Questlove Supreme: Daryl Hall

Episode Transcript
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Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio, Ladies and gentlemen.
This is Quest Love Supreme. Today marks the conclusion of
what I feel is an instant classic episode. As I
expressed in the previous recording that I personally like one

(00:22):
on one qls's meaning one artist to the show as
opposed to group scenarios.

Speaker 2 (00:30):
So that way, you know, it's always you get two sides.

Speaker 1 (00:33):
Of a story of the same story, sometimes where you
get the same identical story. But previous episode we talked
to one half one of my favorite duos and the
music one of the most successful duos and music. And
now we are given the honor and the pleasure of
speaking to the voice the soundtrack, I mean, the personal

(00:54):
soundtrack of my childhood. And I'm, you know, a Philadelphian.
So this episode is doing me some pride right now.
What else can I say? But the one and only
Daryl Hall, he slept Supreme. Welcome start all right, by
the way.

Speaker 2 (01:14):
Team Supreme.

Speaker 1 (01:14):
I'm sorry I didn't even acknownce you how damn he
was waiting for that.

Speaker 3 (01:21):
I was gonna say, it's okay, it's Darryl Hall. We're
all a little fanned out it's.

Speaker 1 (01:23):
Fine, no, no, no, but in my mind I'm still feeling
like this is a continuation of the episode.

Speaker 2 (01:27):
But yes, we can let the world know that a
week or two went by and uh, you know. Yes,
So how are you doing?

Speaker 4 (01:34):
Like you?

Speaker 3 (01:35):
I'm doing great, I'm ready, I'm so good. This is yeah,
life is complete.

Speaker 5 (01:40):
Man.

Speaker 1 (01:41):
Really, I got to ask some personally, even though this
is inconsequential to our viewers who could only hear us
and not see us, but I feel like every time
you do an episode, you're doing it from another part
of your house or I see it.

Speaker 4 (01:55):
I said, this is actually my studio house.

Speaker 3 (01:58):
Oh yeah, this is mine too, Okay, exactly, that's what
it is, a mere it's my studio house.

Speaker 1 (02:03):
All right. Well no, I'm just I'm impressed with every
episode you seem to be in a new part of
your house that I've never seen before.

Speaker 3 (02:09):
And it's the way I think my quest love Supreme
Brothers to truly come to my house. So yeah, this
is the way I'm doing it. Maybe one day y'all come.

Speaker 1 (02:17):
Okay, well one of us will have to agree to
get on a plane, but that will say that for
another episode. Okay, baby Bill, Yes, how's it going, sir.
Fantastic congratulations to you you.

Speaker 2 (02:31):
I'm great man.

Speaker 6 (02:34):
You've been winning awards like handover whatever that expression is.
And we have to do some flowers a beer flowers
for a beer.

Speaker 2 (02:41):
Congratulations. Yes, thank you, thank you for that deflection. Thank you.

Speaker 7 (02:49):
Well.

Speaker 1 (02:49):
You know. Also, you fin you finished a milestone in
your the show that you're working on, Testame Street. You
finally finished. I guess season fifty. I assume we.

Speaker 6 (03:01):
Finished just last week season fifty three. I think fifty three.

Speaker 2 (03:05):
Season fifty three.

Speaker 1 (03:07):
Also, wait, this is what I do want to know,
because I'm not an active watcher of Sesame Street now
that I'm fifty one years old as I was when
I was a kid. But the death of mister del
Gato aka Luis on Sesame Street, was he still an
active character on the show even or did he leave beforehand?

Speaker 6 (03:29):
He left but came back a little while ago. He
was back and forth, but he was like a definite presence.
All of the humans sort of humans, the humans, all
of the actors on that show sort of are always
sort of omnipresident. I play it's Bob and so like.

Speaker 1 (03:44):
Maria, Bob and Susan and Gordon like, they're still occasionally
come back on the show to do stuff.

Speaker 6 (03:50):
Yeah, like most recently they around for season We had
a big reunion for season fifty a couple of years ago,
and they were definitely there for that. And I saw
him at that and he's a fantastic like Emelio, like
played the guitar really well and saying really well, and
it was just a consumt a musician and a wonderful
human being.

Speaker 1 (04:04):
It's really sad, but yeah, when you put when you
put me on the float, I think I got to
meet some of them and that was really cool.

Speaker 6 (04:10):
You make it seem like I physically placed you upon
the Thanksgiving Day float, and I will take full credit
for that.

Speaker 2 (04:16):
Well, you know, I'm trying to.

Speaker 1 (04:17):
Give you props, Bill because I don't want people to
think that you're just like the Flavor of Flace sidekick,
Like you're.

Speaker 2 (04:24):
You're a major staple in the circle. Man you are.

Speaker 1 (04:26):
You know, you're writing brought hit Broadway shows and producing
my platinum albums.

Speaker 6 (04:32):
And just for the record, I'd be happy to be
a Flavor Flap sidekick. I'm totally fine with that. But
that's very nice.

Speaker 1 (04:39):
I'm I'm throwing some flowers back to you, sugar steans
you okay, even though you're upgrading your computer right now,
you're doing this on your telephone.

Speaker 4 (04:47):
I'm really good. Thanks for asking.

Speaker 8 (04:49):
I actually wont a Schmuky award last night, and I'm
thinking about buying my own paper airplane.

Speaker 2 (04:57):
Okay, like like it, don't.

Speaker 1 (05:00):
Step on my punchlines in front of Daryl Hall.

Speaker 3 (05:02):
I'm sorry. You know you heard me.

Speaker 9 (05:04):
I'm sorry anyway, fon Tikeolo good So I'm good, brother,
I'm good, man, I'm good. Congratulations to you, man. I
was happy to see that straight. I appreciate that. Yeah,
now we can finally.

Speaker 1 (05:15):
Get to the business. First of all, Sir Daryl Hall,
are you in the world famous Darris House right now?

Speaker 4 (05:23):
I'm in I'm in my studio house.

Speaker 1 (05:26):
Okay, explain that this is different than the Daras house
that I've seen on television.

Speaker 4 (05:31):
Yeah, it's a different house and age.

Speaker 2 (05:36):
That is bullershit. I like this.

Speaker 1 (05:38):
I like where this is going already, if you, if
you guys can see what we see right now, like
maybe besides Will Smith, I've not seen a person be
so imaginative with their surrounding.

Speaker 2 (05:52):
Yes, this is this is this is a next.

Speaker 5 (05:55):
Room man to Imaginative one one Light.

Speaker 1 (06:02):
So so as I so, as I said on on
the top of the show, we we talked to your
your partner for over five I don't know, maybe six
decades John Oates about his experience musical experiences in his life.
And and now's your turn, because you know, although you

(06:22):
too share common ground, you two also have done different endeavors,
and so I kind of wanted to make this more
one on one instead of like the the group project.
So for you right now, like where where do you?
Where do you call home? Where do you reside?

Speaker 4 (06:38):
Right?

Speaker 5 (06:38):
I'm in Connecticut right here? I I you know, I
have a house in London too, So I kind of
go back and forth.

Speaker 2 (06:44):
Nice what party in London?

Speaker 4 (06:46):
Uh? In Kensington?

Speaker 7 (06:48):
Nice?

Speaker 2 (06:49):
Okay?

Speaker 1 (06:49):
I used to live in Kinsistown. Okay, all right, yeah,
Kinnistown in London. When when did you cop a spot
in London?

Speaker 4 (06:57):
When I've been since the seventies?

Speaker 7 (07:00):
Oh? What forever?

Speaker 2 (07:03):
So you're a dual citizen.

Speaker 4 (07:05):
Right sort of.

Speaker 2 (07:08):
Wow London? What made you choose to go over there?

Speaker 5 (07:11):
I just I had an affinity for it, just from
the very beginning. It kind of it reminded me of Philadelphia.
It's so crazy play.

Speaker 3 (07:19):
Oh wow, we are a little cleaner than that.

Speaker 4 (07:22):
Well yeah, well some parts, some parts.

Speaker 1 (07:26):
No, no, no, but you know what, he he has
a point because the roots coming from Philly. We had
to choose somewhere in Europe to live and it was
definitely something like should we move to Paris and we
moved to d And it was something about London that
called us and so.

Speaker 4 (07:45):
There's something familiar about it, you know, very much.

Speaker 2 (07:48):
So so that's okay, Well that that's that's cool to hear, Like.

Speaker 1 (07:53):
Are you in a city part of London London or
is it more like a quiet place or like what?
Because I know oftentimes artists will have their city residents
and then they'll have a spot that you know, is
more quieter.

Speaker 2 (08:10):
I mean I understand that now.

Speaker 1 (08:11):
Like I never thought I'd be a person that would
get a farm, but I just got a farm because
I actually felt I'm more creative when I'm isolated and
then silence. So for you, is having a dual housing
situation more about like getting a spot that's quiet and
then a part that's immersed in the city or just
or just to have a city in Europe just in

(08:31):
case you just want to Well.

Speaker 5 (08:33):
It's it's actually kind of the same thing. I you know,
I live out in the country here and when I'm
in America and then my city house is a London
and I mean I have a it's like a tell
it's you know, row house, townhouse.

Speaker 4 (08:45):
Same.

Speaker 1 (08:46):
Okay, yeah, So is it important as a creative for
you to have a spot that's that's quiet and more
isolated and allows you to be creative or like again,
as as a newbie person that just purchased his spot,
I mean, I did it because the pressure of the
pandemic forced me to do it. But you know, otherwise,

(09:07):
I'd never understood artists that were like, yo, man, I
need the country life is important, Like, I mean, I
get the importance of silence now. But obviously you got
this house that you're now way before the pandemic. So
what was the attraction of, Like, you know, I'm thinking
like rock stars wouldn't want to be so isolated outside

(09:27):
of the chaos and the hustle and bustle of what
the industry was. So what was your decision to get
a country spot.

Speaker 5 (09:34):
I don't know, man, I've always sort of had one
foot in the country. I went for the city I
grew up.

Speaker 4 (09:40):
I grew up.

Speaker 5 (09:41):
I didn't grow up in Philadelphia. I grew up in Pottstown,
you know, out in Chester County, and uh, you.

Speaker 1 (09:47):
Know I considered that, Yeah, Phillly adjacent.

Speaker 4 (09:50):
It is, but what I hey, I'm an old guy.
You know it was. It was in those days. It
was really good and uh, you know, I grew up in.

Speaker 5 (09:58):
A colonial house, so all that kind of stuff, you know,
I mean it was as I grew up in that world.

Speaker 4 (10:04):
You know. My family were farmers and you know, and
so I grew up that way.

Speaker 5 (10:09):
But I was also part of the city. It's always been.
It's always been kind of schizophrenic with me. It's this
city and country together, and I sort of need both
of them. I need one to balance out the other side.

Speaker 1 (10:24):
Do you remember what your very first musical memory was.

Speaker 5 (10:27):
Probably seeing my what my mother and father both were musicians.
See my mother in a band, I mean, my mother
was in it was in a band in post Town,
and I was like, yeah, from the age of two
years old, I'd watched the band and I always wanted
to be the band leader, you know, the guy that
had the he had like a white coat on.

Speaker 4 (10:45):
Everybody else had red coats on. He had a white
coat on. So yeah, I was I wanted to be
that guy.

Speaker 3 (10:50):
What does Daryl Hall's mom's voice sound like? What is
her singing voice?

Speaker 5 (10:54):
She was a soprano. She's ninety eight years old now
and up man, she's still six, but yeah, she she's
amazing singer, amazing soprano. And my father was in a
gospel group, a vocal group, and so I learned harmonies
from from him and his brothers and his friends and

(11:14):
all that. So I, you know, I grew up in
that the whole that whole world.

Speaker 1 (11:18):
Were they closer to do wop or more Mills brothers
or like harmony?

Speaker 4 (11:24):
Like what was their church harmony? You know, like gospel harmony?

Speaker 1 (11:30):
Okay, but when you say quartet, I'm thinking of I'm
thinking of below, you know, right? Okay, what's your siblings situation?
How many are you? How many brothers and sisters do you?

Speaker 4 (11:49):
I have once?

Speaker 5 (11:49):
I have a sister, one sister. She lives up here
in Connecticut too.

Speaker 1 (11:53):
And she musically inclined as well, she.

Speaker 4 (11:56):
Is, but she's an artist.

Speaker 5 (11:58):
She does all my visuals, you know, she does everyally,
from my album covers to my T shirts to everything.

Speaker 4 (12:03):
Yeah.

Speaker 1 (12:04):
Really, how long has she been collabing with you?

Speaker 4 (12:07):
Well, as long as we've been alive.

Speaker 1 (12:11):
So even in the days of like she was like
she was.

Speaker 5 (12:14):
She was the visual artist and I was the singer.
You know, we both do both things. But that's how
it sort of panned out even we were kids.

Speaker 1 (12:23):
I know that I've seen you as a keyboard player.
I believe I've seen you play guitar once or twice.
But what was your your first weapon of choice growing
up as far as the instrument that you use Jano?

Speaker 5 (12:36):
Yeah, when I was like five years old, I started
taking piano lessons, but I was a singer before that.
You know, my mom taught me how to think because
she was sort of a vocal teacher too, and she
taught me how to sing from age zero, you know.

Speaker 4 (12:48):
I mean I was always okay.

Speaker 1 (12:50):
Yeah, Well, I know that you have sort of history
and Philadelphia proper, So can you tell me what, like
when you started gravitating towards metropolitan Philadelphia as opposed to
outside of Pottstown. At what time did you start going
to Philadelphia proper?

Speaker 4 (13:08):
Short of when I was a teenager, I would go
I would go in because they used to have trains
in those days from Pottstown.

Speaker 5 (13:13):
So I used to goin and my friends were in there,
and and I moved right out of high school.

Speaker 4 (13:19):
I moved to Philadelphia.

Speaker 1 (13:21):
Okay, so you're talking about like the R five or
the R three, like those high speed trains that Septa.

Speaker 4 (13:27):
Yeah, there was like the Reading Reading railroad and all
that stuff.

Speaker 6 (13:31):
Yeah.

Speaker 1 (13:32):
Even even when we asked John about the time that
you guys put in during those those years in the
sixties in Philadelphia, he said that you would have more
intricate stories because of your involvement with like Gamble and
huff and like all those groups around. But could you
could you basically describe to me what the Philly environment was.

(13:56):
I guess you know, your teen years was in the sixties,
so you know, if you wanted to see your like
of the acts of the day that you saw, like
where where would you see them? And what acts would
you see of the day.

Speaker 4 (14:09):
I used to go to the Uptown. I mean I
I I.

Speaker 5 (14:14):
Lived in the Uptown basically, and I would see everybody
there and and I was I got involved right away
with with Kenny and Leon I actually did a talent
show at the Uptown with the group I had, the Temptones, and.

Speaker 4 (14:30):
We won the talent show.

Speaker 5 (14:31):
So I got a I got a deal, and I
went to Virtue Studios and did a and did a
record with the with the Romeos with Kenny Gamble.

Speaker 7 (14:42):
What year was this?

Speaker 4 (14:42):
Around nineteen sixty seven?

Speaker 7 (14:45):
Sixty seven? Got you?

Speaker 3 (14:46):
You must have been a crazy extrovert, not very shy
like you sound like you were crazy confident from the jump,
because to go into Philly and just dive in and
just talk.

Speaker 4 (14:54):
To folks, you know what I have? I always had
confidence in the music area. I'm not exactly.

Speaker 5 (15:00):
I wouldn't call myself an extrovert by any means, but
you get when you get into music, then yes, suddenly
I shine. I you know, I do have confidence.

Speaker 1 (15:10):
Indeed, was it unusual for you in the late sixties,
because I'm assuming that you're you're kicking it with the
brothers in terms of like, you know, if you're at
the you know, having met like Danny and the Juniors
and and the Dovels and those other like Philly doo
wop legends that were kind of around my father's era,

(15:32):
Like you know, I'm not hearing them telling these stories about.

Speaker 2 (15:34):
Yeah, man, we just always good to own town whatever whatever.

Speaker 1 (15:37):
But for you, was there not a novelty factor? But
was it unusual for people to see a white guy
be so immersed in soul in the mid to late sixties.

Speaker 4 (15:52):
It didn't seem so unusual. Believe it or not, it
was it was it was a different time.

Speaker 5 (15:58):
I don't know, man, I mean, will you talk about
Dovel's they all went Overbrook. I mean, those guys, they
were they were in it big time.

Speaker 1 (16:06):
Really, I'll be honest with you, because like a lot
of my education just comes from like the revival shows
that they were doing in the seventies and eighties, like
past the I don't know if I have a visual
of of of any of the Philly legends in their prime,
you know, late fifties, sixties, because obviously I wasn't born then.

Speaker 5 (16:27):
Guys really well, okay, so Lenny, Mike Freeda and Lenny
Barry really close friends of mine, and yeah, yeah, they
were real.

Speaker 4 (16:36):
Man, I mean they came from they came from the
real thing.

Speaker 1 (16:40):
Well, I got to ask an eyewitness, have you ever
seen my dad before? This is one of the weirdest
questions on this show.

Speaker 4 (16:50):
One of the first records I ever bought was your dad.

Speaker 2 (16:53):
Really see again? Only I only know that dad.

Speaker 1 (16:57):
I only know my dad from the second phase of
his career, because there really was a documentation of, you know,
of his career before then.

Speaker 2 (17:04):
So I can only go on word of mouth of.

Speaker 3 (17:07):
Oh, I used to see your dad's stories. Then I
want to know.

Speaker 1 (17:11):
Well, yeah, so okay, Like, can you tell me what
a typical lineup was in if you were going to
to the Uptown in Philadelphia, which for our listeners out there,
you know, there are a few there are a few
houses for black acts that were quote unquote upscale in
the Chiplan Circuit. If you're in New York, the Apollos

(17:33):
a Highlight. If you're in d C, the Howard. If
you're in Chicago, Uh, is it the State Theater?

Speaker 4 (17:40):
I believe, Yeah, Yeah, I.

Speaker 2 (17:43):
Think it's the State. Yeah.

Speaker 1 (17:44):
And if you're in Philadelphia, you're you're you're at the Uptown.
Could you explain like what a typical bill would look
like like is it hosted by Georgie Woods?

Speaker 2 (17:54):
Is it you know, is it an all day thing?

Speaker 4 (17:57):
Like?

Speaker 1 (17:57):
Do you go there twelve in the afternoon, you stay
till all the shows are over.

Speaker 5 (18:02):
I used to do that occasionally. Yeah, I mean it
was it was whoever was popular at the time. You know,
it would be anybody for like Billy Stewart, Demand Lads
to Well Gladys Slade and the Pips and the Temps
obviously and everything in between. I mean, it just depended
who was, you know, who was touring at the time.

Speaker 2 (18:23):
You know, my generation.

Speaker 1 (18:25):
If you go see Okay Run DMC, you're expecting an
hour or so of just that act. But I mean,
was there ever an act that I mean, I know
that James Brown was his own self contained unit, but
even he had a variety show.

Speaker 2 (18:41):
But was it just expected for like.

Speaker 1 (18:43):
An act to come out and do fifteen to twenty
minutes and then that's it and you're out.

Speaker 4 (18:48):
Yeah, that was usually the way it was. People didn't
do long shows. It was it was usually some kind
of review, you know, in a mixture of people. For sure.

Speaker 3 (18:59):
Okay, I never knew this what review meant, thank y'all.
I kind of knew that it meant. It was a
time limit. When you say review referring to a.

Speaker 1 (19:06):
Show, Yeah, like you know, just from the days of
like well, I meant most people sight yeah, or even
like modern the modern era of like where Mom Rainey's yeah,
Mom Rainey's traveling circus and then that sort of you know,
morphed into vaudeville, which then morphed into the review, which

(19:26):
I mean at the time only Motown and James Brown
really had a strong enough presence to carry you know,
other people with them.

Speaker 2 (19:34):
Multiple Yeah. Back in the day, it was it was
the radio guy.

Speaker 1 (19:38):
It was the Georgie Wood, you know, the funk reflex
of that period that would throw these shows and whatnot.
So were you ever in a house band situation, like
usually if we talked to New York guys and they say, like,
you know, I played I was a back and band
in the Apollo, Like, were you ever in a house
band situation having to back these acts up when they.

Speaker 5 (20:01):
I didn't do it at the Uptown I did it
at a couple other places in the Philadelphia area. I
would do like I I would play with the Stylistics
or somebody like that, But I didn't do I didn't
do a lot of background play. No, I was no, no, okay.

Speaker 1 (20:15):
So if you're playing with the stylistics, you know, today,
it's it's easier for acts to because of the Internet.
I can easily google something, I can easily easily reference something.
But in your day, how easy is it to pick
up someone's music? Or is this just a thing where
like you hear in the radio a few times and

(20:36):
you instantly know what the chords are? Like, do you
get enough prep time to I'm just trying to figure
out the mind state of a person that is.

Speaker 4 (20:44):
I mean we used to do I did.

Speaker 5 (20:46):
I worked at Sigma a lot, and you know, I
did a lot of recording with people and just record charts.
I mean that was how you did it, all.

Speaker 1 (20:55):
Right, So you're a court chart reading Can you name
some of the singles that you played on and those
like early.

Speaker 5 (21:03):
I can't even remember. I used to work a lot
with Norman Harris. He was one of the guys, the
guitar player and m mfs B you know whatever, and
uh uh uh, man, I can't you know. I I
so long ago, man, I I did, Like I remember
getting to remember doing a Clyde MCFA record, you know

(21:24):
what I mean, Like that's stick in my mind. We
did a lot of stuff where we would do demos
and and it wouldn't even get anywhere. It was this
guy George Tinley. I used to work with him. Uh,
I think I played. I think I played on the
Delphonics record.

Speaker 1 (21:39):
Was it was?

Speaker 2 (21:40):
It?

Speaker 1 (21:40):
Was it a good living? As I mean for you
like in that time period? Was it was it for you?

Speaker 2 (21:45):
Like? Is it a good living?

Speaker 1 (21:46):
Like Okay, I'm I'm assessing musician or did you instantly
know Nah, it's it's in front of the microphone, like
that's where the real that's where I want to be.

Speaker 5 (21:56):
Yeah, it was it was I I wanted to be
in front of the microphone. I liked doing it, and
it was it was an experience and I learned it
and I would be like, you know, I was never
I was like third string or whatever, you know, but
I was, you know, I'm still in school and uh
uh I you know. I did a lot of writing too,
you know. It was it was sort of a combination

(22:18):
of studio work and writing at the same time I worked.
I worked with this guy John Madera. We talk about
Danny and the Juniors. He wrote he wrote out the
hop you know, and he really yeah, he was in
the Schubert building and.

Speaker 4 (22:31):
And and gamble and Huff were like a couple floors down.
Tommy Bell was in there, so we all knew each
other and hung out together.

Speaker 5 (22:40):
And uh so it was a combination of being to
being in the studio and writing at the same time.

Speaker 1 (22:46):
Yeah, well at the time period where Gamble and Huff
sort of or at least they dropped the anchor as
the the alphas in this in this Sound of Philadelphia thing,
which always confused me because you know, I'm assuming that
you know, not having the aid of liner notes when

(23:09):
I'm listening to either their work or you know, or
the work of Dexter Wanzel or any of the other
second string Philly international people. I'm assuming that you know
this is all under the guise of Gamble and Huff,
only later to find out that they were just all

(23:31):
using the same session musicians and had nothing to do
with each other. But sonically it all sounded like the
Sound of Philadelphia and Gamble and Huff. Did you ever
at one point like try to approach them and say like, hey,
I produce an I singer song, right like.

Speaker 2 (23:47):
Can I join the fray?

Speaker 1 (23:48):
Or was it instantly like I want to establish my
own thing and not be under Yeah.

Speaker 5 (23:55):
That's what happened actually is Kenny actually said to me,
would you like to him to Philly International and write
and do whatever you know, the record and and that
was just when I was get ready to leaf for
to go to to move to New York with John.
And I said, well, you know, I was tempted, I

(24:15):
got to say, but I figured that what we wanted
to do what became the Hall and Oaks sound or
whatever it was.

Speaker 4 (24:22):
It was.

Speaker 5 (24:22):
It was a Philly sound, but it wasn't the gamble
and hoofs sound, you know. And I wanted to do
my own thing, just what you said. I wanted to
to create my own version of Philly music. And so
I turned that idea down.

Speaker 1 (24:35):
You know, John had casually mentioned how you two had met,
but I got to hear the details. He he mentioned
that I guess a fight had broken out at a
show and that's how you met.

Speaker 2 (24:55):
But could you tell us how you met.

Speaker 5 (24:59):
We've told that story so many times, I mean singlely
and together.

Speaker 2 (25:03):
Uh, I mean listeners have not heard that.

Speaker 5 (25:05):
I guarantee you there was a record hop out in
the Adelphi Ballroom in West Philly.

Speaker 4 (25:10):
And the Second Street, Yeah, and that's where it was.
And and uh, I forget who was on the bill.

Speaker 5 (25:17):
I remember our tate was on the bill and and
uh five stair steps and and and then they had
you know the bottom of the bill was the Temptones
and John's band and uh and uh.

Speaker 4 (25:29):
We you know, we were waiting to go on.

Speaker 5 (25:31):
We were and and you know those days, ship happened
and in some kind of fight broke out and they
and they closed the whole thing down and it was up.
It was on a second floor, so we had to
get in an elevator to go downstairs to go to
go to the street. And that's how I met John.
He was in the elevator with me, you know, and
I said, hey, when you go to Temple University blah

(25:52):
blah blah, and uh uh we we started kind of
being friends, you know, hanging out.

Speaker 1 (26:00):
What was it?

Speaker 2 (26:01):
Where was your major at Temple Music? Okay? Did they
have an RTF program backman? Or was that?

Speaker 4 (26:08):
Like?

Speaker 5 (26:09):
Yeah, John was RTF. I believe he was a journal
He was a journalism of RTF.

Speaker 4 (26:14):
Kind of major. But I was a music major.

Speaker 2 (26:16):
First of all.

Speaker 1 (26:17):
How many members were the Temptones? I know, you guys were.
It was an imitations and influence, but.

Speaker 5 (26:23):
It was a revolving We call it Temptones because of
Temple University now because of Temptations.

Speaker 2 (26:28):
Oh wow, Okay, see okay, I thought it was.

Speaker 5 (26:32):
But yeah, it was revolving, but it was basically at
the same time singing it would be four people.

Speaker 2 (26:39):
Yeah, I get it.

Speaker 1 (26:42):
So what was the deciding factor that that told you like, okay,
well let me try this out, you know, leaving it
like it's the Temptones only thing. It's like casual school stuff,
casual Philadelphia stuff. And they weren't serious about it or
were you more serious than they were?

Speaker 5 (26:59):
Well, yeah, probably, I probably was. But it all just
came out of street corner music. I mean that's how
it all started, you know, digging together and then we
decided to call it something, and it was various people
coming in and out, and and then we eventually we
got we got a little rhythm section to back us

(27:20):
up and event and John wound up being one of
those people at the very very end, and that's how
sort of continued, you know, the whole it kind of
morphed into just being John working together and writing songs.

Speaker 1 (27:35):
I was like as a singer at least back then
like who who was your north star? Who? As far
as like who you idolized as a singer? And then
I guess who were you not emulating?

Speaker 2 (27:49):
But who do you felt like.

Speaker 1 (27:50):
Influenced your your your vocal style?

Speaker 5 (27:53):
I mean I was trying and you know Smokey loves
and then I and I loved all the same are
the Temptatians. I was really into all that stuff. But
a lot of street corner people. You know, uh, your
father man, I loved him later, you know Felipe Winn
you know.

Speaker 7 (28:12):
Uh yeah, Spinners and.

Speaker 5 (28:16):
These are the people that I idolized and I I
will Yeah, I guess when I was a kid emulate,
Yes for sure.

Speaker 8 (28:23):
Well, I mean just in terms of influence, That's all
I was going to say. Costello mentioned mister Wynd also
from the Spinners as his his all time you know,
vocal idol.

Speaker 2 (28:38):
Now he's a monster.

Speaker 3 (28:39):
Darryl. Can I just ask what your parents have are
thinking on your journey, Like did they expect you to
just be an art I mean it's a blessing that
you had two parents there were artists, But were they
thinking that's where you were going to go? And were
they happy about it?

Speaker 5 (28:51):
They always supported me, always supported me. There was never
any question about it. To tell you the truth. They
wanted to make sure I was going to like do
something that I would make some money yet right hopefully,
But it was you know, they always supported me, always, always.

Speaker 7 (29:09):
That's so dope, man.

Speaker 8 (29:10):
With John was the chemistry with you guys, honest, mostly
on the songwriting tip or was it a musical thing
or vocal vocal harmony kind of thing.

Speaker 5 (29:20):
It was sort of songwriting more than anything. I was
interested in what he was doing because he was he
was way out of my realm of experience.

Speaker 4 (29:29):
You know.

Speaker 5 (29:30):
He liked bluegrass music and all the stuff that I
had never heard of, you know, or heard I heard of,
but I never heard and I was sort of you know,
I was in my student mode, so I was learning
about all these things, and so I was really interested
with what he brought to the table that way. So
it was more of a friendship than anything else, tell

(29:50):
you the truth.

Speaker 4 (29:50):
I mean, we.

Speaker 5 (29:51):
Decided we were going to share a stage but be
very separate, which we've never changed. You know, he has
his own musical style. I got my own one week
somehow put it together when we when we work together.
But yeah, it was more. It really evolved from a
friendship to something a little more than that.

Speaker 1 (30:11):
The original al Cast, original mob.

Speaker 8 (30:16):
Yeah, you both write music and you both wrote lyrics,
and it was how did that work?

Speaker 5 (30:21):
Occasionally we would work together, That's how it worked, Like
said the song She's Gone, that's h I would call
it exception to the rule, if you want the truth.
John John writes his own kind of songs, and and
I write mine, and occasionally we would collaborate on lyrics,

(30:43):
and I would throw things at him. And I also
collaborate with other people like this. The Allen sisters Sarah
Allen and her sister Jennau wrote a lot of songs
with with me and and I would jump into that too.

Speaker 1 (30:55):
Sometimes, are you protective of your work to the point
where you're not easily persuaded or persuadable when it comes
to like, Okay, if you submit a song, is it
you know?

Speaker 2 (31:12):
This is this? Is it? Or is it? Hey? Why
don't you try this idea?

Speaker 4 (31:16):
No?

Speaker 1 (31:16):
No no, no, no.

Speaker 2 (31:17):
No fix that around.

Speaker 1 (31:18):
I mean I could see the producer doing that. I
mean in terms of like if Todd's producing or whatever.
But like with you and Daryl, like are you too,
allowed to offer unsolicited suggestions of a.

Speaker 5 (31:33):
You know, absolutely the reason I love collaboration. I like
bouncing off ideas back and forth. John's participation in my
songs is more like, what do you think of this?
And then he say, well, once you try that? Or
is singing that?

Speaker 4 (31:51):
Or do that? And I would generate the song or
sometimes one of the like Janna Allen would bring a
song in and I would do that with her. You know,
works like that. Yeah, very flexible.

Speaker 3 (32:05):
Very you mentioned she's gone, but I don't think we
got to hear you when you broke down the workflow
of that song.

Speaker 5 (32:11):
We sat and wrote that. John came up with a
chorus and it was sort of a more folky kind
of style, and I said, okay, why don't we do
it this way? And I started playing that piano riff
that is the signature of the song. And then and
I did all that, and then we sat down and
we wrote lyrics about it. I mean, that was a

(32:32):
real whole song. We sort of pulled our experiences. There
were things that were going on with both of us
separately at the time, and we kind of mixed it
together and turned it into the what the lyrics are
that song and then we took it to Atlantic when
we played it for a reef, He's the one that

(32:53):
put those that crazy modulation idea into it.

Speaker 1 (32:56):
How does a group pursue a record deal in the seventies?
You know, now we're in a time where you can
go viral on YouTube. Someone sees it and chances are
they'll stalk you and see what your situation is and
signed to me. But how do you how do you
gain the attention of the industry? Like when you when

(33:18):
you and John are like, all right, we're going to
do this. What's the what's the step in the process
of getting a record deal?

Speaker 5 (33:25):
We you know, we knocked on doors in New York
City and everybody liked us, and then we get the word,
well they liked you, but you know they turned us down,
so we we want long story show. We actually went
to la and uh we we went out there and
we were knocking around. We were introduced to some people

(33:49):
and I was introduced John and I were introduced to
this guy named Earl McGrath who had this tiny label
that was an indie label subsidiary of Atlantic. It was
called Clean Clean Records, and Earle wanted to sign us.
He liked what he heard and he said, okay, I'll

(34:09):
sign you and then he he took it back to
New York and we auditioned for Ahmed and and a
Reef and I remember I had the flu man. They
gave me this piano where all the notes were sticking
on it, and it was it was the worst audition

(34:31):
in the world. And whatever happened, a Reef really liked it,
Amon really liked it. So they basically stole it from Earl.
They stole us from Earl, and we wound up going
to Atlantic and that's how we did it.

Speaker 1 (34:42):
My dad mentioned what what we commonly say as a showcase.
I don't know showcases are as common now as they
were back then.

Speaker 2 (34:51):
But when you're saying we audition, is it a.

Speaker 1 (34:53):
Thing where you book a gig at the bottom line
or a club and they come see you. Or are
you in a confined s I R. Situation or I know,
like Atlantic has their own facility and room like that,
Like do you set up there and then you just
performed for ten suits in a room? Is it is

(35:13):
that process more jarring and weird like to.

Speaker 4 (35:18):
Yeah, it was. It was.

Speaker 5 (35:20):
It was really like I said, I all the all
the conditions were the worst.

Speaker 4 (35:25):
We were in this little room with this.

Speaker 5 (35:27):
Shitty panel, I mean, with with the keysticks stuck and uh,
and we had and across from me on the other
side of the room was Ahmed a Reef and uh,
I don't think it might have been Jerry Wexler, I
can't remember, but they were watching us and it was
just being John and I'm playing playing like I can't

(35:49):
even remember what I played. And I thought it went terribly,
but I guess they saw something, you know, they they
saw through it all and that's how it was. It
was really personal.

Speaker 1 (36:00):
Addition, he talk about like, uh, you know, mister Martin
is one of my idols because one of my favorite
groups ever was the Average White Band. So having read
his name on you know, on Average White Band and
Wreatha Franklin and Donnie Hathaway, can you talk about working

(36:20):
with Reef Martin as far as his production style and
what was it like for you?

Speaker 5 (36:25):
He was he was the greatest producer man. I mean,
in my opinion, a Reef and Quincy are the two
great producers of all the of the era. And he
allowed a Reef allowed the artist to do. He was
so flexible. I can't even describe it. It was he

(36:46):
allowed you to shine. He had this uncanny ability to
figure out what it is that you were good at doing,
and where where where the spark was, and developing that spark.
And he could add all kinds of He had no
boundary at all. He would mix genres, He he would
mixed eras and everything all at once together whatever you

(37:10):
whatever the the song needed or he thought it would
it would need, he would just add it. And he
had an incredible, like an encyclopedic knowledge of of every
kind of music. And it was it was a really
amazing And he was such a a gentle guy, but
yet he knew he knew how to drive the bus.

(37:32):
And he he was an amazing producer as he That's
all I can say about it.

Speaker 1 (37:38):
Was he uh hands on in terms of soup the nuts,
as far as far as picking the songs, picking the mix,
the mixer, staying there for the mix, Yeah, sequencing your album,
suggesting singles. Like when he takes on a project, is
he literally watching every iota of it or is it like, okay, guys,

(38:02):
I won't be here next week, but that like Jerry's
going to sit in for me.

Speaker 2 (38:05):
I got to work with the RIFA for this thing.

Speaker 1 (38:07):
And or is it like once he's on your project,
it's just you and you alone, or are you scheduled
in between other stuff?

Speaker 4 (38:15):
No, it was he.

Speaker 5 (38:16):
Would do it one at a time. And you mentioned
Average White Band, who are good friends of mine. He
went directly. He went directly from Carly Simon to Hall
and Oates to Average White Band. That was the three
three things that a row he did okay that period
of time, and but he would devote whatever it was
to each one. He didn't mix and match.

Speaker 1 (38:39):
And because I was wondering if he if he loses
his ears, like if he's working with you on Thursday
and then he has to you know, start doing pick
up the pieces tomorrow, Like is it possible for him
to lose his ears?

Speaker 5 (38:51):
Or well, I don't think it was, because he's he
had the ability to do that.

Speaker 4 (38:57):
He would just switch projects. But he didn't.

Speaker 5 (39:00):
He you mentioned before, he didn't have nothing to do
with picking singles.

Speaker 4 (39:05):
Or he would an r it. He would.

Speaker 5 (39:07):
I'd sit there and play songs for him, and he said,
well this is a good one. Okay, let's walk and
he would do that. But uh, and then to develop
the song from beginning to end. But then once the
song was done, then that that was that it was over.
You know, he didn't he had nothing to do with
like this is a good single that was for other people,
which is the way it should have been, to tell

(39:29):
you the truth.

Speaker 1 (39:29):
So a song like She's Gone, which is full of drama. Yeah,
and of course once you get to the payoff key
of that modulation build, you gotta sell that She's gone.

Speaker 2 (39:42):
Like how how is he?

Speaker 1 (39:44):
Is he nurturing as a producer in terms like that
or is it like do it again?

Speaker 2 (39:49):
Do it again? Do it again?

Speaker 1 (39:50):
Like?

Speaker 4 (39:51):
No?

Speaker 5 (39:51):
He that that particular one that was just what can
I say? That was just inspiration from me. I just
did that, you know, I just opened my mouth.

Speaker 4 (40:00):
And that's okay. I can't even don't know what anymore about.

Speaker 1 (40:04):
But and he lets you, and he lets you suggest
things and let it happen.

Speaker 4 (40:10):
He let it happen. He went and to keep one.
Oh that was rudy good. You know he afterward he
was saying, yeah, that was the ship. He didn't he
didn't even say even think about saying, can you do
that again? He just it was it was there, It was.

Speaker 1 (40:24):
I know the story She's gone is that, you know.
Not many people know that the Tavares brothers from Boston
actually took that song to the top ten before you
guys did, even though your version is and now in
our minds, the definitive version. But were you kind of
confused or perplexed that your first hit single was actually

(40:47):
a cover song of your song?

Speaker 4 (40:49):
Yeah, it was a weird thing. It was.

Speaker 5 (40:52):
I was boy, you know, it's a long time ago.
But our enthusiasm right over over rode our frustration, if
you know what I mean.

Speaker 1 (41:03):
But is it like seeing your girlfriend with another guy
or is it just like, hey, I'm in the top
ten and I wrote this song, so here comes the month.

Speaker 5 (41:13):
Yeah, I mean, I just I can't say I was
pissed off because I just felt that was the way
of the world at the time, and I didn't have
any expect I didn't have any expectations whatever happened.

Speaker 4 (41:24):
I just I rode the horse with whatever direction was
going in.

Speaker 5 (41:28):
And if Tavares has a hit with it, okay, well
I wish it was me, but it was them.

Speaker 4 (41:34):
So that's all I can say. You know.

Speaker 1 (41:41):
What was the decision behind working with Todd on the
War Babies record and not staying with a wreath to
see if you guys can go further with it.

Speaker 4 (41:50):
I just I.

Speaker 5 (41:51):
Felt that I wanted to do something completely different. I
don't know what my mindset was in those days. I
moved to New York City. I wanted to sort of
like expand my musical world outside of the my sort
of my Philadelphia, you know, that the Philly sound thing,

(42:13):
and I wanted to go completely different. I don't know
why I did, but I did. And I thought that
maybe working with Todd would be a good thing because
he did the same thing. He's a Philly guy that
left New York and created his own musical world. And
I thought that it would it would be interesting to
see what would happen if we if he would get
together with us, and what would come out of it,

(42:35):
and that that was really what it was all about.

Speaker 1 (42:38):
And were you an immense fan of his early records
and or the albums that he was doing at the time.

Speaker 5 (42:43):
Yeah, I liked what he was doing. I really liked
what he was doing at the time with Utopia. It
was it was really okay.

Speaker 1 (42:50):
Well, having having discovered his disciography twenty years after the fact,
you know, I discovered him once. It's already established that
this guy is like a crazy genius. But at the
time when it's coming out, you know, was it unusual
because Todd Todd's whole cannon is really it was forward

(43:10):
thinking for the time period, because he's like one of
the examples of what we now call the bedroom musician.
Of course we're used to it now post prints and
now anyone practically today is a bedroom musician. But that
was like really unusual back then. And he will push
the buttons, create creatively on all of his records. Was

(43:31):
he ever trying to pass his zany ideas onto you guys, like,
you know, to really push the edge of art as
far as it can go?

Speaker 4 (43:40):
Well, I was.

Speaker 5 (43:41):
I was into that headspace, so he didn't have to
push me.

Speaker 7 (43:47):
I was.

Speaker 4 (43:47):
I was right there with him. I said, how far
can we go?

Speaker 1 (43:51):
That was the whole idea, And how how receptive was
at the time.

Speaker 4 (43:57):
Not that perceptive? Receptive?

Speaker 1 (44:01):
Okay, Hence.

Speaker 4 (44:05):
I get it.

Speaker 2 (44:06):
I get it.

Speaker 1 (44:07):
Can you talk about Sarah Smile and just the inspiration
behind it?

Speaker 2 (44:12):
It's one of your most loved songs.

Speaker 5 (44:14):
You know, Sarah Allan, me and John were sharing an apartment,
a two bedroom apartment in Yorkville, and I had I had,
I had a keyboard and I just played the song.
You know, I was writing the song. It just came
out of real life. I mean, I can't say more
than that. I just wrote the song about what was

(44:34):
going on around me.

Speaker 1 (44:36):
I mean, was he receptive in these flowers that you're
I'm now mocking on paid Bill? Was he receptive or
was it like cringey like a man, like now you're
going to mortalize me for the rest of the Like
what was there feeling towards this song? And actually, can
you how did you guys meet?

Speaker 5 (44:56):
We met at Philadelphia. John metter and and and introduced
me to her and and uh we all we all
sort of uh she she worked for a charter airline
and that's where Vegas Turnaround came from.

Speaker 4 (45:11):
And uh uh and we all decided to move to
New York at the same time. It was could she sing?
She could sing? She's not she could sing, and she
she's actually a really good songwriter.

Speaker 3 (45:25):
Wow, in retrospect, since we know, since you didn't know
it was gonna be such a hit song. Would you
have changed the name if you would have known you'd
be singing the song so often?

Speaker 4 (45:36):
Oh, I don't know, you know.

Speaker 5 (45:38):
After saying and I split up, man, she says she
couldn't go to the supermarket for bet.

Speaker 2 (45:43):
Yeah, that's what I'm saying. How is it, how.

Speaker 1 (45:48):
Like I'll never sing that song again if you guys
break up and you know.

Speaker 5 (45:52):
Yeah, but you know that song, that song transcends relationships
and all that. It's you know, it's it's a bigger
than that, you know.

Speaker 3 (46:01):
And every Sarah in the world, and it's just about her.
So it's great.

Speaker 4 (46:04):
True, that's true.

Speaker 2 (46:07):
So the time period between.

Speaker 1 (46:11):
The I'm about to say the silver cover of the
Darrel Hall and John Notes self title record with Sarah
on it. Yeah, between that and you know, between I
think Faces, you know, there was kind of a period
or not Face's voices forgive Me in eighty that.

Speaker 2 (46:34):
That five year period where.

Speaker 1 (46:38):
You know, you guys weren't exactly sticking in terms of
finding an audience that's recepted to you. Just between that period,
what was it like between seventy five.

Speaker 2 (46:51):
And eighty.

Speaker 4 (46:53):
Well, we had rich Girl first, Well yeah, I mean yeah.

Speaker 5 (46:57):
Yeah, but but it was you know, in music, it
was a transitional time. There was that weird shit going on,
you know, rock versus disco and all that, and man,
that that put that put that put us in a
really strange place because I you know, it was a

(47:18):
time of categorization and and what's cool and what's not
cool and all this stuff, and it was a hard
it was a hard hard to figure out how to
how to maneuver through all that.

Speaker 4 (47:32):
It was.

Speaker 5 (47:32):
It was a really strange time. And it seemed like
in nineteen eighty it turned around and something else happened.
Also we started producing ourselves and that changed. I don't know,
I think the world changed.

Speaker 4 (47:48):
And we changed.

Speaker 1 (47:49):
So, having spoken with our previous QLs guess Denise Williams
about her experiences, I know that David Foster produced the Along,
the red Ledge Record and the Static record. What was
it about? What was it one?

Speaker 2 (48:06):
What was it like working with David Foster?

Speaker 1 (48:08):
And you know, I'm trying to it's weird because whenever
David Foster enters the picture for any artist, at least
between the period of like the late seventies to the
mid eighties, it's rather controversial. But you know, as far
as his work with Earth, Wind and Fire Denise Williams, Chicago,

(48:33):
Like whenever there's a documentary, it's always like and then
David Foster came in, it's like that, and he always
drastically changes the sound. So one, why did you guys
choose David Foster? And you know what was that experience
like working with them?

Speaker 4 (48:48):
Well, actually Tommy Mattola chose him.

Speaker 1 (48:51):
So okay, well livingly ask you well at the time,
I mean, he wasn't the time of Watola. I grew
up knowing like the established CBS, you know, executive.

Speaker 2 (49:03):
How did you guys discover Timmy went.

Speaker 4 (49:06):
I've known Tommy since he was twenty twenty years old?
He uh, he.

Speaker 5 (49:12):
Was working at Chapel Music. He was our first manager.
We were a trio. It was Mattola, me and John
and and and and that's I mean, he was our manager.

Speaker 4 (49:22):
True.

Speaker 2 (49:23):
I can't imagine Tom Rattola is a teenager.

Speaker 4 (49:26):
He was pretty much the same, just younger.

Speaker 3 (49:28):
And how is he good enough to be your manager
as a team? Like, how did you see that as
a teenager?

Speaker 4 (49:33):
Yeah? What did he show? Y'all?

Speaker 5 (49:34):
Yeah, he's one of those people just acts like a manager,
even if Yeah.

Speaker 1 (49:40):
So when did he was he managing guys from the beginning,
the very beginning.

Speaker 4 (49:45):
Yeah, we were his first project or whatever you want
to call it. We were a team.

Speaker 5 (49:49):
It was me, John Mey and Tommy and it was
that way all the way up till he discovered Mariah
Man and then he don't mean.

Speaker 1 (50:00):
Wow sound by for Yeah, it's okay.

Speaker 8 (50:03):
Everybody's always talking about Hall and Oates albums, and rightfully so,
but you also release solo records and in seventy seven
you work with Robert Fripp on Sacred Songs.

Speaker 7 (50:15):
So can you tell us what was the.

Speaker 8 (50:18):
Impetus for releasing a solo prod pict a that in
that year and what was the story it took like
three years for to come out.

Speaker 4 (50:27):
Yeah.

Speaker 5 (50:28):
Yeah, Well one of the reasons we're talking right now
is because I have a whole project. I'm releasing all
my solo records. You know, I've done all you know,
I have a whole like parallel universe of music that
I've I've been doing since the seventies. But to talk
about Robert, Robert and I became friends and we just
decided we were going to try and see what would

(50:49):
happen if we put if we work together, and we
did that album in seventy what was it, seventy eight,
seventy seven, immediately rat up against the machine that was
trying was unrecepted to the idea that I was not
doing Rich Girl Junior, you know, and doing something different,

(51:13):
and and they didn't want to hear about it. And
that's that's been sort of a recurring theme with whenever
I do my projects, it always sort of takes the
back seat to the cash cow and very frustrating.

Speaker 1 (51:29):
And have you ever wanted to keep a song for
yourself or is it are you basically just saying that, Well,
I write for projects.

Speaker 5 (51:37):
I write for projects. The difference to me, it depends
on who we're working with. So I I don't think
I ever said I'm going to hold this song for
a solo record, or hold this song for a Hole
and Oates record or anything like that. Just you know,
I work for projects.

Speaker 2 (51:53):
You know.

Speaker 1 (51:53):
One of the very first sounds of a drum machcene
that I've ever heard was, I mean, at the time
that I was a of it was I can't go
for that. As far as like technology is concerned and
all those things, like for you Can you just explain
how you know, how intricate or how involved you were

(52:14):
with like finding new sounds and whatnot. I don't know
if it's like you purposely wanted to find a new sound,
but you know, I can't go for that. It was
such a radical sound that what was U kind of
the standard for what was sonically the standard for music.

(52:37):
Can you just explained that process? I mean, so stripped
down but so timeless at the same time.

Speaker 5 (52:42):
Yeah, it's it's a funny thing. It happened by accident.
There was no plan. I sat down and I turned
on a roll in copy rhythm, which is the simplest
drum machine that you could ever imagine, and it was,
and I pushed rock and roll on, which is that beat,

(53:02):
and I started playing. I had this cork organ and
I started playing the bassline to it, and then I
started playing the right hand to it, and that's.

Speaker 4 (53:12):
Where the song came from.

Speaker 5 (53:13):
I mean, it all just happened spontaneously and there was
no no plan to I was just using what was
in front of me.

Speaker 4 (53:21):
It was really like that.

Speaker 1 (53:23):
You mentioned Quincy Jones earlier, having worked with both of them,
did you are there any stories or experiences from that.
How surreal was that night doing USA for Africa? Well,
I know that you were part of the We Are
the World recording.

Speaker 4 (53:41):
It was.

Speaker 5 (53:42):
It was one of the weirdest things that I've ever
done in my life.

Speaker 8 (53:47):
Talk about it, well, first, first of all, I mean,
I'm the whole idea is that you're not allowed to
You're not allowed.

Speaker 4 (53:56):
To bring anybody in with you into the room.

Speaker 5 (53:58):
So that's that's a big change for most people, you know,
because everybody's got their people that they walk around with
and they hang with and they depend on and do whatever.
And no one was allowed in the room except for
the actual artists that were performing and working. So we
were all in there together and I didn't know everybody.
I mean, it was it was an outrageous assemblage of people.

(54:22):
I mean it was like, right, Charleston at the piano,
and Diana was there, and Tina Turner and I I'm Dead,
on and on and on, and.

Speaker 4 (54:32):
It was nobody knew how to act because it was awkward.
It was awkward, So everybody reverted to being like.

Speaker 5 (54:40):
An eighth grade chorus because we're all all standing on
those you know, the police, and that's how people started
acting they started to like kids, and everybody's like making
these weird kind of like kid jokes and stuff, and
everybody asking each other.

Speaker 4 (54:57):
For their autographs and all this kind of thing and
really being really open.

Speaker 5 (55:03):
I've never seen a group of artists be so open
with each others as they as they we all were
that night, and it went on too.

Speaker 4 (55:14):
It went on well into the night. You know, some some.

Speaker 5 (55:17):
People were still there at like four o'clock in the morning,
and it was it was crazy.

Speaker 4 (55:22):
It was really it was a crazy experience.

Speaker 2 (55:25):
In cutting those vocals.

Speaker 1 (55:27):
Is it intimidating, like doing it in front of other
artists or are you the kind of guy that needs
to be isolated in a room alone to give your
best performance? Like what's your modus operandi?

Speaker 2 (55:39):
What do you prefer?

Speaker 4 (55:40):
Actually? I like doing it in front of people. It works,
It works for me.

Speaker 2 (55:44):
I mean, so that pressure is good for you, Yeah, that's.

Speaker 5 (55:47):
Yeah, Yeah, it makes me do my best work. I
just opened my mouth and said that little bit that
I did. I just sang it. That was it, you know,
one take. But some people had to redo their stuff.

Speaker 4 (55:59):
But it was differ, you know, I get it.

Speaker 1 (56:02):
I would also like to ask you about the Apollo
Record with Eddie and UH and David. Well, okay, you
told me that Timptones were more based on Temple. I
always were from the Temptations. But could you describe your
fandom for the Temptations, like and how was that a

(56:22):
special moment or was it just like okay, that was.

Speaker 5 (56:25):
Cool and no, no, no, it was it was. It
was one of the special moments. I mean, you're you're
hitting on all the things that actually matter.

Speaker 4 (56:33):
Yeah. Yeah, with the Temptones were Temple University.

Speaker 5 (56:36):
But I idolized the Temptations and I and I got to
know them back in those days.

Speaker 4 (56:41):
There's a picture of me with those guys back then
in nineteen sixty seven, and I really did get to
know them all and hung out with them, sang with them,
did all that kind of stuff. I was especially friends
with with with Paul Williams and Eddie and.

Speaker 2 (56:58):
You knew Paul Williams.

Speaker 1 (56:59):
Wow, oh god, please, could you Okay, I've never heard
of Paul Williams story in my life.

Speaker 2 (57:05):
Can you just describe.

Speaker 5 (57:07):
One time I took him to Linton's Diner out in
West Philadelphia and Overbrook Park and I was I was
the celebrity of the Evening Man because I put him
into this fucking diner.

Speaker 3 (57:22):
Oh yeah, yeah, you.

Speaker 5 (57:26):
Brought Paul Williams because you know, everybody was a Temptations fan,
and I brought him into the place.

Speaker 4 (57:31):
Man, And I really like Paul.

Speaker 5 (57:34):
I had a lot of heart to heart talks with
Paul Man and he used to listen to the records
and listen to my songs and stuff.

Speaker 3 (57:40):
I was just about to ask you, what did some
of the guys think of your voice and what you did? Like,
what did the Temptations say about that?

Speaker 5 (57:47):
I actually sometimes after hours I'd go into one of
their rooms or whatever, and they'd all sit around and
sing and wow, David was never there. David was never there.
He was always someone Yes, well I take David's parts,
and I.

Speaker 3 (58:04):
Really and they would say what I just want to
I just I feel like I want to know about
the like the first time they heard your voice, and
there's like.

Speaker 5 (58:13):
I guess they saw what or heard what they heard,
you know. I mean that's all I can say.

Speaker 7 (58:19):
Yea, the fact they let you come into room that says.

Speaker 5 (58:21):
That one of the double bets, you know, and sing
sing ship damn.

Speaker 1 (58:29):
Wow, that's okay. So I mean for me, that's like
to make an album with my idol. You know, that's
that that is special. I'm glad that was a good
experience for you. Any memories of the Three Hearts, uh
and a happy Ending Machine record. I know that by
that point, even though you two will have made like

(58:53):
one or your your final, at least of that hall
of notes run the one for Arista. In making that
good and working with with with David Stewart and and
oh my god, I didn't even mention t Bone your
bass player and and your musicians.

Speaker 2 (59:11):
What was that for you? What was that process?

Speaker 1 (59:15):
Like?

Speaker 5 (59:16):
Well, Dave and I again, we I tend to work
with people that I get friendly with.

Speaker 4 (59:21):
First. David and I got friendly and we.

Speaker 5 (59:24):
Started writing songs together right away. I mean we're still
really close friends. And uh, it was it was very natural.

Speaker 3 (59:31):
You know.

Speaker 5 (59:32):
He had his own studio in London, and actually we
started it in Paris because he just wanted to do
something different, and we wound up uh doing a good
part of that album in Paris. But uh, t Bone
was sort of the in the middle of it all.
He was the voice of reason because David, David is
very he and I are very similar. You know, we

(59:52):
just go for it, you know, and it's all over
the place and and and we.

Speaker 4 (59:58):
It's it's very loose and spontaneous, and T Bone.

Speaker 5 (01:00:01):
Was sort of holding down the ford and he was
the you know, the voice of reason within it all.
And so that's what it was like. It was it
was it was a lot of fun making that record.

Speaker 2 (01:00:13):
How did you guys induct him?

Speaker 1 (01:00:16):
You know, even before like we got to know musicians
or whatnot, you guys had like a really charismatic band.

Speaker 2 (01:00:24):
So you know, I knew of of t Bone, I
knew of.

Speaker 1 (01:00:29):
Your guitarist, Like, how did how did you guys assemble
that particular band?

Speaker 2 (01:00:38):
Were they just like New York's finist? And do you arty?

Speaker 4 (01:00:43):
Let me let me think, Uh, g was worked with
Dan Hartman. Okay, now don't ask me how.

Speaker 1 (01:00:52):
That, Oh instant you played Dan Hartman?

Speaker 5 (01:00:55):
Okay, yeah, yeah, that that Dan Harmon and and then
and Dan wasn't working so somehow ge.

Speaker 4 (01:01:03):
Man I can't remember he is. Somehow he got introduced
to me and I said, do you want to join
the band?

Speaker 5 (01:01:09):
And and I brought him in and uh who else
was playing?

Speaker 4 (01:01:13):
Uh?

Speaker 5 (01:01:14):
Jerry Murder, Yeah, Jerry Murata was it was playing drums
with us, right, Okay, so it kind of happened gradually.
And then and then we were looking for a bass
player and and we the guy that we were usually
couldn't do it anymore.

Speaker 4 (01:01:27):
It was a John Siegler.

Speaker 5 (01:01:28):
He went back to Todd or something that because he
was working with Todd and uh and t Bone auditioned
and and yeah, there he is.

Speaker 4 (01:01:38):
Man. I said, well, this guy's a monster.

Speaker 1 (01:01:40):
And so I forgot to mention on on on John's episode,
but well I mentioned that when you guys were coming
on the tonight show and unfortunately you had to cancel
because t boneet passed away two days before I got
to also mentioned, at least for our fans that that's

(01:02:00):
t Boom, that's the bass player on Curtis blows the breaks.
So you know, legendary, legendary cat.

Speaker 4 (01:02:13):
Yeah did that before he even before he joined us.
That was that was his first thing he did. He did.

Speaker 2 (01:02:19):
Really yeah, oh shit, that I did not know.

Speaker 1 (01:02:27):
After the initial implosion of Hall of Notes, Like how
how hard was it to come to that decision? After
the oh yeah record? And you guys go in your
separate ways to do your solo endeavors, Like, did you
know that at least that initial run of Hall of
Notes from seventy to the eighty eight that you had

(01:02:50):
enough at that point?

Speaker 5 (01:02:51):
Like it only looks that way when you look back
on it. I mean, when we were in it, we
just said, Okay, we're going to do this. We're going
to do that. We never really stopped making records. We
made records through the nineties.

Speaker 1 (01:03:03):
Uh, well, I know you did it, but it's always
built as like a comeback record or like a reunion album,
which other.

Speaker 4 (01:03:09):
People's perceptions than ours. Uh, But Okay, we sort.

Speaker 5 (01:03:13):
Of morphed into just this, uh, into a touring band,
and that's that's really what we are now now you
know we we're a performance band. We don't we don't
really you know, we have this outrageous body of work
that we can that we can draw from, and uh,
and that's that's really where we come together at this point.
And that's sort of it just turned into that and

(01:03:35):
we decided to be more individuals, which is what I
think tends to happen as you go on in life.
You one become more yourself and it's part of maturity
or whatever. And knowing yourself and that's what.

Speaker 4 (01:03:51):
That's that's where we're at right now.

Speaker 9 (01:03:52):
You know, y'all are still good friends and still like work,
but just not recording, Yeah, just touring.

Speaker 5 (01:03:58):
Just if I want to make a record, I'd rather
make a record with me. And he feels the same way.

Speaker 7 (01:04:03):
You know, I get it. I completely get it.

Speaker 1 (01:04:07):
Fante's kind of in that situation himself.

Speaker 3 (01:04:12):
In a whole different way. Like it's like, it's interesting
I'm thinking about I'm looking at Fante and his group situation.
I'm looking thinking about you and Black Thought and existing
separately in your projects.

Speaker 1 (01:04:21):
It's kind of interesting. But the but the thing is
is that the roots, like for me, like Tarika and
I have have an agreement that we can go and
scratch our back like we're we're in a polyamorous relationship.
So if I need to get my back scratched elsewhere,
I know that at the end of the day, I'm
gonna come home and you know, sort of come back

(01:04:45):
to home base eventually, like check in, Hey, okay. But
you know, I guess for a lot of times, there's
this thing where it's like if you're in a group
situation that you have to throw the baby out with
the bathwater, and then and there's always a thing where you
miss it. In eight years, you're like, all right, let's
rebuild the house again. You know, I just always won

(01:05:06):
day and you start realizing why you left the house
to begin with. It's like, nah, I should take in
a And you know, I understand this might be a
personal question, but in a situation where you I'm certain
that you can't be partners with someone for that long

(01:05:29):
of a time without it being arguments or whatever, or
at least with a duo. It's kind of different when
it's in a group dynamic. But do you too, at
least have your version of not going to bed angry?

Speaker 4 (01:05:42):
Yes? Sure?

Speaker 2 (01:05:43):
Or make sure that you're.

Speaker 7 (01:05:44):
Clear what does conflict resolution look like for you? Guys?

Speaker 4 (01:05:47):
We don't really fight. It's a funny thing again.

Speaker 5 (01:05:51):
You know, we've known each other since we're kids. I
think we sublimated. I think there's a lot of you know,
maybe maybe uh, maybe there's resentment and and and shipped
under the surface.

Speaker 4 (01:06:05):
That doesn't but we don't. We don't. We never fight.
That's the best way I could put it. We just
don't fight. We we either let it go or or
Bury it.

Speaker 2 (01:06:16):
I see.

Speaker 1 (01:06:17):
I have a question about your your your your Philly home,
your your house on Quin Street, the one in Philly
that still remains. You know why, why was that you know,
a perfect creative enclay for you and John?

Speaker 5 (01:06:34):
It was the time, it was There's something about that
period of time I got that place.

Speaker 4 (01:06:40):
I was. I was married to.

Speaker 5 (01:06:41):
This girl at the time, and uh, I was right
out of school, right out of school, and it was
just Philly was it was really a good time to
be in Philadelphia right then. It was great music and
just a great, great atmosphere, and and that house was great.
I had was the Hall of.

Speaker 4 (01:07:00):
Oats birthplace, really right, Okay, that's all I say about it.
I love that house. I renovated it actually. Yeah.

Speaker 1 (01:07:07):
For a whole new generation of fans, a lot of
them had their discovery of you via your legendary show
Live from Darryl's House, which you know, what was the
sort of what was the genesis of the idea that
of you inviting guest over to jam and whatnot?

Speaker 7 (01:07:28):
And that was the O G teny disc.

Speaker 3 (01:07:30):
Is it streaming or what?

Speaker 4 (01:07:32):
Because it's not right now, I'm waiting to restart it again.

Speaker 2 (01:07:39):
I'm I'm waiting for my invitation.

Speaker 4 (01:07:47):
I think I actually did give you an invitation and
we were.

Speaker 2 (01:07:51):
Yes, you're right, I forgot, Yes, we were. I forgot.
We were to forgive me my own face.

Speaker 4 (01:07:57):
Sorry, in some form for sure.

Speaker 8 (01:08:02):
But Darryl's House is operational all year round.

Speaker 5 (01:08:05):
Right, Well you mean the club Darryl's House. Yea, yeah,
that's that's in appalling New York.

Speaker 4 (01:08:11):
Yeah.

Speaker 7 (01:08:11):
Right.

Speaker 8 (01:08:12):
My sister lives in Westport, and yeah, she wants her
on table there. She's there every show.

Speaker 4 (01:08:20):
Yeah. I love having a club. I love clubs.

Speaker 3 (01:08:24):
But seriously, Daryl, can you see old episodes anywhere? I
was literally literally just thinking about that today because it
was on an interesting network in the first place.

Speaker 4 (01:08:32):
What can you see the episodes?

Speaker 3 (01:08:34):
Can you see the old episodes?

Speaker 1 (01:08:35):
Yeah? Can you see the old archival?

Speaker 4 (01:08:37):
Ye? Not all of them. Not. My plan is to
make them all available.

Speaker 3 (01:08:45):
Okay, okay, cool, we get that deal. Yes, yes, yes, yes.

Speaker 1 (01:08:49):
What were the two years of lockdown and quarantine? Like
for you, were you able to go into other forays
of creativity in terms of.

Speaker 4 (01:08:59):
Like, no, I went into hibernation.

Speaker 5 (01:09:03):
I I this studio house is where I lived, and
I didn't I stopped making music.

Speaker 4 (01:09:10):
I didn't do anything because I had.

Speaker 5 (01:09:12):
This feeling that when this whole thing blew over, that
it was all going to be different. And I knew
it was going to be different from me, and I
had a lot of reevaluation, and just I've been traveling
my whole life, you know, I've been on the road
my whole life, and to be in one place in lockdown,
I just I just sort of embraced it. That's the

(01:09:34):
best way I could put it. I just said, Okay,
here I am. I'm not seeing anybody with my sister
who lives up the road. And and that's really what
I did for all that time.

Speaker 1 (01:09:44):
And this was the longest that you've ever taken a
break from not music now since I was.

Speaker 4 (01:09:50):
A teenager, Yeah, for sure.

Speaker 5 (01:09:53):
And when I realized that it was we were coming
out of it, I said, Okay, now what am I.

Speaker 4 (01:09:57):
Going to do? It's reevaluation.

Speaker 5 (01:10:00):
I think a lot of people are thinking that way,
but yes, the way I'm looking at my my life,
my career, my creativity, everything, And that's why I'm putting
out this body of work album to start it. It's
sort of a it's a new error to me and
whatever I wanted to do, I'm doing now. I'm not
holding it back. I'm not letting circumstances dictate anything. I'm

(01:10:23):
just I'm just I used this term before, but I'm
going to just ride the horse direction it's going in.

Speaker 1 (01:10:29):
I know that another area of creativity for you is
like restoring houses and whatnot.

Speaker 2 (01:10:33):
Is that therapeutic for you?

Speaker 5 (01:10:36):
Yeah, it's it's therapeutic. It's it's I love history. I
love all that stuff. You can tell by this room
that I'm in, But I uh, it's it's sort of
like naked music. It's it's antique architecture is what it's
all about with me, and restoring old places and and
and and bringing them back to their their period, uh

(01:10:59):
what they were in their period and uh uh and
working with all these artisans and artists, which is like
working with musicians and getting teams together and making making
a project happen, making making something out of nothing, or
it's it's uh, it's not unlike making a record.

Speaker 4 (01:11:18):
It's the same thing.

Speaker 3 (01:11:20):
Is there an HGTV show I don't know about?

Speaker 4 (01:11:22):
Or I did a TV show about work restoring an
old house? You said you did?

Speaker 3 (01:11:30):
It's not a familiar restoration overhaul that sounds familiar.

Speaker 2 (01:11:36):
You're before after project.

Speaker 1 (01:11:39):
Could you tell us like the inspiration behind it and
the creative process to create it?

Speaker 4 (01:11:45):
Well, I wanted to.

Speaker 5 (01:11:47):
I wanted to put together my alternative body of work.
Everybody knows my work with with John, but as many
people know, all these things that I've been doing for
all these years, and I wanted to bring it out
into the world, you know. And and I took excerpts
from every album and included excerpts from the life of

(01:12:08):
Daryls as show and.

Speaker 4 (01:12:10):
Put them all together. I didn't.

Speaker 5 (01:12:11):
I didn't do them in chronological order I had, you know,
I didn't. I treated him the way I would treat
any kind of album, and just put the songs together
as I felt, as I felt the flow would. I
just felt the flow. And that's that's the best way
I could put it. I just was showing the world
that side of my music and the people that I

(01:12:33):
worked with and all these different projects I've been doing
for for.

Speaker 4 (01:12:35):
Many, many years.

Speaker 1 (01:12:36):
The ultimate mixtape for you, like the automate retrospective of
your your favorite songs, your personal favorites from your from
your solo catalog.

Speaker 5 (01:12:44):
Yeah, all the all the ones that are my first
the ones I think are the great, the good, the best.

Speaker 4 (01:12:49):
The best of the best. You know, and uh and
and and that's an introduction. It's a it's a reintroduction
to some people, but it's an introduction for a lot
of people. And then I'm gonna continue on with it
and start making original songs. I'm already working on new
songs with various people. There.

Speaker 9 (01:13:06):
There's a version. There's a producer named Pomo. He did
a version of I Can't Go for That? Have you
heard it? It's I think it's on Spotify. Like that
shit as hard as fuck. It's like a Pomo he
did like a it's kind of like a house kind
of fors to the floor version of I Can't Go
for That?

Speaker 1 (01:13:22):
Ye every time? Yes, Yeah, that ship is a jam.
I think you did it. Are you familiar with people
dipping into your pass and sort of re reintroducing your
music to.

Speaker 4 (01:13:33):
Because they I have to approve number one. So yeah,
I hear.

Speaker 5 (01:13:37):
I hear what people are doing, and I love it
when people mess around with my songs. I think it's great.

Speaker 3 (01:13:44):
Dara, I always wanted to ask you what do you think?
After you you guys did your thing and of course
change the way Philly music is looked at. What do
you think about after you left and some of the
other Philadelphia artists that came after you. Have you noticed
anybody that that locked in your ear?

Speaker 5 (01:13:59):
I don't know anybody I'm trying to think of.

Speaker 3 (01:14:05):
It's like the you know, so many errors.

Speaker 7 (01:14:07):
It was the core.

Speaker 3 (01:14:07):
I mean, I ain't gonna say the roots because you
know so and so is here, but as in you know,
the music, solo childs, the Jill Scott's, the Legend John Legends,
well College Philly.

Speaker 4 (01:14:19):
I mean they're all great. I mean carrying them on
the tradition.

Speaker 1 (01:14:23):
Then before I go, I definitely want to ask you
about these tour dates, Like for you, do you like
touring still or is it is the grass always greener
on the other side, Like for you at the stage
in your life when you see because you're you're about
to do like a three month or two to three
month run for your solo tour, Like for you, is

(01:14:46):
it like like getting up at like the idea of
lobby call and early stuff and sound check and a
routine is that you know, is it still exciting to
you or is it just like I don't know.

Speaker 5 (01:15:00):
Well, it's you know, when you're out there, you go like,
oh fuck, yeah, you know, it's it becomes hurry up
and wait. It's you know, it's it's routine. It's constant,
you know, moving around.

Speaker 4 (01:15:11):
Doing all that. But when you're on stage, a bird's
got to sing, you know.

Speaker 5 (01:15:16):
I mean, it's it just feels like it's if you're
having a good night, your monitors are good, and.

Speaker 4 (01:15:22):
Everything's everything's working. It's uh, it's a spiritual experience.

Speaker 1 (01:15:28):
And I know you're hitting Carnegie Hall. Is this the
first time that you're playing Carnegie Hall as this?

Speaker 2 (01:15:33):
He will act?

Speaker 4 (01:15:34):
First time I'm playing Cardiig Hall with anybody act? Yeah?

Speaker 7 (01:15:37):
Oh wow, that's what's up man?

Speaker 8 (01:15:40):
I have one final question from me, Daryl, and this
is not you've probably heard this before. That's not an
original question, okay, and it's not a joke. A lot
of us out here still waiting for Rock and Soul
Part two, you know, as promised by the calling the
original part one.

Speaker 7 (01:15:59):
So what's wrong with.

Speaker 8 (01:16:03):
What's wrong with releasing another edition of that part two
with just deeper cuts from from your immense catalog with John.

Speaker 4 (01:16:12):
I think it's a good idea. Maybe I'll do it.

Speaker 1 (01:16:16):
I have a question in closing, and I guess I
should have asked it earlier. I mean when people mention you,
of course, uh, you know, the term blue eyed soul
always gets tagged with you. When you think of blue
eyed sold at least if you're kind of my age,
the first thing you think of is hall of notes.

(01:16:37):
Did you guys mind miss tag at the time or
was it? I think every artist sort of rolls that
collectively rolls their eyes of whatever like is pegged of them.
But you know, when the term blue eyed soul came up, like,
I feel like you guys were sort of the first
out the gate to get that that title, Like, did
you mind it or was it?

Speaker 2 (01:16:57):
Like I hate that term?

Speaker 4 (01:16:59):
Well, the first duo that ever got it was the
Righteous Brothers.

Speaker 1 (01:17:03):
That's that I did not know.

Speaker 5 (01:17:06):
Okay, Righteous Brothers was That's where the term that that
that's whoever. I don't know what journalists used it, but
that's that's where it all came from. I'm not nuts
about it. I don't I don't you know, I'm a
soul singer. I'm I have blue eyes O Scott brown eyes.

Speaker 4 (01:17:25):
Whatever you know.

Speaker 1 (01:17:27):
I don't.

Speaker 4 (01:17:28):
I don't like to.

Speaker 5 (01:17:28):
I don't like to break people break categories down, especially
those kind of categories.

Speaker 2 (01:17:33):
Mhm, I see.

Speaker 3 (01:17:34):
Do you feel the honor in existing, thriving and being
an example and soul music in that way though.

Speaker 5 (01:17:42):
I'm I'm happy to be respected in in in you know,
in a world that I care about.

Speaker 4 (01:17:50):
Uh.

Speaker 5 (01:17:50):
And it's it's my baby food, it's what I it's
what I grew up with, it's what it's what I
it's it's the source of my musical inspiration. So that's yeah.
I mean, no matter what the production or the arrangement
or even the song is, I'm still a soul singer
in my heart. And that's that's that's that's that's where
it generates from.

Speaker 8 (01:18:11):
Wow, we're hearing we hearing that so much these days.
Bonnie from Bonnie Rate said that, and about about the
Blues and John said that. Costello said that, Yeah, it's
just you know, if that's what you grow up on,
that's what.

Speaker 4 (01:18:24):
You are, That's right, that's absolutely true.

Speaker 1 (01:18:29):
Well, hey, I just have to say, you know, you
guys are I mean you in general, like you're you're
you're the soundtrack of you know, my life as just
as a music fan and in general. And I'm really
pleased and happy that we did this episode. And I

(01:18:50):
thank you very much, uh Daryl for for doing this
with us and making us a special episode of Daryl Hall,
Ladies and Gentlemen, Legendary Philadelphia. And you know, wait a minute,
Wait a minute, Wait a minute, wait a minute. One
more question, please, one more question, and I swear to God,
I'll let you go. I heard a rumor that you

(01:19:10):
once stopped a robbery from happening once on tour.

Speaker 2 (01:19:14):
Yeah, is this true?

Speaker 4 (01:19:16):
Yeah, that's true.

Speaker 1 (01:19:19):
Wow, I've heard the rumor of it, but never I'll
tell you the story. This is the encore, and I
promise it's over.

Speaker 5 (01:19:26):
Right, because nobody ever asked about that. We the first
time that me and John went to Australia, right we
were We were in Melbourne, Melbourne, Australia, and it was
after a show and we went to this restaurant and
nobody was there except for it was after hours and

(01:19:49):
nobody was there except these two guys and their wives
were sitting at a table next to us and my
bass player, his girlfriend John and one of our minders.
Was he just some guy that was with us and
so we're sitting there and suddenly this guy. We look

(01:20:10):
up and there's a guy standing on a ski mask
and a shotgun.

Speaker 4 (01:20:13):
Oh shotgun.

Speaker 2 (01:20:14):
Here was this?

Speaker 4 (01:20:15):
This was nineteen yeah, eighty one, I'll say something like that.

Speaker 1 (01:20:19):
He's Jesus Christ, this private eye time.

Speaker 4 (01:20:22):
Yeah. Yeah.

Speaker 5 (01:20:25):
So the guy he starts waving the gun around and
he says, you know, he give you your money, give
me your money. And I remember the bass play. The
bass players name was Kenny. He pulled out a credit
card and handed a credit card. Okay, we're all sitting

(01:20:46):
there and it's it's an unreal situation.

Speaker 4 (01:20:49):
I mean, anybody ask anybody in a situation like that,
it's all very unreal.

Speaker 5 (01:20:53):
The guy had a ski mask and a shotgun, right,
and he goes over to the next table, which was
right next to us, and he starts pointing the gun
at one of the women and says, give me your
you know, give you your money out of your purse. Right,
And he put put the gun down just enough that

(01:21:15):
one of the guys grabbed the barrel of the gun
and pulled it and the other guy jumped on him.
And then John jumped up and jumped on the guy
and then we all started jumping on on this guy
and I tried to jump on him, and the bass
player's girlfriend grabbed me around the leg and pulled me
back and says, saved me, saved me, saved me.

Speaker 4 (01:21:35):
So I couldn't do anything because I'm fighting.

Speaker 5 (01:21:37):
She's like a little puppy dog or whatever, and I'm
trying to fight her away and grabbed this guy at
the same time. We we basically broke the shotgun up,
took the took the shells out, and then then then okay,
he was disarmed, so then we held him and by
then the matre d or whatever it was, the guy
that was there had called the cops. The cops come

(01:21:59):
charged up the stairs because on the second floor and
grabbed the guy and uh basically threw him down the
steps and uh and then took him away. And apparently
he had robbed twenty five restaurants and he was called
the rusty gun bandit.

Speaker 7 (01:22:17):
Oh wow, rusting gun rusting gentlemen.

Speaker 2 (01:22:21):
That sounds like you, Jackson.

Speaker 7 (01:22:24):
Yeah, Robin.

Speaker 3 (01:22:25):
I was like, this is Three Hills cop and coming
to America.

Speaker 1 (01:22:29):
Okay, yeah, Daryl Hall, legendary crime Stopperlease gentlemen.

Speaker 2 (01:22:34):
Yeah, that's how you end the show.

Speaker 1 (01:22:38):
Paid Bill Laya, Siga, Steve Bon, Tigelow and I'm questlove
the legendary rock and roll Hall of Fame got himself
Daryl Hall. Thank you very much, question, thank you on
the next go round.

Speaker 4 (01:22:53):
Thank you okay, thank you much.

Speaker 2 (01:23:06):
Love Supreme is a production of iHeart Radio.

Speaker 1 (01:23:13):
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.

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Laiya St. Clair

Questlove

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