1 00:00:06,960 --> 00:00:10,200 Speaker 1: I'm Alec Baldwin and you're listening to Here's the thing. 2 00:00:12,000 --> 00:00:15,040 Speaker 1: If you grew up in the seventies and eighties, you 3 00:00:15,120 --> 00:00:19,480 Speaker 1: know how huge Darryl Hall is. If you grew up 4 00:00:19,480 --> 00:00:22,880 Speaker 1: in the two thousands, you probably know too. But if 5 00:00:22,920 --> 00:00:26,720 Speaker 1: you grew up in between, fall to your knees, Millennials. 6 00:00:27,080 --> 00:00:40,040 Speaker 1: Darryl Hall as a god of R and B. With 7 00:00:40,159 --> 00:00:43,880 Speaker 1: partner John Oates, Hall and Oates is the biggest selling 8 00:00:44,040 --> 00:00:49,519 Speaker 1: vocal duo in history. They have seven platinum albums and 9 00:00:49,680 --> 00:00:54,400 Speaker 1: another six gold ones. They made the Billboard Hot one 10 00:00:54,440 --> 00:00:58,640 Speaker 1: hundred thirty four times with mega hits turned prom nite 11 00:00:58,680 --> 00:01:02,600 Speaker 1: standards like men, rich girl, you make my dreams come 12 00:01:02,600 --> 00:01:12,120 Speaker 1: true and I can't go for that. But by the 13 00:01:12,160 --> 00:01:15,199 Speaker 1: early nineties, Hall and Oates have become a little passe, 14 00:01:16,080 --> 00:01:19,880 Speaker 1: too smooth, too perfect. People said their time in the 15 00:01:19,959 --> 00:01:23,800 Speaker 1: wilderness was blissfully short, thanks to a new generation of 16 00:01:23,959 --> 00:01:28,360 Speaker 1: artists inspired by their sound, who sampled or covered Hall 17 00:01:28,400 --> 00:01:42,199 Speaker 1: and Oates classics like Two Live Crew, De La Soul. 18 00:01:42,319 --> 00:01:44,280 Speaker 1: I can't have none of that, Dolla, what to say? 19 00:01:44,400 --> 00:01:56,520 Speaker 1: Mate and the Bird and the Bee. Yeah, anything to 20 00:01:59,160 --> 00:02:02,680 Speaker 1: Paul and Oates, Ace and the Pop Cannon was now secure, 21 00:02:03,280 --> 00:02:06,240 Speaker 1: and Hall has a sort of second career on television. 22 00:02:06,560 --> 00:02:11,400 Speaker 1: In fact, he's recently had two successful TV shows. Legendary 23 00:02:11,520 --> 00:02:15,760 Speaker 1: Roger Darryl Hall takes on his next project, restoring this 24 00:02:16,000 --> 00:02:21,880 Speaker 1: eighteenth century farmhouse. Darryl's Restoration Overhaul on the d I 25 00:02:22,120 --> 00:02:25,680 Speaker 1: Y Network is about his passion for saving historic hones. 26 00:02:26,320 --> 00:02:29,800 Speaker 1: The other show is called Live from Darryl's House, where 27 00:02:29,919 --> 00:02:33,560 Speaker 1: big name musicians join him for jam sessions. It started 28 00:02:33,600 --> 00:02:36,320 Speaker 1: out as a web series and eventually got picked up 29 00:02:36,560 --> 00:02:41,440 Speaker 1: on MTV. Do that So, yeah, the intro you want 30 00:02:41,440 --> 00:02:45,120 Speaker 1: to start with just drumas like started with like that, 31 00:02:47,000 --> 00:02:53,280 Speaker 1: Jake Jake to, and then we're in would You Play 32 00:02:53,320 --> 00:02:57,520 Speaker 1: the Ball? The Darryl's House of the title these days 33 00:02:58,000 --> 00:03:01,360 Speaker 1: is his restaurant and music. Then you in Pauling, New York, 34 00:03:01,800 --> 00:03:05,120 Speaker 1: about seventy miles north and a world away from Manhattan. 35 00:03:06,040 --> 00:03:08,720 Speaker 1: That's where he invited me to sit down and talk. 36 00:03:10,160 --> 00:03:15,919 Speaker 1: So learning about your early years, one of the things 37 00:03:15,960 --> 00:03:17,720 Speaker 1: that strikes me is that you know, before you go 38 00:03:17,800 --> 00:03:22,680 Speaker 1: to study music, you're on the streets of Philadelphia singing groups. Correct, Yeah, 39 00:03:22,680 --> 00:03:26,400 Speaker 1: that's right. How did that happen? Well, it actually was 40 00:03:26,440 --> 00:03:30,000 Speaker 1: simultaneous with me moving to Philadelphia. I grew up in Pottstown, 41 00:03:30,040 --> 00:03:33,560 Speaker 1: which is a about forty miles northwest of Philadelphia, and uh, 42 00:03:33,720 --> 00:03:36,640 Speaker 1: it had its own kind of small town street scene there. 43 00:03:37,120 --> 00:03:40,680 Speaker 1: So I started a really young age doing doing you know, 44 00:03:40,840 --> 00:03:45,160 Speaker 1: like busking, more like the doop, you know, the street 45 00:03:45,160 --> 00:03:49,000 Speaker 1: corn music. There was no instruments involved, acapella and all that, 46 00:03:49,720 --> 00:03:54,560 Speaker 1: and uh, it was always very racially integrated, you know, 47 00:03:54,800 --> 00:03:57,000 Speaker 1: is that whole thing. And uh then when I went 48 00:03:57,000 --> 00:04:00,200 Speaker 1: to Philly, I had already been involved in that off 49 00:04:00,600 --> 00:04:03,320 Speaker 1: and there was this place called Mitton Hall where all 50 00:04:03,360 --> 00:04:05,440 Speaker 1: everybody hung out. It was like the place where the 51 00:04:05,440 --> 00:04:08,160 Speaker 1: whole temple of University went and people used to stand 52 00:04:08,160 --> 00:04:10,440 Speaker 1: in the corners and sing. It was that's that kind 53 00:04:10,440 --> 00:04:12,400 Speaker 1: of stuff was still going on. So I just walked 54 00:04:12,440 --> 00:04:14,720 Speaker 1: up one day and started singing along with these strangers. 55 00:04:15,080 --> 00:04:18,719 Speaker 1: And that's how I got into Philadelphia and started But 56 00:04:18,760 --> 00:04:20,960 Speaker 1: at a time when in my mind when I think 57 00:04:20,960 --> 00:04:24,000 Speaker 1: about Philadelphia, then I think about a lot of racial 58 00:04:24,040 --> 00:04:28,120 Speaker 1: difficulties and move and you know, historically, not not for you, 59 00:04:28,520 --> 00:04:30,200 Speaker 1: I'm saying, the city has always had a kind of 60 00:04:30,200 --> 00:04:33,359 Speaker 1: a racial stratification. It seems like what was it about 61 00:04:33,440 --> 00:04:37,480 Speaker 1: you that these people welcomed you with open arms? I 62 00:04:37,640 --> 00:04:40,920 Speaker 1: just sing. I grew up in a very racially integrated environment, 63 00:04:41,080 --> 00:04:43,480 Speaker 1: you know. And in Pottstown there's a big black community, 64 00:04:43,680 --> 00:04:47,080 Speaker 1: and my my parents best friends lived right in the 65 00:04:47,120 --> 00:04:50,440 Speaker 1: middle of the black neighborhood. So I as as a kid, 66 00:04:50,600 --> 00:04:53,320 Speaker 1: I'm talking like a kid kid. For the summer, I 67 00:04:53,320 --> 00:04:56,360 Speaker 1: would be over there and and all my waking hours, 68 00:04:56,440 --> 00:04:59,479 Speaker 1: really I would be hanging out with white and black 69 00:04:59,560 --> 00:05:02,160 Speaker 1: kids to other So the music that I grew up 70 00:05:02,200 --> 00:05:05,640 Speaker 1: with was that, you know, R and B and soul music. Uh. 71 00:05:05,680 --> 00:05:08,320 Speaker 1: It was really my baby food, you know, and it 72 00:05:08,440 --> 00:05:10,240 Speaker 1: just went that way off things. My dad was he 73 00:05:10,400 --> 00:05:12,560 Speaker 1: musically and he was in a vocal group. Sang he 74 00:05:12,680 --> 00:05:17,160 Speaker 1: sang like gospel vocal group and uh he uh. I 75 00:05:17,240 --> 00:05:20,200 Speaker 1: learned a lot about harmony from him. And uh my 76 00:05:20,200 --> 00:05:23,200 Speaker 1: mother was a musician. She uh did other cons music, 77 00:05:23,200 --> 00:05:25,760 Speaker 1: you know, she like musicals and she was in a band. 78 00:05:25,960 --> 00:05:27,920 Speaker 1: So it was very musical environment. Let me just put 79 00:05:28,000 --> 00:05:30,360 Speaker 1: these cards on the table, which is you are one 80 00:05:30,360 --> 00:05:32,800 Speaker 1: of the ten greatest male vocalists in all of history 81 00:05:32,800 --> 00:05:35,359 Speaker 1: of rock and roll. I mean you are, and what 82 00:05:35,520 --> 00:05:38,280 Speaker 1: kills me is like how you've stayed because a lot 83 00:05:38,320 --> 00:05:40,240 Speaker 1: of these guys have to drop it a key, and 84 00:05:40,560 --> 00:05:43,080 Speaker 1: we interview a lot of my you know, you name it, 85 00:05:43,160 --> 00:05:46,400 Speaker 1: and only you and Bano pretty much sound the same 86 00:05:46,520 --> 00:05:49,520 Speaker 1: now almost. First of all, I do on stage, I 87 00:05:49,520 --> 00:05:52,320 Speaker 1: do drop it a half a key now, I do, so, 88 00:05:52,400 --> 00:05:54,680 Speaker 1: I admit it. But but you know what, that's that's 89 00:05:54,720 --> 00:05:57,159 Speaker 1: cool too. It gives me more room to play around 90 00:05:57,200 --> 00:06:01,120 Speaker 1: up top. Um. But you know, my voice has changed 91 00:06:01,160 --> 00:06:03,320 Speaker 1: a lot over the years. You listen to those records 92 00:06:03,360 --> 00:06:05,560 Speaker 1: that I made, you know, the Rich Girl and all 93 00:06:05,600 --> 00:06:08,320 Speaker 1: those kind of songs, I'm like a little boy compared 94 00:06:08,360 --> 00:06:10,640 Speaker 1: to the way I sing now I have. I sort 95 00:06:10,680 --> 00:06:12,120 Speaker 1: of have the voice now I always wanted to have. 96 00:06:12,400 --> 00:06:17,960 Speaker 1: It's that bigger, you know, and um yeah, so but 97 00:06:18,120 --> 00:06:21,080 Speaker 1: I so, I like how my voice has evolved. And 98 00:06:21,120 --> 00:06:23,040 Speaker 1: I haven't lost any of the stuff that I had. 99 00:06:23,080 --> 00:06:26,559 Speaker 1: I just it's just sort of got bigger and wider. 100 00:06:26,560 --> 00:06:29,039 Speaker 1: Where did you start singing? When did singing? My mother was, 101 00:06:29,080 --> 00:06:30,680 Speaker 1: as I said, she was in a band, but she 102 00:06:30,760 --> 00:06:33,440 Speaker 1: was also a vocal teacher and things like that, and 103 00:06:33,560 --> 00:06:36,720 Speaker 1: she encouraged yeah, and she it was sort of always there, 104 00:06:37,080 --> 00:06:38,840 Speaker 1: and she taught me how to sing? Did they both 105 00:06:38,839 --> 00:06:42,680 Speaker 1: play instruments? Yeah, my mother played piano and uh. Um, 106 00:06:42,880 --> 00:06:47,480 Speaker 1: I started taking piano lessons around five, and uh took 107 00:06:47,640 --> 00:06:50,320 Speaker 1: lessons all the way through and then I, unfortunately was 108 00:06:50,960 --> 00:06:53,080 Speaker 1: got into was I would say, I got into I 109 00:06:53,120 --> 00:06:55,760 Speaker 1: was forced forced to play the trombone for a while, 110 00:06:56,760 --> 00:06:59,640 Speaker 1: but uh, that didn't last long. But no, it's it. 111 00:07:00,000 --> 00:07:02,080 Speaker 1: I've been playing piano since five, and then I started 112 00:07:02,080 --> 00:07:04,719 Speaker 1: playing guitar and self taught. You took yourself on the guitar. 113 00:07:04,839 --> 00:07:06,200 Speaker 1: How old were you when you picked up the guitar 114 00:07:06,200 --> 00:07:10,440 Speaker 1: for the first maybe late teens, early twenties. And when 115 00:07:10,440 --> 00:07:13,880 Speaker 1: you go then you go to Temple to study music? Why, well, 116 00:07:14,640 --> 00:07:16,440 Speaker 1: at first I was going to go. I didn't think 117 00:07:16,480 --> 00:07:19,120 Speaker 1: there was any money in uh, in music at all. 118 00:07:19,160 --> 00:07:21,600 Speaker 1: It didn't even occur to me. Uh and to have 119 00:07:21,680 --> 00:07:23,480 Speaker 1: a career in music, so I was gonna be I was. 120 00:07:23,680 --> 00:07:27,280 Speaker 1: I wanted to be a psychiatrist. Why because I was 121 00:07:27,320 --> 00:07:30,200 Speaker 1: really interested in the life of the mind, and I 122 00:07:30,240 --> 00:07:32,280 Speaker 1: was up against these I didn't realize and might and 123 00:07:32,360 --> 00:07:33,600 Speaker 1: I have to tell you that you had to be 124 00:07:33,680 --> 00:07:36,080 Speaker 1: a doctor to do all these thing in a medical degree. 125 00:07:36,720 --> 00:07:38,880 Speaker 1: I quit that one too, and then I was up 126 00:07:38,880 --> 00:07:42,080 Speaker 1: against all these kids that were like premed and I 127 00:07:42,200 --> 00:07:44,920 Speaker 1: failed miserably. It was just horrible. This is not for me. 128 00:07:44,960 --> 00:07:46,360 Speaker 1: I had the same problem. I was like, I had 129 00:07:46,400 --> 00:07:48,120 Speaker 1: to have to study chemistry just I just want to 130 00:07:48,160 --> 00:07:51,320 Speaker 1: talk to people. Yeah. Man. What happened was I did 131 00:07:51,320 --> 00:07:53,080 Speaker 1: that for a year and then I switched to the 132 00:07:53,080 --> 00:07:55,920 Speaker 1: Temple Music School and they you know, they let me 133 00:07:55,960 --> 00:07:58,640 Speaker 1: in and you finished, you graduate and I finished, well, 134 00:07:58,800 --> 00:08:01,640 Speaker 1: I I quit. I quit five weeks before I graduation 135 00:08:02,200 --> 00:08:04,960 Speaker 1: because I was a student teacher and I was up, 136 00:08:05,200 --> 00:08:07,280 Speaker 1: you know, early in the morning all day doing all 137 00:08:07,280 --> 00:08:10,600 Speaker 1: that stuff. And then I had a bar gig, playing 138 00:08:10,720 --> 00:08:13,120 Speaker 1: playing music in a bar band at night until two 139 00:08:13,120 --> 00:08:15,119 Speaker 1: o'clock in the morning. So I didn't work out so well. 140 00:08:15,280 --> 00:08:17,040 Speaker 1: And the teacher said, you know, you have to choose 141 00:08:17,080 --> 00:08:18,960 Speaker 1: one or the other. And I thought to myself, do 142 00:08:19,000 --> 00:08:20,720 Speaker 1: I want to be a music teacher or do I 143 00:08:20,760 --> 00:08:23,120 Speaker 1: want to be a musician for real? And there was 144 00:08:23,160 --> 00:08:25,280 Speaker 1: no choice in my head. So I said, okay, see 145 00:08:25,280 --> 00:08:30,640 Speaker 1: you later play when you uh leave Temple, when you leave, 146 00:08:30,680 --> 00:08:34,840 Speaker 1: when you finished school, what happens after that? During my 147 00:08:34,960 --> 00:08:37,840 Speaker 1: time in Temple, as I said, the whole thing was 148 00:08:37,880 --> 00:08:40,000 Speaker 1: sort of simultaneous. I was going to music school, but 149 00:08:40,040 --> 00:08:43,280 Speaker 1: I was also hanging out with Tommy Bell and uh 150 00:08:43,480 --> 00:08:45,400 Speaker 1: who was that? For people who don't know, Tommy Bell 151 00:08:45,640 --> 00:08:50,760 Speaker 1: was was the the producer and writer behind oh a 152 00:08:50,880 --> 00:08:55,080 Speaker 1: great number of the Philadelphia sound, the Stylistics and the 153 00:08:55,120 --> 00:08:59,920 Speaker 1: Delphonics and people like that. Um, he was very, very 154 00:09:00,000 --> 00:09:02,560 Speaker 1: influential in the sound of Philadelphia. And he sort of 155 00:09:02,559 --> 00:09:05,040 Speaker 1: took me under his wing. He was not that much 156 00:09:05,040 --> 00:09:07,360 Speaker 1: older than me, but but I would just sit around 157 00:09:07,400 --> 00:09:09,240 Speaker 1: and listen to him, right and he was an amazing 158 00:09:09,280 --> 00:09:13,160 Speaker 1: writer and uh so I was friendly with him. And 159 00:09:13,200 --> 00:09:16,560 Speaker 1: then I also I had a band that sort of 160 00:09:16,600 --> 00:09:18,280 Speaker 1: came out of that thing I was talking about in 161 00:09:18,679 --> 00:09:21,559 Speaker 1: in Mitton all. And we called ourselves the temp Tones 162 00:09:21,600 --> 00:09:23,880 Speaker 1: because we were a temple university. Everybody thought it was 163 00:09:23,920 --> 00:09:25,560 Speaker 1: the Temptation, but it was because we were a temple 164 00:09:25,840 --> 00:09:28,360 Speaker 1: and uh. We did a talent show at the Uptown Theater, 165 00:09:28,440 --> 00:09:31,840 Speaker 1: which was not that far from the university from the campus, 166 00:09:32,440 --> 00:09:34,200 Speaker 1: and it was on what they used to call the 167 00:09:34,240 --> 00:09:37,560 Speaker 1: Chipland Circuit, and you know, every soul group on earth 168 00:09:37,920 --> 00:09:40,760 Speaker 1: came to the Uptown It was like the Apollo and uh. 169 00:09:40,800 --> 00:09:43,560 Speaker 1: I used to hang out there and uh, just like 170 00:09:43,600 --> 00:09:46,440 Speaker 1: the Apollo, the had talent shows and we won the 171 00:09:46,480 --> 00:09:49,520 Speaker 1: talent show and James Brown band was the house band 172 00:09:49,720 --> 00:09:51,920 Speaker 1: backing us up. That was I was like eighteen years old. 173 00:09:51,960 --> 00:09:54,400 Speaker 1: I'm singing O Baby Baby with James Brown's band at 174 00:09:54,400 --> 00:09:57,480 Speaker 1: back of the and we won the talent show and 175 00:09:57,480 --> 00:09:59,680 Speaker 1: the prize was you got to record a record with 176 00:09:59,720 --> 00:10:04,079 Speaker 1: gam One Huff, the songwriters songwriter producers who Gamble and 177 00:10:04,160 --> 00:10:07,400 Speaker 1: Huff and Tommy Bell basically created what the world knows 178 00:10:07,640 --> 00:10:10,280 Speaker 1: as the sound of Philadelphia. I did a record with 179 00:10:10,320 --> 00:10:13,880 Speaker 1: Gamble and Huff and it came out and went on 180 00:10:13,920 --> 00:10:16,360 Speaker 1: the charts and w D A S and Philadelphia the 181 00:10:16,480 --> 00:10:18,960 Speaker 1: R and B station. And I was doing all this 182 00:10:19,000 --> 00:10:21,600 Speaker 1: while I was going to school, and so I became 183 00:10:22,080 --> 00:10:25,240 Speaker 1: part of that whole scene. That's the I started hanging 184 00:10:25,280 --> 00:10:28,120 Speaker 1: out at Sigma Sound and with studio musicians, and I 185 00:10:28,520 --> 00:10:30,240 Speaker 1: wanted to be a studio musician, you know, I want 186 00:10:30,240 --> 00:10:32,480 Speaker 1: to learn things from them. So that's what I was 187 00:10:32,520 --> 00:10:35,600 Speaker 1: doing during my student years. And and in the meantime, 188 00:10:35,679 --> 00:10:41,040 Speaker 1: I met this guy John Oates who was in Temple University. Yeah, 189 00:10:41,080 --> 00:10:44,640 Speaker 1: we we we were from He's from about fifteen miles 190 00:10:44,640 --> 00:10:49,520 Speaker 1: from me and North Wales, Pennsylvania, just northwest of northwest 191 00:10:49,520 --> 00:10:54,520 Speaker 1: of Philadelphia. So um uh we were both promoting our 192 00:10:54,600 --> 00:10:57,040 Speaker 1: singles because he had he managed to get a single 193 00:10:57,080 --> 00:11:00,800 Speaker 1: too on Kenny Gamble's label. He had a group called 194 00:11:00,800 --> 00:11:03,640 Speaker 1: the Masters, and we were both promoting our single at 195 00:11:03,679 --> 00:11:08,680 Speaker 1: this place called the Adelphi Ballroom and uh, before either 196 00:11:08,720 --> 00:11:11,800 Speaker 1: one of us went on, uh, it was a gang 197 00:11:11,840 --> 00:11:14,839 Speaker 1: fight broke out. This whole thing went down typical Philadelphia 198 00:11:15,160 --> 00:11:17,440 Speaker 1: and it was on it was on the second floor, 199 00:11:17,800 --> 00:11:20,800 Speaker 1: and you know, people started whipping chains out, and you know, 200 00:11:20,880 --> 00:11:23,960 Speaker 1: the whole you know, typical, Like I said, typical, all 201 00:11:24,000 --> 00:11:26,680 Speaker 1: too typical of Philadelphia at that time. And uh, we 202 00:11:26,760 --> 00:11:29,800 Speaker 1: said okay, time to leave timely. So I didn't even 203 00:11:29,800 --> 00:11:31,560 Speaker 1: know the guy, and we both wound up in this 204 00:11:31,600 --> 00:11:34,920 Speaker 1: little elevator going downstairs. I said, okay, we just dodged 205 00:11:34,960 --> 00:11:37,280 Speaker 1: that bullet. And I was looking at and said, hey, 206 00:11:37,559 --> 00:11:40,480 Speaker 1: so who are you? You know? And I found out 207 00:11:40,559 --> 00:11:42,960 Speaker 1: right then that he was also at Temple. I said, 208 00:11:43,000 --> 00:11:46,079 Speaker 1: oh man, okay, you know because I figured Kindred Spirits 209 00:11:46,120 --> 00:11:49,679 Speaker 1: here and we sort of got to know each other 210 00:11:49,760 --> 00:11:54,920 Speaker 1: that way. Uh, and um then I needed I don't 211 00:11:55,400 --> 00:11:56,960 Speaker 1: this is a little vague in my mind, but I 212 00:11:57,000 --> 00:11:59,920 Speaker 1: needed a roommate because I was I wanted to having 213 00:11:59,920 --> 00:12:03,960 Speaker 1: a apartment Philly, and he volunteered. So we we got 214 00:12:04,000 --> 00:12:07,200 Speaker 1: this kid moving together. Yeah, we we moved in and 215 00:12:07,200 --> 00:12:09,920 Speaker 1: we started sharing apartments. And we did that on and 216 00:12:09,960 --> 00:12:12,680 Speaker 1: off through school without any idea that we were gonna 217 00:12:12,679 --> 00:12:15,320 Speaker 1: work together. We were there was no plan, you know, 218 00:12:15,679 --> 00:12:18,640 Speaker 1: we just he was your roommate, my roommate, you know, 219 00:12:19,080 --> 00:12:22,560 Speaker 1: it was doing partner or anything. And uh so, after 220 00:12:22,760 --> 00:12:25,640 Speaker 1: after school was over, I became a full time studio 221 00:12:25,760 --> 00:12:28,959 Speaker 1: musician at Sigma for the whole sound of Philadelphia people. 222 00:12:29,320 --> 00:12:31,680 Speaker 1: And John went to Europe for a little while, came back, 223 00:12:31,760 --> 00:12:34,120 Speaker 1: had no place to live, and moved in again with 224 00:12:34,160 --> 00:12:36,679 Speaker 1: me and my new I guess she was my wife 225 00:12:36,679 --> 00:12:41,760 Speaker 1: at the time. And uh we we renovated this eighteenth 226 00:12:41,760 --> 00:12:44,480 Speaker 1: century house right in the center of Philadelphia, lived in 227 00:12:44,559 --> 00:12:46,680 Speaker 1: it for a while, and that's when we at the 228 00:12:46,720 --> 00:12:49,520 Speaker 1: beginning of that bug for you as well. Yeah, we're 229 00:12:49,520 --> 00:12:52,640 Speaker 1: gonna talk about that. Yeah, and uh we decided, okay, 230 00:12:52,760 --> 00:12:55,520 Speaker 1: we were in close proximity, so we just started playing 231 00:12:55,559 --> 00:12:57,720 Speaker 1: together and said, well, maybe we should try doing something. 232 00:12:57,840 --> 00:13:00,360 Speaker 1: Let's share a stage let's Uh, you play your songs, 233 00:13:00,400 --> 00:13:02,640 Speaker 1: I'll play my songs and we'll do them together. When 234 00:13:02,679 --> 00:13:04,920 Speaker 1: does songwriting begin for you? When do you decide you 235 00:13:05,000 --> 00:13:09,480 Speaker 1: want to write songs around? I think I wrote a 236 00:13:09,480 --> 00:13:12,280 Speaker 1: song when I was about fourteen, and I thought, Okay, 237 00:13:12,280 --> 00:13:15,720 Speaker 1: maybe I can write a song. And I do remember 238 00:13:15,720 --> 00:13:17,440 Speaker 1: the name of it was called I Broke my Own Heart? 239 00:13:17,960 --> 00:13:20,640 Speaker 1: Was that a weird title? No? I like it? Actually, 240 00:13:21,840 --> 00:13:24,680 Speaker 1: haven't we all done that? Yes? But at fourteen? What 241 00:13:24,760 --> 00:13:28,800 Speaker 1: did I know? Yeah? A little advanced? That was your 242 00:13:28,800 --> 00:13:30,440 Speaker 1: first song? That was the first song, I Broke my 243 00:13:30,480 --> 00:13:32,600 Speaker 1: Own Heart? And when did you write your first song 244 00:13:32,640 --> 00:13:36,240 Speaker 1: that you recorded? Uh? That was the song girl I 245 00:13:36,280 --> 00:13:38,520 Speaker 1: Love You with the tempt telling him and that was 246 00:13:39,000 --> 00:13:41,080 Speaker 1: I don't know how well was I nineteen? I guess 247 00:13:41,160 --> 00:13:44,400 Speaker 1: the recording countrict you got from winning the past? So 248 00:13:44,480 --> 00:13:46,760 Speaker 1: when do you and he start to How do you 249 00:13:46,840 --> 00:13:51,880 Speaker 1: and he fused to become what you become? We didn't 250 00:13:54,120 --> 00:13:57,720 Speaker 1: we started. It's hard to describe. We were just trying 251 00:13:57,760 --> 00:13:59,720 Speaker 1: to write. We tried to write songs together, but it 252 00:13:59,760 --> 00:14:01,760 Speaker 1: was more asleep. He would write songs that I would 253 00:14:01,760 --> 00:14:04,400 Speaker 1: write songs and we and we do them on stage together, 254 00:14:04,720 --> 00:14:08,840 Speaker 1: and we played at this place called um World Control Headquarters, 255 00:14:08,960 --> 00:14:12,440 Speaker 1: which was held about a hundred people, and we became 256 00:14:12,480 --> 00:14:15,240 Speaker 1: sort of a fixture there. There was another guy. You 257 00:14:15,240 --> 00:14:17,280 Speaker 1: could do anything you wanted there. I would sit there 258 00:14:17,280 --> 00:14:20,160 Speaker 1: with my world. It's her piano and Mike mandolin and 259 00:14:20,240 --> 00:14:22,560 Speaker 1: John would play acoustic guitar and we would just tell 260 00:14:22,600 --> 00:14:25,440 Speaker 1: stories and play songs. It was it was sort of 261 00:14:25,480 --> 00:14:27,760 Speaker 1: in that folky tradition, but it wasn't folk music. It 262 00:14:27,840 --> 00:14:31,800 Speaker 1: was something else. And uh, we did that, and we 263 00:14:31,880 --> 00:14:35,240 Speaker 1: got we started getting a following doing it. And I 264 00:14:35,280 --> 00:14:37,840 Speaker 1: remember one of the first things that happened was it 265 00:14:37,920 --> 00:14:40,640 Speaker 1: was all kids, right because we were we were kids. 266 00:14:41,160 --> 00:14:43,760 Speaker 1: But then these older people started coming when I thought 267 00:14:43,760 --> 00:14:46,720 Speaker 1: were older people like forty fifty, you know, and I'm 268 00:14:47,480 --> 00:14:50,920 Speaker 1: and I remember and this is late sixties, and uh, 269 00:14:51,240 --> 00:14:53,800 Speaker 1: I remember saying to John, you know, this is really strange. 270 00:14:54,520 --> 00:14:57,800 Speaker 1: Older people like our music too, not just people our 271 00:14:57,840 --> 00:15:01,440 Speaker 1: own age, that maybe we're doing something different. Because I 272 00:15:01,440 --> 00:15:04,440 Speaker 1: actually said that to him, I'll never forget it. And now, 273 00:15:04,680 --> 00:15:07,520 Speaker 1: of course it's the reverse. Younger kids like what I 274 00:15:07,560 --> 00:15:10,440 Speaker 1: do and the older people have lived with it, right, 275 00:15:10,720 --> 00:15:16,200 Speaker 1: So it's always been multi generational and multicultural something that people, well, 276 00:15:16,280 --> 00:15:18,800 Speaker 1: I don't know whatever it is, it's I think some 277 00:15:18,880 --> 00:15:23,040 Speaker 1: of your songs are pretty good. Well say that people like, 278 00:15:23,080 --> 00:15:26,680 Speaker 1: what's good the multi generation that happens, Yeah, I guess 279 00:15:26,680 --> 00:15:31,160 Speaker 1: it does for sure. I'm assuming that, Um, you meet 280 00:15:31,240 --> 00:15:33,960 Speaker 1: someone who's a producer, like as your dessert, a producer 281 00:15:34,040 --> 00:15:35,560 Speaker 1: that comes into your life, that takes you to the 282 00:15:35,600 --> 00:15:37,720 Speaker 1: next level, that helps you make the sound, that becomes 283 00:15:37,720 --> 00:15:42,520 Speaker 1: your sound. Yeah, who's that? A Reef Morten, the producer 284 00:15:42,600 --> 00:15:46,000 Speaker 1: arranger behind A Wretha Franklin and you name it, Donny Hathaway, 285 00:15:46,080 --> 00:15:50,160 Speaker 1: Aretha Franklin, uh oh man, on and on and on 286 00:15:50,200 --> 00:15:54,440 Speaker 1: and on. I can't even tell you his his Atlantic 287 00:15:54,720 --> 00:15:59,600 Speaker 1: lar and he found you where. Well that's another long story, 288 00:16:00,080 --> 00:16:03,320 Speaker 1: but we have time. I'll try and and and truncated. 289 00:16:03,520 --> 00:16:07,320 Speaker 1: But we were locked in this messed up relationship with 290 00:16:07,360 --> 00:16:10,800 Speaker 1: a songwriter producer guy in Philadelphia. We were trying to 291 00:16:10,800 --> 00:16:13,880 Speaker 1: get an album deal and he was failing us miserably. 292 00:16:14,560 --> 00:16:17,480 Speaker 1: And uh he was involved with Chapel Music in New 293 00:16:17,560 --> 00:16:20,760 Speaker 1: York through his catalog. And we went up to New 294 00:16:20,840 --> 00:16:23,800 Speaker 1: York one time and met this young kid who was 295 00:16:23,960 --> 00:16:28,200 Speaker 1: only twenty named Tommy Mantola. Two years younger than us, 296 00:16:28,600 --> 00:16:32,040 Speaker 1: and and and he said, hey, well he's this guy 297 00:16:32,080 --> 00:16:33,920 Speaker 1: is not doing anything for you. Let me do something 298 00:16:33,960 --> 00:16:38,080 Speaker 1: for you. He's twenty years old, right, and uh why 299 00:16:38,720 --> 00:16:40,960 Speaker 1: So he had connections because he had an office the 300 00:16:41,000 --> 00:16:44,000 Speaker 1: size of this table in Chapel Music. But he did 301 00:16:44,040 --> 00:16:46,520 Speaker 1: have a contacts. So he sent us out to California 302 00:16:46,880 --> 00:16:49,880 Speaker 1: to have a chapel rep take us around two various 303 00:16:49,920 --> 00:16:52,920 Speaker 1: people in California and we sort of were playing for 304 00:16:52,960 --> 00:16:55,880 Speaker 1: and went shiitting basically, and uh, we found this guy, 305 00:16:55,880 --> 00:16:58,720 Speaker 1: Earl McGrath, who was a really great guy and was 306 00:16:59,760 --> 00:17:03,320 Speaker 1: in who's sort of developing new talent, and he wanted 307 00:17:03,360 --> 00:17:06,520 Speaker 1: to sign us immediately, which was great. And then he 308 00:17:06,640 --> 00:17:09,840 Speaker 1: was connected with Ahmedary again and all those people in Atlantic, 309 00:17:10,240 --> 00:17:14,919 Speaker 1: and he sent us back to Atlantic and we auditioned 310 00:17:14,920 --> 00:17:17,879 Speaker 1: for Ahmed. And I sat there at a piano and 311 00:17:18,320 --> 00:17:23,640 Speaker 1: half the keys were stuck. They wouldn't work, so well, 312 00:17:24,040 --> 00:17:25,760 Speaker 1: you know, it was this was like my big, my 313 00:17:25,760 --> 00:17:29,240 Speaker 1: big day. I'm in front of Atlantic Records. I couldn't play. Yeah, 314 00:17:29,280 --> 00:17:32,320 Speaker 1: I think I had the flute glasses on the piano. 315 00:17:33,480 --> 00:17:36,639 Speaker 1: So I played badly and we sang a couple of 316 00:17:36,640 --> 00:17:39,679 Speaker 1: songs and uh, I thought, okay, we blew that completely. 317 00:17:39,920 --> 00:17:42,320 Speaker 1: Two days later I found out that they had called 318 00:17:42,440 --> 00:17:46,160 Speaker 1: Errold said Earl, we want these guys. They're not gonna 319 00:17:46,200 --> 00:17:47,760 Speaker 1: be on your label. They're gonna be on our label. 320 00:17:47,760 --> 00:17:51,359 Speaker 1: And and they signed us to Atlantic Records. So then 321 00:17:51,400 --> 00:17:54,400 Speaker 1: we were off to a start of some sort. We 322 00:17:54,400 --> 00:17:57,760 Speaker 1: were immediately thrust into I mean I completely was thrust 323 00:17:57,760 --> 00:18:02,760 Speaker 1: into a different group of musicians, all those Atlantic studio musicians, uh, 324 00:18:02,800 --> 00:18:06,280 Speaker 1: everybody from Dr John to uh pretty you know, Ralph 325 00:18:06,400 --> 00:18:10,160 Speaker 1: McDonald to you name it. That that that whole New 326 00:18:10,240 --> 00:18:14,120 Speaker 1: York R and B scene, And they were all unbelievable musicians. 327 00:18:14,760 --> 00:18:17,720 Speaker 1: And they're the guys that played on our first records, 328 00:18:18,520 --> 00:18:20,760 Speaker 1: especially on the abandoned lunch Net record. I mean, that's 329 00:18:21,040 --> 00:18:23,760 Speaker 1: the musicianship when that record is unbelievable. So I was 330 00:18:24,359 --> 00:18:27,080 Speaker 1: in that world, in that scene. I mean A Wreatha 331 00:18:27,160 --> 00:18:29,800 Speaker 1: was wandering in and out and Bob Dylan was wandering 332 00:18:29,800 --> 00:18:31,879 Speaker 1: in and out. I mean we're just like, what's going on. 333 00:18:32,000 --> 00:18:33,840 Speaker 1: It's a big machinery, you know, I mean it's it's 334 00:18:33,880 --> 00:18:37,040 Speaker 1: it's Atlantic Records. Back when people were buying records, they 335 00:18:37,200 --> 00:18:39,720 Speaker 1: choose you if they believe in you, and they get 336 00:18:39,720 --> 00:18:42,320 Speaker 1: their marketing behind you. It's kind of hard to fail, 337 00:18:42,400 --> 00:18:46,440 Speaker 1: correct if you have some talent. Well, it wasn't quite 338 00:18:46,480 --> 00:18:50,000 Speaker 1: like that, not in those days. It was. It was 339 00:18:50,040 --> 00:18:54,000 Speaker 1: still a lot freer and looser. And I remember I'm 340 00:18:54,160 --> 00:18:56,600 Speaker 1: saying to me and John, he said, just just make 341 00:18:57,080 --> 00:18:58,879 Speaker 1: just make music. We'll figure out how to sell it. 342 00:18:59,280 --> 00:19:01,520 Speaker 1: That's what he said. And uh, he said, don't worry 343 00:19:01,520 --> 00:19:03,280 Speaker 1: about hits or don't worry about it. You know that. 344 00:19:03,280 --> 00:19:06,600 Speaker 1: That's he said. Don't worry about it. Literally said that, 345 00:19:06,720 --> 00:19:08,600 Speaker 1: don't worry about hits, marriage just do you just do 346 00:19:08,640 --> 00:19:10,320 Speaker 1: what you'll make it a hits, do what you do. 347 00:19:10,400 --> 00:19:12,359 Speaker 1: But they didn't. That was the thing. We were a 348 00:19:12,359 --> 00:19:15,040 Speaker 1: little strange for the world at that time. We're I 349 00:19:15,080 --> 00:19:16,560 Speaker 1: won't say we're ahead of our time. We were out 350 00:19:16,560 --> 00:19:20,520 Speaker 1: of our time, but so we I don't know what 351 00:19:20,520 --> 00:19:22,280 Speaker 1: what what was? First of all, we were doing a 352 00:19:22,400 --> 00:19:25,280 Speaker 1: hybrid of Philadelphia soul and other kinds of R and 353 00:19:25,280 --> 00:19:27,960 Speaker 1: B and mixed with this other eclectic kind of thing 354 00:19:28,040 --> 00:19:30,280 Speaker 1: that John brought in, you know, like country music and 355 00:19:30,320 --> 00:19:32,920 Speaker 1: all kinds of other stuff, singer songwriter kind of things, 356 00:19:33,160 --> 00:19:36,200 Speaker 1: and dance music, you name it. It was hybrid eised 357 00:19:36,280 --> 00:19:40,000 Speaker 1: and and and also in those days, they had no 358 00:19:40,080 --> 00:19:44,000 Speaker 1: idea how to label us because we were popular on 359 00:19:44,200 --> 00:19:48,680 Speaker 1: black radio, not even known on white radio. And the 360 00:19:48,680 --> 00:19:52,680 Speaker 1: whole idea of musical integration was not ready for the world. 361 00:19:52,760 --> 00:19:55,359 Speaker 1: I mean we were, we were pioneers in that. And 362 00:19:55,359 --> 00:19:58,239 Speaker 1: when did the first hits come. It wasn't until nine 363 00:19:58,840 --> 00:20:00,800 Speaker 1: five when we actually went to our see A Records. 364 00:20:01,119 --> 00:20:05,359 Speaker 1: We left Atlantic and went towards uh m hmm. I 365 00:20:05,359 --> 00:20:07,040 Speaker 1: think it's an extent you can say. I don't know. 366 00:20:07,080 --> 00:20:09,639 Speaker 1: I mean it was business. I mean, I think it 367 00:20:09,680 --> 00:20:13,119 Speaker 1: was mutual. I think that we felt that they didn't. 368 00:20:13,640 --> 00:20:15,399 Speaker 1: I don't know. I don't know what what we felt. 369 00:20:15,440 --> 00:20:16,919 Speaker 1: That a lot of it has to do with what 370 00:20:17,000 --> 00:20:21,600 Speaker 1: how Tommy Mattola felt, you know. But they I think 371 00:20:21,640 --> 00:20:23,719 Speaker 1: that they were saying, Okay, well we don't know if 372 00:20:23,720 --> 00:20:26,199 Speaker 1: we can sell you guys. And they tried, and then 373 00:20:26,240 --> 00:20:30,040 Speaker 1: they tried and then uh yeah, And so we went 374 00:20:30,080 --> 00:20:31,960 Speaker 1: to our c A and immediately they did know how 375 00:20:31,960 --> 00:21:00,280 Speaker 1: to sell us. Dissatisfied last time I asked him, I 376 00:21:00,480 --> 00:21:28,400 Speaker 1: really got excuse that play. You're listening to my interview 377 00:21:28,440 --> 00:21:33,400 Speaker 1: with Darryl Hall of Hall and Oats. Another musical hero 378 00:21:33,600 --> 00:21:36,399 Speaker 1: of mine is David Crosby. When he came by the 379 00:21:36,400 --> 00:21:39,919 Speaker 1: studio last year, he told me about how hard living 380 00:21:40,000 --> 00:21:43,440 Speaker 1: influenced his music and landed him in the Texas State 381 00:21:43,520 --> 00:21:48,240 Speaker 1: penn There he went through heroin withdrawal as his fellow 382 00:21:48,320 --> 00:21:53,639 Speaker 1: convicts looked on. Full Ranger went all away from like 383 00:21:53,960 --> 00:21:57,199 Speaker 1: music man to uh hey, rock star, how are you 384 00:21:57,200 --> 00:22:00,200 Speaker 1: doing now? Hey vern? Look over here? Rock Star going 385 00:22:00,280 --> 00:22:04,199 Speaker 1: up again? Was Texas. Yeah, they didn't even have a 386 00:22:04,400 --> 00:22:07,320 Speaker 1: meetings in prison and nothing. You had no help at all, 387 00:22:07,400 --> 00:22:11,399 Speaker 1: and you crawled out of there. Was bitter. It was bitter, 388 00:22:12,000 --> 00:22:16,720 Speaker 1: but I woke up. My full interview with David Crosby 389 00:22:16,880 --> 00:22:20,120 Speaker 1: is in our archives that Here's the Thing, dot Org. 390 00:22:20,640 --> 00:22:59,720 Speaker 1: I'll return with Darryl Hall after the break. So, m, 391 00:23:02,480 --> 00:23:05,399 Speaker 1: this is Alec Baldwin, and you were listening to Here's 392 00:23:05,440 --> 00:23:10,480 Speaker 1: the Thing when we left. Darryl Hall's a story it 393 00:23:10,600 --> 00:23:14,840 Speaker 1: was and Hall and Oates were with a major label 394 00:23:15,119 --> 00:23:17,679 Speaker 1: but had no big hits to show for it, so 395 00:23:17,760 --> 00:23:21,560 Speaker 1: they left Atlantic for our c A. The die was cast, 396 00:23:21,880 --> 00:23:24,000 Speaker 1: and then we put out Sarah's Smile on Black radio 397 00:23:24,520 --> 00:23:27,040 Speaker 1: and it became a top five R and B record 398 00:23:27,800 --> 00:23:30,880 Speaker 1: in all the black stations in America, and then then 399 00:23:30,920 --> 00:23:38,080 Speaker 1: the white stations started playing it afterward, Baby with the Womans, 400 00:23:38,119 --> 00:23:47,920 Speaker 1: I can feel you watching in the night Hallollo with me. 401 00:23:51,119 --> 00:24:01,720 Speaker 1: We're waiting for the sunlight. Ah and I feel cold, 402 00:24:03,000 --> 00:24:07,520 Speaker 1: yea wom me And when I feel I can't go back, 403 00:24:08,440 --> 00:24:29,879 Speaker 1: you'll come at me and me wherever. Sarah Smile. Sarah 404 00:24:30,280 --> 00:24:34,000 Speaker 1: and Sarah Smiled was our first hit, and then suddenly 405 00:24:34,040 --> 00:24:37,680 Speaker 1: things happened. Then Atlantic said, oh wait a minute, okay, 406 00:24:37,760 --> 00:24:39,880 Speaker 1: they did are work for us in Atlantic put out 407 00:24:39,920 --> 00:24:42,360 Speaker 1: She's Gone after that, and She's Gone became a hit 408 00:24:42,400 --> 00:24:46,240 Speaker 1: immediately after Sarah Smile a re release. Soon after that, 409 00:24:46,320 --> 00:24:49,600 Speaker 1: we had Rich Girl and You're Off And you stayed 410 00:24:49,600 --> 00:24:51,239 Speaker 1: with our CIA for how long we stayed with our 411 00:24:51,320 --> 00:24:56,840 Speaker 1: CIA through shipes seven? I think what was touring for 412 00:24:56,880 --> 00:24:59,800 Speaker 1: you like back then? Did you enjoy touring? I enjoyed touring, 413 00:25:00,280 --> 00:25:05,240 Speaker 1: especially because we became popular all over the world very early, right, 414 00:25:05,440 --> 00:25:09,360 Speaker 1: I mean England embraced us like from the beginning from 415 00:25:09,440 --> 00:25:12,040 Speaker 1: seventy I think seventy four seventy five is when we 416 00:25:12,040 --> 00:25:15,040 Speaker 1: first started playing in England, and so we started doing 417 00:25:15,160 --> 00:25:18,679 Speaker 1: a lot of touring in Europe and that it just 418 00:25:18,760 --> 00:25:21,040 Speaker 1: you know, opens up your brain and we're kids, right. 419 00:25:21,240 --> 00:25:23,840 Speaker 1: We had a lot of fun that changed you and him. 420 00:25:24,119 --> 00:25:29,199 Speaker 1: Sex symbolism, rock stardom. It was fame. If you're in 421 00:25:29,240 --> 00:25:31,840 Speaker 1: your mid to late twenties and and you're running around 422 00:25:31,840 --> 00:25:36,080 Speaker 1: the world and people are throwing there whatever at you, uh, 423 00:25:36,320 --> 00:25:39,840 Speaker 1: you indulge that unless you're crazy, you know. I took 424 00:25:39,880 --> 00:25:44,040 Speaker 1: advantage of whatever was opportunities where I was having fun. Man, 425 00:25:44,359 --> 00:25:46,520 Speaker 1: I was you know. The one thing though, I was 426 00:25:46,560 --> 00:25:49,440 Speaker 1: never into cocaine. I just didn't. I have a very 427 00:25:49,720 --> 00:25:53,160 Speaker 1: sensitive nervous system. It doesn't work for me. But I didn't. 428 00:25:53,920 --> 00:25:56,040 Speaker 1: But I I did it, just I didn't like it. 429 00:25:56,119 --> 00:25:59,359 Speaker 1: So you guys were dancing around coke daddy your brains 430 00:25:59,359 --> 00:26:02,360 Speaker 1: and I was completely sleeping taking it. Now, I wasn't 431 00:26:02,359 --> 00:26:05,080 Speaker 1: sleeping sex, drugs and rock and roll without the drugs. 432 00:26:05,359 --> 00:26:07,800 Speaker 1: But when you so you go on tour, do you 433 00:26:07,840 --> 00:26:09,760 Speaker 1: get sick of it? Do you get sick of the attention? 434 00:26:09,800 --> 00:26:12,639 Speaker 1: Do you get sick of going on the road? You know? 435 00:26:12,680 --> 00:26:15,120 Speaker 1: I mean then mean when you're resting and everything, you're 436 00:26:15,160 --> 00:26:17,720 Speaker 1: becoming this huge musical act. At one point you would 437 00:26:17,720 --> 00:26:19,240 Speaker 1: look at each other and go. I really want to 438 00:26:19,280 --> 00:26:21,639 Speaker 1: stop for a while. You know. It's funny. I look 439 00:26:21,720 --> 00:26:23,720 Speaker 1: back at it, and it it feels like I had 440 00:26:23,760 --> 00:26:26,840 Speaker 1: more time off than I do now. I don't know why. 441 00:26:26,840 --> 00:26:30,439 Speaker 1: I must have. I felt like I would go out 442 00:26:30,480 --> 00:26:32,960 Speaker 1: and I would tour, and I would go balls to 443 00:26:33,040 --> 00:26:36,439 Speaker 1: the wall for whatever a month and we'd work, you know, 444 00:26:36,720 --> 00:26:40,639 Speaker 1: every day with no days off, and and I would 445 00:26:41,640 --> 00:26:44,360 Speaker 1: take it all in everything, you know, stay up all 446 00:26:44,440 --> 00:26:46,480 Speaker 1: the stay up late, do you know, do everything you 447 00:26:46,480 --> 00:26:50,800 Speaker 1: can imagine, and uh, then then we'd stop, and then 448 00:26:50,880 --> 00:26:53,879 Speaker 1: we wouldn't be doing anything other than going to a studio, 449 00:26:54,040 --> 00:26:56,240 Speaker 1: go into studio or right and prepare to go. You 450 00:26:56,359 --> 00:26:58,359 Speaker 1: find that you go on the road more now, like 451 00:26:58,480 --> 00:27:00,760 Speaker 1: most acts go on the road more because that's really 452 00:27:00,800 --> 00:27:03,040 Speaker 1: the only one you can make real money. Yeah, I 453 00:27:03,080 --> 00:27:08,080 Speaker 1: mean I tour all the time, and uh I I 454 00:27:08,080 --> 00:27:10,480 Speaker 1: I'm busy, man, I'm much busier now than I was. 455 00:27:10,680 --> 00:27:12,240 Speaker 1: In fact, I don't have time to make a record 456 00:27:12,280 --> 00:27:14,800 Speaker 1: as that. I've been trying to make a record and 457 00:27:14,960 --> 00:27:16,639 Speaker 1: I have to do it in little dribs and drabs 458 00:27:16,640 --> 00:27:20,720 Speaker 1: and starts and stops, and uh, it's to try and 459 00:27:20,760 --> 00:27:23,520 Speaker 1: get into a flow. Is really really hard. Was there 460 00:27:23,720 --> 00:27:25,359 Speaker 1: was there and I'm not assuming there was there a 461 00:27:25,400 --> 00:27:26,960 Speaker 1: spot in your career were you sut there you go? 462 00:27:27,359 --> 00:27:29,399 Speaker 1: This is it, man, we we This is the top 463 00:27:29,960 --> 00:27:32,560 Speaker 1: that happens very seldom, but it did happen. There was 464 00:27:33,000 --> 00:27:34,920 Speaker 1: a period of a very small period of time in 465 00:27:36,280 --> 00:27:39,159 Speaker 1: where we did we Are the world I played, I 466 00:27:39,240 --> 00:27:43,800 Speaker 1: reopened the Apollo Theater with the temptations, uh live aid 467 00:27:44,840 --> 00:27:47,640 Speaker 1: and uh just we'll just use those three things all 468 00:27:47,680 --> 00:27:51,879 Speaker 1: within a month and a half. And I remember thinking 469 00:27:51,920 --> 00:27:55,200 Speaker 1: to myself, Okay, I I feel like I'm here. I'm 470 00:27:55,280 --> 00:27:58,440 Speaker 1: doing something right now that I know is a significant thing. 471 00:27:58,560 --> 00:28:01,399 Speaker 1: This is and I'm experiencing it. I'm here now, be 472 00:28:01,560 --> 00:28:04,119 Speaker 1: here now. Yes, that's that's one of the few times 473 00:28:04,119 --> 00:28:06,480 Speaker 1: it's ever happened. So take me through, just just in 474 00:28:06,520 --> 00:28:10,359 Speaker 1: a shorthand what the tour is like? In two of 475 00:28:10,359 --> 00:28:12,400 Speaker 1: the evening the show, is there a prep you do? 476 00:28:12,600 --> 00:28:14,280 Speaker 1: Is there kind of is there? Is there a vocal 477 00:28:14,320 --> 00:28:17,200 Speaker 1: thing you do? You know, talk all day and something? 478 00:28:17,359 --> 00:28:19,880 Speaker 1: What I what I do is I lay in bed 479 00:28:19,920 --> 00:28:23,920 Speaker 1: all day, rest, I just read all day, hang out, 480 00:28:24,119 --> 00:28:30,160 Speaker 1: don't do anything about Oh late afternoon I might power 481 00:28:30,160 --> 00:28:31,679 Speaker 1: an up and then I wake up and drink a 482 00:28:31,680 --> 00:28:37,040 Speaker 1: whole shipload of tea, green tea to really wake myself up. 483 00:28:37,560 --> 00:28:41,000 Speaker 1: It's all this preparation towards this crescendo. And then I 484 00:28:41,040 --> 00:28:43,320 Speaker 1: get to a gig, never more than an hour before 485 00:28:43,320 --> 00:28:46,120 Speaker 1: the show, put on my meg up, talk to the band, 486 00:28:46,680 --> 00:28:48,680 Speaker 1: laugh with the band, have a couple of drinks, hit 487 00:28:48,720 --> 00:28:52,920 Speaker 1: the stage, and uh, that's that's the all the time, 488 00:28:53,280 --> 00:28:56,880 Speaker 1: same band. Much rehearsals involved with you, guys, not much. 489 00:28:57,080 --> 00:28:59,280 Speaker 1: We even together a long time. We know, we really 490 00:28:59,760 --> 00:29:02,000 Speaker 1: so most of the work you do tour now was 491 00:29:02,040 --> 00:29:05,520 Speaker 1: with John or uh no, most of us with Johnson. John. 492 00:29:05,760 --> 00:29:08,840 Speaker 1: I do do the occasional solo stuff, but no, it's 493 00:29:08,920 --> 00:29:11,800 Speaker 1: mostly with John these days right now anyway, And is 494 00:29:12,360 --> 00:29:14,560 Speaker 1: scheduling between the two of you? Is it easy? You 495 00:29:14,640 --> 00:29:15,800 Speaker 1: both through in the same kind of group, you know, 496 00:29:15,800 --> 00:29:17,480 Speaker 1: when you want to go out, time of year you 497 00:29:17,520 --> 00:29:20,200 Speaker 1: want to go, We work this out. We both like 498 00:29:20,320 --> 00:29:23,840 Speaker 1: the same kind of touring schedule. We're very still, very 499 00:29:23,920 --> 00:29:26,680 Speaker 1: much the same when it comes to that. Yeah, yeah, 500 00:29:27,120 --> 00:29:29,440 Speaker 1: we we have a good relationship. John and I do 501 00:29:29,600 --> 00:29:32,160 Speaker 1: my TV show. That's that's something else. How the hell 502 00:29:32,200 --> 00:29:33,760 Speaker 1: do you get people to come to a house and 503 00:29:33,840 --> 00:29:36,960 Speaker 1: upstate New York. You tell me, man, it's the people. 504 00:29:37,000 --> 00:29:40,760 Speaker 1: You've had one of the most gratifying things ever in 505 00:29:40,800 --> 00:29:43,840 Speaker 1: my life that I could get Smokey Robinson to come 506 00:29:44,480 --> 00:29:46,480 Speaker 1: to a MENI in New York up there, which is 507 00:29:46,480 --> 00:29:50,160 Speaker 1: twenty miles north of here, take time off his schedule 508 00:29:50,240 --> 00:29:52,040 Speaker 1: art to come and do it. He was one of 509 00:29:52,120 --> 00:29:55,080 Speaker 1: the first ones whose idea was it to do this thing? Man? 510 00:29:55,280 --> 00:29:57,600 Speaker 1: And how did it start? I just thought, let's just 511 00:29:57,640 --> 00:30:00,280 Speaker 1: turn everything upside down, you know, and that of me 512 00:30:00,680 --> 00:30:04,080 Speaker 1: studio there, yeah, and every everything is opposite. Instead of 513 00:30:04,120 --> 00:30:06,960 Speaker 1: me going around the world, I bring the world to me. 514 00:30:07,200 --> 00:30:10,480 Speaker 1: There is no audience and all these people would just come. 515 00:30:10,600 --> 00:30:14,280 Speaker 1: And I only had this internet show. It was. It 516 00:30:14,360 --> 00:30:17,400 Speaker 1: was very small, nobody knew about it, but these people 517 00:30:17,400 --> 00:30:19,520 Speaker 1: were coming from all over the world to do this. 518 00:30:20,000 --> 00:30:21,800 Speaker 1: Then it caught on and then it became a little 519 00:30:21,800 --> 00:30:25,440 Speaker 1: easier to book. But still do you release the recordings 520 00:30:25,480 --> 00:30:27,440 Speaker 1: of these can be or its only lives because because 521 00:30:27,480 --> 00:30:29,480 Speaker 1: otherwise you do what pay them and pay rights to 522 00:30:29,520 --> 00:30:32,680 Speaker 1: The One thing people don't realize is how expensive the 523 00:30:32,680 --> 00:30:36,320 Speaker 1: show is because of clearances. We had such a hard 524 00:30:36,400 --> 00:30:39,200 Speaker 1: time with that over the years, especially in the beginning. 525 00:30:39,280 --> 00:30:41,440 Speaker 1: Once we established it, then it was sort of okay, 526 00:30:41,480 --> 00:30:44,520 Speaker 1: But it was really really difficult because I was in there, 527 00:30:44,640 --> 00:30:47,360 Speaker 1: you know, totally innocent. I said, Okay, this is promotion 528 00:30:47,400 --> 00:30:49,880 Speaker 1: for the record companies, promotion for the artists. Why should 529 00:30:49,880 --> 00:30:52,360 Speaker 1: they not want this? But they were looking at it 530 00:30:52,400 --> 00:30:54,600 Speaker 1: like we were napster, you know, like we were taking 531 00:30:54,640 --> 00:30:56,640 Speaker 1: money out of their pockets. And I was like, what 532 00:30:56,760 --> 00:30:59,040 Speaker 1: money am I taking out of your pocket? I'm helping you, 533 00:30:59,080 --> 00:31:01,640 Speaker 1: I'm giving you free from ocean. But forget about it. 534 00:31:01,680 --> 00:31:03,000 Speaker 1: We had to deal with lawyers, we had to deal 535 00:31:03,040 --> 00:31:05,000 Speaker 1: with record people, we had to deal with managers, and 536 00:31:05,080 --> 00:31:08,960 Speaker 1: everybody wanted their thing, and the clearances. It became so 537 00:31:09,560 --> 00:31:12,320 Speaker 1: high cost. It's a very it's a very hard show 538 00:31:12,360 --> 00:31:13,840 Speaker 1: to pull. You haven't kind a record of it. You 539 00:31:13,840 --> 00:31:16,560 Speaker 1: haven't kind God, that would be so hard to do. 540 00:31:16,880 --> 00:31:20,000 Speaker 1: It would be almost impossible because so many people would 541 00:31:20,040 --> 00:31:22,200 Speaker 1: have to get things. But everybody's publisher would have to 542 00:31:22,240 --> 00:31:25,080 Speaker 1: get something, every artist, every label, and oh my god, 543 00:31:25,440 --> 00:31:27,080 Speaker 1: But so I guess my idea that I have for you, 544 00:31:27,120 --> 00:31:28,640 Speaker 1: I have an idea I want I want to produce 545 00:31:28,640 --> 00:31:30,720 Speaker 1: with you. I guess my idea for you isn't gonna fly? 546 00:31:31,240 --> 00:31:34,320 Speaker 1: What would that be one? Having seen the Springsteen thing, 547 00:31:34,320 --> 00:31:36,960 Speaker 1: what a phenomenon that was. And my idea for you 548 00:31:37,120 --> 00:31:40,520 Speaker 1: was to do at Darryl's house on Broadway, on Broadway 549 00:31:40,840 --> 00:31:44,400 Speaker 1: and for one week, each artist comes on and plays 550 00:31:44,440 --> 00:31:46,320 Speaker 1: a whole week of shows with you, and every week 551 00:31:46,320 --> 00:31:48,560 Speaker 1: it changes it's another group and you do what on 552 00:31:48,600 --> 00:31:51,840 Speaker 1: broad Well, that would be doable. Okay, here here's our 553 00:31:51,840 --> 00:31:55,000 Speaker 1: Broadway story. We we've been spending five years. We got 554 00:31:55,080 --> 00:31:58,680 Speaker 1: to the point where this guy uh was was writing 555 00:31:58,680 --> 00:32:01,880 Speaker 1: a book, the guy that did Rock of Ages, Chris Derenzo. 556 00:32:01,960 --> 00:32:04,800 Speaker 1: Somebody's throwing down a shipload of money. And we read 557 00:32:05,080 --> 00:32:08,840 Speaker 1: Chris's book and everybody thinks it sucks. So we're back 558 00:32:08,840 --> 00:32:11,080 Speaker 1: to square one after five years. So I'm ready for 559 00:32:11,600 --> 00:32:14,480 Speaker 1: I'm ready for new ideas. You're welcome, Thank you. That 560 00:32:14,560 --> 00:32:16,720 Speaker 1: is a good idea. You're you're making a fuck with 561 00:32:16,760 --> 00:32:19,280 Speaker 1: a lot of work for me, though I know you 562 00:32:19,280 --> 00:32:21,960 Speaker 1: don't want to work at Hark. You want to flip houses. 563 00:32:22,040 --> 00:32:24,120 Speaker 1: I hate Broadway, man, that you gotta play all those 564 00:32:24,480 --> 00:32:28,720 Speaker 1: days and two days and Wednesday as easy for well, 565 00:32:29,120 --> 00:32:33,960 Speaker 1: let's see, let's over to your on that show. There's 566 00:32:33,960 --> 00:32:36,560 Speaker 1: some people I see who come there and they really 567 00:32:36,640 --> 00:32:39,719 Speaker 1: kind of rise to the occasion. Yes, you almost. Somebody 568 00:32:39,720 --> 00:32:41,320 Speaker 1: who I know a little bit. I worked with them 569 00:32:41,400 --> 00:32:43,920 Speaker 1: years ago is Kevin Bacon. And I've always had Kevin 570 00:32:43,920 --> 00:32:46,080 Speaker 1: peg to somebody who's as cool as a cucumber. And 571 00:32:46,120 --> 00:32:48,640 Speaker 1: yet even Kevin, when he's singing with his brother When 572 00:32:48,640 --> 00:32:51,560 Speaker 1: the Morning Comes, you can almost see a piece of Kevin, 573 00:32:51,720 --> 00:32:53,600 Speaker 1: there's a little glint of it. Was like, I can't 574 00:32:53,600 --> 00:32:56,520 Speaker 1: believe I'm singing When the Morning Comes with Darryl Hall. 575 00:32:56,640 --> 00:32:58,880 Speaker 1: That was a fun show. I mean, Kevin lives near here, 576 00:32:59,240 --> 00:33:02,360 Speaker 1: and uh, I've known Kevin outside of this stuff. But 577 00:33:03,120 --> 00:33:05,640 Speaker 1: there's two different kinds of people. There's brand new people 578 00:33:06,040 --> 00:33:08,520 Speaker 1: who are looking at me like they have to get 579 00:33:08,560 --> 00:33:10,360 Speaker 1: over that, you know, and and be you know what 580 00:33:10,400 --> 00:33:13,120 Speaker 1: I mean. Some of these people just had their first 581 00:33:13,160 --> 00:33:16,960 Speaker 1: record and they can't believe they have to like do 582 00:33:17,040 --> 00:33:18,960 Speaker 1: this stuff on their feet. They're not used to it, 583 00:33:19,280 --> 00:33:22,240 Speaker 1: and to see them rise to the occasion blows me away. 584 00:33:22,320 --> 00:33:26,720 Speaker 1: I just I feel very uh paternal about him, I 585 00:33:26,720 --> 00:33:29,480 Speaker 1: guess that's the right word. And then there's the veterans 586 00:33:29,560 --> 00:33:32,400 Speaker 1: who are used to doing things their own way and 587 00:33:32,720 --> 00:33:34,960 Speaker 1: used to doing these arrangements they've been doing for thirty 588 00:33:35,040 --> 00:33:38,280 Speaker 1: years and forty years. Well there's there's a perfect one. 589 00:33:38,560 --> 00:33:39,920 Speaker 1: In fact, I had to call him out on the 590 00:33:39,920 --> 00:33:42,400 Speaker 1: show about him, you can see that, because he was 591 00:33:42,440 --> 00:33:45,080 Speaker 1: trying to make it into the like his live show. 592 00:33:45,120 --> 00:33:46,880 Speaker 1: And I said, no, no, this is Darryl Sauz. This 593 00:33:46,920 --> 00:33:49,959 Speaker 1: is forget it, Kenny, let's do it this, let's not 594 00:33:50,000 --> 00:33:51,720 Speaker 1: do it. You know what you've been doing. Change is 595 00:33:51,720 --> 00:33:54,320 Speaker 1: a good. Change is good. Change is good. And it's 596 00:33:54,360 --> 00:33:57,040 Speaker 1: funny to see the veteran artists adapt to this, Like 597 00:33:57,200 --> 00:33:59,200 Speaker 1: on the Spot, there are brains are going like this. 598 00:33:59,640 --> 00:34:02,360 Speaker 1: It's talk to me about flipping houses and what's your 599 00:34:02,480 --> 00:34:05,160 Speaker 1: term for restoration? Uh? Losing a whole lot of money 600 00:34:05,200 --> 00:34:09,879 Speaker 1: on houses tax write offs? No, and I wish now. 601 00:34:10,080 --> 00:34:13,279 Speaker 1: My other personality is totally immersed in history. And I 602 00:34:13,280 --> 00:34:15,160 Speaker 1: grew up in old houses. I grew up with a 603 00:34:15,239 --> 00:34:17,759 Speaker 1: family of people who worked on old houses and lived 604 00:34:17,760 --> 00:34:20,759 Speaker 1: in old houses. You know, outside of Philadelphia it's, you know, 605 00:34:21,000 --> 00:34:23,120 Speaker 1: a star. I lived in Valley Forge for dad's sake, 606 00:34:23,440 --> 00:34:24,840 Speaker 1: you know. I grew up in those kind of houses, 607 00:34:24,880 --> 00:34:27,400 Speaker 1: A seventeen hundred houses and everything. I used to go 608 00:34:27,440 --> 00:34:29,719 Speaker 1: on job sites with my grandfather who used was a 609 00:34:29,719 --> 00:34:32,760 Speaker 1: stonemason and a brick person, used to restore old chimneys 610 00:34:32,800 --> 00:34:34,560 Speaker 1: and do all that kind of thing and actually build 611 00:34:34,600 --> 00:34:37,520 Speaker 1: houses too, And so I would watch the construction of 612 00:34:37,520 --> 00:34:40,360 Speaker 1: these things, and I was very I don't know, I 613 00:34:40,400 --> 00:34:43,640 Speaker 1: really really liked that world because it's it's not that 614 00:34:43,719 --> 00:34:46,560 Speaker 1: dissimilar to music in some strange way. It's making something 615 00:34:46,600 --> 00:34:50,120 Speaker 1: out of nothing. It's you know that that whole old 616 00:34:50,160 --> 00:34:54,160 Speaker 1: saw about architectures frozen music. What's the first project you 617 00:34:54,200 --> 00:34:56,879 Speaker 1: did in that regard other than the apartment with John Well? Now, yeah, 618 00:34:56,920 --> 00:34:59,160 Speaker 1: that was a whole house. That was the first one. 619 00:34:59,520 --> 00:35:03,320 Speaker 1: This house was taken over by people who I guess 620 00:35:03,360 --> 00:35:05,440 Speaker 1: just I don't even know what it was. They ruined, 621 00:35:05,440 --> 00:35:08,000 Speaker 1: they basically gutted the house. But it was a house 622 00:35:08,040 --> 00:35:10,600 Speaker 1: from about eighteen hundred and uh. It was one of 623 00:35:10,600 --> 00:35:13,440 Speaker 1: those small Philadelphia houses that they call him Father's Son 624 00:35:13,480 --> 00:35:16,360 Speaker 1: Holy Ghost houses because there's three rooms on three floors. 625 00:35:16,360 --> 00:35:19,480 Speaker 1: It's a very typical small house in Philly. We were 626 00:35:19,600 --> 00:35:23,080 Speaker 1: faced with the shell of this house, so I basically 627 00:35:23,120 --> 00:35:25,759 Speaker 1: got in there and started renovating it. And we did. 628 00:35:25,840 --> 00:35:28,319 Speaker 1: We renovated it. I don't know how much John had 629 00:35:28,360 --> 00:35:30,120 Speaker 1: to do with it, although he like he likes this 630 00:35:30,200 --> 00:35:32,600 Speaker 1: kind of thing as well. He actually became a general 631 00:35:32,640 --> 00:35:35,040 Speaker 1: contractor when he built his house. He went to school 632 00:35:35,080 --> 00:35:37,480 Speaker 1: for it. But he doesn't do his storic houses. My 633 00:35:37,560 --> 00:35:39,680 Speaker 1: thing is is historic houses and how many of you 634 00:35:39,719 --> 00:35:41,920 Speaker 1: done I've done that when I've done too in England. 635 00:35:42,400 --> 00:35:44,759 Speaker 1: So if you're restoring houses in England, you're living over there. 636 00:35:44,800 --> 00:35:46,239 Speaker 1: Oh yeah, Why I live in England as much as 637 00:35:46,239 --> 00:35:51,359 Speaker 1: a low in America. Outside of London, I live in Why, 638 00:35:52,160 --> 00:35:56,399 Speaker 1: I don't know. I love it. I have family there. Well, 639 00:35:56,520 --> 00:35:59,480 Speaker 1: my family is partly from England, but also I had 640 00:35:59,480 --> 00:36:03,319 Speaker 1: a britt wife and British kids. Now, how many kids 641 00:36:03,320 --> 00:36:05,800 Speaker 1: do you have? I have to and they were in England, 642 00:36:06,200 --> 00:36:09,080 Speaker 1: the ones in London, and one was just it wasn't 643 00:36:09,200 --> 00:36:11,880 Speaker 1: in Charleston's, South Carolina with me for a while and 644 00:36:11,920 --> 00:36:14,720 Speaker 1: she's now moved to l a anybody in the music business. 645 00:36:14,760 --> 00:36:17,320 Speaker 1: The two kids, both of them, they're both they we 646 00:36:17,520 --> 00:36:19,839 Speaker 1: want of them work with you. Yeah, March my daughter, 647 00:36:19,920 --> 00:36:22,319 Speaker 1: she's a really good musician. We wrote a song a 648 00:36:22,360 --> 00:36:25,040 Speaker 1: week ago. You're not married now, but wasn't one of 649 00:36:25,080 --> 00:36:28,520 Speaker 1: your wives your partners the restoration of the houses. Amanda, 650 00:36:28,680 --> 00:36:32,799 Speaker 1: she's unfortunately gone. She died almost a year ago. But 651 00:36:33,480 --> 00:36:37,480 Speaker 1: I'm sorry to hear that. Yeah, well, yeah, she was. 652 00:36:39,000 --> 00:36:41,239 Speaker 1: I did a lot of interior design things like that. 653 00:36:41,320 --> 00:36:42,960 Speaker 1: So we we worked on There was a good partner 654 00:36:43,000 --> 00:36:44,800 Speaker 1: for that. She was really good about that. Yeah, we 655 00:36:45,560 --> 00:36:48,520 Speaker 1: there's a house about three miles from here that that 656 00:36:48,600 --> 00:36:51,759 Speaker 1: we've worked on. Now I'm finishing it. So do you 657 00:36:51,800 --> 00:36:53,920 Speaker 1: own all your publishing? You have all your publishing? No. 658 00:36:54,440 --> 00:36:57,879 Speaker 1: I I was very stupid, like many people are over 659 00:36:57,880 --> 00:36:59,880 Speaker 1: the years. But I let's just say at the end 660 00:37:01,160 --> 00:37:04,880 Speaker 1: my apology, right, and that that's a tough reality for 661 00:37:04,920 --> 00:37:06,920 Speaker 1: some people. Was antistic. I was. I was so stupid. 662 00:37:06,960 --> 00:37:08,880 Speaker 1: I can't believe it. I didn't I didn't know. I 663 00:37:08,920 --> 00:37:10,719 Speaker 1: didn't know what it meant. I didn't know that it 664 00:37:10,760 --> 00:37:14,840 Speaker 1: meant everything right, right? And when you would write songs, 665 00:37:14,840 --> 00:37:16,719 Speaker 1: you told me that you and he it was it 666 00:37:16,840 --> 00:37:18,960 Speaker 1: was more he'd do his thing, you do your thing. 667 00:37:19,400 --> 00:37:21,920 Speaker 1: I mean, truthfully, I've written the bulk of the songs, 668 00:37:21,960 --> 00:37:24,520 Speaker 1: but I mean I noticed him when I read this. Yeah, 669 00:37:24,560 --> 00:37:26,759 Speaker 1: but also a lot of this stuff, A lot of 670 00:37:26,800 --> 00:37:31,000 Speaker 1: the if you look at the songwriting credits, a lot 671 00:37:31,040 --> 00:37:36,200 Speaker 1: of the were very haphazardly attributed, you know, but uh, 672 00:37:36,480 --> 00:37:38,839 Speaker 1: we did. I mean that's not to denigrate what we've 673 00:37:38,840 --> 00:37:41,640 Speaker 1: done together for sure. Do you have any connection now 674 00:37:42,000 --> 00:37:44,560 Speaker 1: currently to Philadelphia and then in that area back there? 675 00:37:44,880 --> 00:37:48,840 Speaker 1: I have a familial connection my most of my family 676 00:37:49,640 --> 00:37:51,839 Speaker 1: got there in the early sevent hundreds have never left. 677 00:37:51,840 --> 00:37:55,759 Speaker 1: There's no Darryl Hall Scholarship, but there's I do have. 678 00:37:56,320 --> 00:38:01,279 Speaker 1: I do have a star on Broad Street. I got that. 679 00:38:01,440 --> 00:38:03,800 Speaker 1: And every year John and I do a festival in 680 00:38:03,840 --> 00:38:07,640 Speaker 1: Philly called Ogi Nation. It's literally good when is that? 681 00:38:07,719 --> 00:38:11,040 Speaker 1: What time of year? Memorial Day weekend. It's a region 682 00:38:11,080 --> 00:38:13,600 Speaker 1: that's defined by it's fast food. It's New York without 683 00:38:13,600 --> 00:38:15,759 Speaker 1: the ego. It's so elegant, and there's so much to 684 00:38:15,760 --> 00:38:17,799 Speaker 1: do and see there. I love. Philadelphia is a very 685 00:38:17,800 --> 00:38:20,719 Speaker 1: special place. Yeah, let me just finish with this, which 686 00:38:20,800 --> 00:38:24,160 Speaker 1: is why do you think it is that you can 687 00:38:24,200 --> 00:38:27,360 Speaker 1: sing the way that you can. It has to do 688 00:38:27,400 --> 00:38:29,920 Speaker 1: with how your brain works. You know. I'm a very 689 00:38:29,920 --> 00:38:33,520 Speaker 1: spontaneous singer. I'm a very free singer. And you don't 690 00:38:33,520 --> 00:38:35,359 Speaker 1: know where you're gonna go, man, where I'm gonna know 691 00:38:35,719 --> 00:38:38,600 Speaker 1: once it's it's not intellectual. It's there is no thought involved. 692 00:38:39,040 --> 00:38:42,440 Speaker 1: It's total spontaneity. I'm just a bird. It's opening my 693 00:38:42,480 --> 00:38:45,040 Speaker 1: mouth and shirpen away. And I've been lucky enough to 694 00:38:45,080 --> 00:38:48,640 Speaker 1: be blessed with the physiology to pull that off. That's 695 00:38:48,719 --> 00:38:52,360 Speaker 1: that's really what it's all about. Let me tell you something. 696 00:38:52,440 --> 00:38:56,240 Speaker 1: If I could sing, I want to sing like you. Alright, 697 00:38:57,320 --> 00:39:02,239 Speaker 1: thank you so much for doing Oh this is good, 698 00:39:02,560 --> 00:39:20,920 Speaker 1: it's great. When A big thank you to vocalist and 699 00:39:21,040 --> 00:39:25,040 Speaker 1: songwriter Darryl Hall for inviting me into his club and 700 00:39:25,120 --> 00:39:33,640 Speaker 1: giving me so much of his time. I'm Alec Baldwin 701 00:39:33,960 --> 00:39:38,160 Speaker 1: and you're listening to Here's the Thing when you shot 702 00:39:44,480 --> 00:39:54,160 Speaker 1: now standing here. Wait, it'll be all right, Lord and 703 00:40:00,040 --> 00:40:00,120 Speaker 1: wh