:01.880 --> 0:12:06.720
<v Speaker 1>start thinking in terms of that and my songwriting ideas

0:12:07.240 --> 0:12:10.280
<v Speaker 1>and phrasing, and I mean the phrases I write down

0:12:10.800 --> 0:12:14.559
<v Speaker 1>and things like that um tended to fit what I

0:12:14.559 --> 0:12:19.760
<v Speaker 1>think I'm gonna be doing. And uh, I'm not afraid

0:12:19.760 --> 0:12:23.280
<v Speaker 1>to go follow you know, if if if something, something

0:12:23.360 --> 0:12:25.560
<v Speaker 1>isn't coming, I don't try and force it, that's for sure.

0:12:26.880 --> 0:12:29.640
<v Speaker 1>For someone who's written as much as you have, and

0:12:29.760 --> 0:12:32.440
<v Speaker 1>especially it's many hits as you have, is there an

0:12:32.440 --> 0:12:36.240
<v Speaker 1>element of you're gonna laugh at me, almost superstition to it?

0:12:36.440 --> 0:12:38.080
<v Speaker 1>But from when it comes to writing, is there a

0:12:38.080 --> 0:12:40.480
<v Speaker 1>certain time of day that you feel as best or

0:12:40.840 --> 0:12:43.880
<v Speaker 1>I'm not hands they're called a lucky piano or a

0:12:43.960 --> 0:12:46.200
<v Speaker 1>lucky keyboard. But is there any element of that too?

0:12:46.280 --> 0:12:47.679
<v Speaker 1>Do you believe in any of that or is that

0:12:47.720 --> 0:12:49.720
<v Speaker 1>not really factor into it for you? Well, no, no,

0:12:50.000 --> 0:12:53.520
<v Speaker 1>it's not superstition, no, But but I think it's bi

0:12:53.640 --> 0:12:58.199
<v Speaker 1>rhythms I tend to I I write and you know,

0:12:58.640 --> 0:13:02.400
<v Speaker 1>when I first wake up my most creative period, the

0:13:02.480 --> 0:13:05.120
<v Speaker 1>whole lyric just blew right out or come up with

0:13:05.160 --> 0:13:08.160
<v Speaker 1>the idea for a song as as I'm coming out

0:13:08.160 --> 0:13:09.760
<v Speaker 1>of the dream state and having a cup of tea

0:13:09.880 --> 0:13:13.360
<v Speaker 1>or whatever. Uh that that first thing in the day

0:13:13.960 --> 0:13:17.480
<v Speaker 1>is my best time for coming up with new ideas.

0:13:18.080 --> 0:13:21.880
<v Speaker 1>And I tend to work during the day once other

0:13:21.920 --> 0:13:26.240
<v Speaker 1>than the fact, other than when I play live six o'clock,

0:13:26.360 --> 0:13:29.959
<v Speaker 1>I'm done. I'm done. I'm just gonna hang out, but

0:13:30.240 --> 0:13:33.200
<v Speaker 1>have a drink, watch TV, do whatever I want to do.

0:13:33.520 --> 0:13:35.680
<v Speaker 1>Um and I and I don't work. I don't like

0:13:35.760 --> 0:13:38.959
<v Speaker 1>to work in the evening unless, like I said, unless

0:13:39.000 --> 0:13:42.360
<v Speaker 1>I'm playing a show. And does it happen all different ways?

0:13:42.400 --> 0:13:46.000
<v Speaker 1>I mean lyrics first, then melody or working from a

0:13:46.080 --> 0:13:48.240
<v Speaker 1>chord structure first, and there is Do you have a

0:13:48.280 --> 0:13:50.719
<v Speaker 1>set way that you go go about it? No, it

0:13:50.800 --> 0:13:53.559
<v Speaker 1>can come anyway at all. I mean I was I

0:13:53.960 --> 0:13:56.320
<v Speaker 1>just came back from the Bahamas. I was working with

0:13:56.400 --> 0:14:00.080
<v Speaker 1>Dave Stewart and uh he I just have books and

0:14:00.160 --> 0:14:05.040
<v Speaker 1>books of ideas, lyric ideas and phrases, and and I

0:14:05.120 --> 0:14:07.719
<v Speaker 1>was just reading them to him and he went, oh,

0:14:07.760 --> 0:14:09.600
<v Speaker 1>that's a good one. You know, Let's let's write a

0:14:09.600 --> 0:14:12.120
<v Speaker 1>song even like that, you know, and then we elaborate

0:14:12.200 --> 0:14:14.040
<v Speaker 1>on that. So a lot of times I'll just come

0:14:14.040 --> 0:14:17.240
<v Speaker 1>from something like just reading a phrase out or or

0:14:17.240 --> 0:14:20.600
<v Speaker 1>writing a phrase down, or seeing something. So one time

0:14:20.640 --> 0:14:22.800
<v Speaker 1>I wrote a song about I saw something on the

0:14:22.840 --> 0:14:25.960
<v Speaker 1>back of a truck and then they gave me an

0:14:26.040 --> 0:14:31.680
<v Speaker 1>idea for a chord and Uh, sometimes it comes from

0:14:31.720 --> 0:14:33.960
<v Speaker 1>a drum machine. You know, it'll be a beat that

0:14:34.000 --> 0:14:36.800
<v Speaker 1>will cause me to play a certain bass pattern, a

0:14:36.920 --> 0:14:41.520
<v Speaker 1>chord pattern. Uh. Sometimes it is the chord patterns. Uh.

0:14:41.800 --> 0:14:44.880
<v Speaker 1>Very seldom is it a melody where I sing something

0:14:44.920 --> 0:14:47.360
<v Speaker 1>and then put something around it. It usually comes from

0:14:47.480 --> 0:14:53.560
<v Speaker 1>the melody comes as it's almost juxtaposed two a phrase

0:14:54.000 --> 0:14:58.680
<v Speaker 1>or a beat or a chord pattern. This is maybe

0:14:58.680 --> 0:15:01.960
<v Speaker 1>a strange question, but do you get more inspiration looking

0:15:01.960 --> 0:15:08.160
<v Speaker 1>outward or looking inward? Uh? Both, I think equal equal.

0:15:08.280 --> 0:15:12.600
<v Speaker 1>I'm a pretty introverted person and introspective, but I get

0:15:12.720 --> 0:15:15.200
<v Speaker 1>I think I get my ideas from observation and and

0:15:15.280 --> 0:15:19.680
<v Speaker 1>experience and and experience obviously. I mean by revisiting these

0:15:19.720 --> 0:15:22.320
<v Speaker 1>songs from your past on this compilation, are there any

0:15:22.360 --> 0:15:24.920
<v Speaker 1>songs on there that means something totally different to you

0:15:24.960 --> 0:15:28.040
<v Speaker 1>now than when you wrote them? In some cases, you know,

0:15:28.160 --> 0:15:33.720
<v Speaker 1>several decades ago. Yes, yes, I think all my songs

0:15:34.520 --> 0:15:37.000
<v Speaker 1>I could say that about you know, you write a

0:15:37.000 --> 0:15:39.760
<v Speaker 1>song about something that's happened to you at the time,

0:15:40.280 --> 0:15:43.840
<v Speaker 1>and then if that's a universal not universal, but it's

0:15:43.840 --> 0:15:48.040
<v Speaker 1>a timeless sort of thing, and you may have an experience,

0:15:48.080 --> 0:15:51.120
<v Speaker 1>say with a person, you might have a an experience

0:15:51.160 --> 0:15:54.280
<v Speaker 1>with a completely different person, but that that that thought,

0:15:54.880 --> 0:15:58.040
<v Speaker 1>for some reason becomes even more valid in the new situation.

0:15:58.120 --> 0:16:01.160
<v Speaker 1>That's That's as good as I could put that. But yes, uh,

0:16:01.240 --> 0:16:05.480
<v Speaker 1>it's uh. When I'm singing the songs, I'm not always

0:16:05.520 --> 0:16:08.680
<v Speaker 1>thinking about the the original subject of the song. You know.

0:16:10.040 --> 0:16:13.080
<v Speaker 1>I love that. I love how multifaceted song. I mean,

0:16:13.080 --> 0:16:14.800
<v Speaker 1>as you said, timeless songs can be. It makes some

0:16:14.880 --> 0:16:17.160
<v Speaker 1>timeless is that they mean different things different people in

0:16:17.200 --> 0:16:19.560
<v Speaker 1>different moments of their lives. And you know, songs that

0:16:19.600 --> 0:16:21.480
<v Speaker 1>I knew as a kid I come back to now

0:16:21.600 --> 0:16:24.800
<v Speaker 1>and uh and mean something totally different but touches me

0:16:24.960 --> 0:16:28.960
<v Speaker 1>in just as deep away. I think that's amazing. On

0:16:29.000 --> 0:16:31.720
<v Speaker 1>this tour, is there any song in particular that you're

0:16:31.720 --> 0:16:34.760
<v Speaker 1>the most excited to perform, either one that you maybe

0:16:34.760 --> 0:16:37.480
<v Speaker 1>haven't done live in a really long time, or just

0:16:37.680 --> 0:16:39.400
<v Speaker 1>you know, something brand new that you're working on and

0:16:39.400 --> 0:16:43.120
<v Speaker 1>you're excited to see what people respond to, Uh, well,

0:16:43.840 --> 0:16:46.120
<v Speaker 1>I'm not gonna play any brand new songs. But but

0:16:46.840 --> 0:16:49.080
<v Speaker 1>I don't know, man, you know, I mean, I'm excited

0:16:49.200 --> 0:16:52.040
<v Speaker 1>just to play any of the ones from the from

0:16:52.040 --> 0:16:54.640
<v Speaker 1>the past albums. It's uh, you know, it'll be fun

0:16:54.640 --> 0:16:56.680
<v Speaker 1>to play Babs and Babs because I'll play that one.

0:16:57.040 --> 0:17:01.760
<v Speaker 1>And uh uh, I'm not even in rehearsals yet, so

0:17:01.800 --> 0:17:03.480
<v Speaker 1>I don't know. I don't know what's going to excite

0:17:03.480 --> 0:17:08.400
<v Speaker 1>me yet. Let's see. Yeah, oh man, I mean, I

0:17:08.400 --> 0:17:10.679
<v Speaker 1>I guess my my last question, I want to take

0:17:10.760 --> 0:17:14.640
<v Speaker 1>up too much more your time by putting this album together.

0:17:15.359 --> 0:17:18.680
<v Speaker 1>Did you learn something about yourself by going back through

0:17:18.720 --> 0:17:20.800
<v Speaker 1>these songs? You know they always say that in a dream,

0:17:20.880 --> 0:17:24.840
<v Speaker 1>every character is you. By hearing all these songs back

0:17:24.880 --> 0:17:26.480
<v Speaker 1>to back, did you did that somehow? It was almost

0:17:26.520 --> 0:17:31.159
<v Speaker 1>like getting a really good dream reading. Yeah. I to

0:17:31.320 --> 0:17:33.320
<v Speaker 1>look back on it all. It I mean, I can

0:17:33.680 --> 0:17:37.760
<v Speaker 1>relate to all every song intimately, the experiences, uh, the

0:17:38.040 --> 0:17:40.199
<v Speaker 1>interaction I had with the people that I wrote the

0:17:40.200 --> 0:17:43.639
<v Speaker 1>songs about or and also the people that I worked

0:17:43.760 --> 0:17:51.760
<v Speaker 1>with making the records. Uh, yeah, it all. It gives

0:17:51.760 --> 0:17:54.360
<v Speaker 1>me good feelings. It makes me know that I've had

0:17:54.400 --> 0:17:58.560
<v Speaker 1>some amazing connections in my life so far. And uh,

0:17:59.119 --> 0:18:01.320
<v Speaker 1>I'm really proud of it, and and I'm really really

0:18:01.359 --> 0:18:04.560
<v Speaker 1>fulfilled by it. And we thank you for sharing it.

0:18:04.640 --> 0:18:06.720
<v Speaker 1>Darryl Hall, Thank you so much for your time today

0:18:06.760 --> 0:18:10.520
<v Speaker 1>and most importantly your music. Thank you silvery much. Thank you, Matt.

0:18:13.480 --> 0:18:15.920
<v Speaker 1>We hope you enjoyed this episode of Inside the Studio,

0:18:16.000 --> 0:18:18.879
<v Speaker 1>a production of I Heart Radio. For more episodes of

0:18:18.920 --> 0:18:21.919
<v Speaker 1>Inside the Studio or other fantastic shows, check out the

0:18:21.920 --> 0:18:24.680
<v Speaker 1>I Heart Radio app, Apple podcast, or wherever you listen

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