The Questlove Show - Questlove Supreme: Daryl Hall

Episode Date: April 6, 2022

Part two of this special Questlove Supreme continues with Daryl Hall. Daryl discusses his formative music years in Philadelphia, the stories behind his hits alongside John Oates, and why he is taking time to emphasize his important solo catalog. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

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As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ago Vodam. My next guest, it's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be.

Right, it wouldn't be that. There's a lot in luck. Listen to Thanks, Dad, on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. Ladies and gentlemen, this is Questleaf 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-on-one QLS's, meaning one artist to you. the show as opposed to group scenarios. So that way, you know, it's always you get two sides of a story of the same story sometimes

or you get the same identical story. But the previous episode, we talked to one half, one of my favorite duos of music, one of the most successful duos of music. And now we are given the honor and the pleasure of speaking to the voice, the soundtrack. I mean, the personal soundtrack of my childhood. And I'm, you know, a Philadelphia. So this episode is doing me some pride right now. What else can I say?

But the one and only, Darrell Hall. Hey, hey. Let's love Supreme. Welcome, stuff. All right. By the way, Team Supreme, I'm sorry. I didn't even acknowledge you. How are?

Damn, you was waiting for that. I was going to say, it's okay. It's Daryl Hall. We're all a little fanned out. It's fine. No, no, no. But in my mind, I'm still feeling like, this is a continuation of the episode.

But yes, we can let the world know that a week or two went by and, you know. Yes. Yes. So how are you doing, all you? I'm doing great. I'm ready. I'm so good. I feel like this is.

Yeah, life is complete, man. It really is. Wait, can I? I got to ask some personal, 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 a new. I said, this is actually my story. studio house.

Oh yeah, this is mine too. Okay. Exactly. That's what I did it is, Amir. It's my studio house. 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.

It's the only way I can get 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 back. Okay. Well, one of us will have to agree to get on a plane, but what that will say that for another episode. Okay. You was here last week. Oh, Bill.

Yes. How's it going, sir? Fantastic. Congratulations to you. How are you? I'm great, man. Congratulations to you. You've been winning awards like handover, whatever that expression is.

And we have to do some flowers of beer, flowers for a beer. Congratulations. I take bathas and da-da-da-da-da-da. Thank you. Thank you for that deflection. I'm fully proud of you. Thank you. Well, you know, also you finished a milestone in the show that you're working on, Sesame Street.

You finally finished, I guess, season 50, I assume. We finished just last week, season 53, I think, 53. Season 53. Also, wait, this is what I do want to know. Because I'm not an active watcher of Sesame Street now that I'm 51 years old as I was when I was a kid. But the death of Mr. Delgado, aka Luis on Sesame Street. Was he still an active character on the show even, or did he leave beforehand? 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 omnipresent in that place, Bob and. So like Maria, Bob and Susan and Gordon, like they're still occasionally come back on the show to do stuff? Yeah, like most recently they around for season. we had a big reunion for season 50 a couple years ago and they were definitely there for that and I saw him at that and he's a fantastic like Emilio like played the guitar really well

and sang really well and he was just a consummate musician and a wonderful human being and it's really sad but yeah when you put me on the float I think I got to meet some of them and that was really cool you make it seem like I physically placed you upon the Thanksgiving Day float and I will take full credit for that. Well I'm

you know I'm trying to give you props Bill because I don't want people to think that you're just like the flavor of slave sidekick like You're a major staple in the circle, man. You are, you know, you're writing, hit Broadway shows and producing platinum albums. And just for the record, I'd be happy to be a flavor, flame sidekick. I'm totally fine with that, but that's very nice. I know that's right.

I'm throwing some of these flowers back to you. Sugar Steve, you okay, even though you're upgrading your computer right now. You're doing this on your telephone? I'm really good. Thanks for asking. I actually won a Schmucky Award last night. And I'm thinking about buying my own paper airplane. Okay.

I like this. Don't step on my punchlines in front of Darrell Hall. Did you, I'm sorry. I didn't know you heard me. I'm sorry. Anyway, Fon Ticloo. Good time. I'm good, brother.

I'm good, man. I'm good. Congratulations to you, man. I was happy to see that straight up. I appreciate that. Yeah. Now we can finally get to, to business.

First of all, Sir, Darrell Hall. Are you in the world famous Darrow's house right now? I'm in my studio house. Okay, explain what that. So this is different than the Darrow's house that I've seen on television. Yeah, it's a different house. And altogether, it does. That is bollish it.

I like this. I like where this is going already. 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 surroundings. set up. Right. Yes. This is, this is, this is a next. I'm just sitting in a living room, man. I might have to do this. I'm doing too imaginative. One light bulb. One light bulb. 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 and his life. And now's your turn.

Because, you know, although you two 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 group project. So for you right now, like where do you, where do you call home? Where do you reside? Right. I'm in Connecticut right here. I, you know, I have a house in London, too. So I kind of go back and forth. Nice. What part of London?

In Kensington. Nice. Okay. I used to live in Kemptus town. Okay, all right. Yeah, Kennesstown in London. When did you cop a spot in London? When? Yeah, I've been there since the 70s.

Oh, wow. Forever. So you're a dual citizen? Right, sort of. Wow. Why London? What made you choose to go over there? I just had an affinity before just from the very beginning.

It kind of reminded me of Philadelphia in some crazy way. Oh, wow. We are a little cleaner than that. Well, yeah. Some parts, some parts. No, no, no, but you know, 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?

Should we move to Daz? And it was something about London that called us. And so. There's something familiar about it, you know? Very much so. So thus, okay, well, that's, that's cool to hear. Like, are you in a city part of London? It's 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. I mean, I understand that now. 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 case you just want to. Well, it's actually kind of the same thing. I, you know, I live out in the country here when I'm in America. And then my city house is is in London. And I have a, it's like a, it's, you know, row house, townhouse. Same thing. 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 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 in 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 of the chaos and the hustle and bustle of what the industry was.

So what was your decision to get a country spot? I don't know, man. I've always sort of had one foot in the country and went to foot in the city. I grew up. I grew up. I didn't grow up in Philadelphia. I grew up at Pottstown, you know, out in Chester County. And, uh,

I'm kind of considered that Philly adjacent. It is. It is. But when I, hey, I'm an old guy. You know,

it was a country in those days. It was really in the country. And, you know, I grew up in a colonial house and all that kind of stuff. You know,

I mean, it was, I grew up in that world. You know, my family were farmers. You know, and so I grew up that way, but I was also part of the city.

It's always been, it's always been kind of schizophrenic with me. It's a city in a country together. And I sort of need both of them. I need one to balance out the other side. Do you remember what your very first musical memory was? Probably seeing what my mother and father both were musicians.

I see my mother in a band. I mean, my mother was in a band in Pottstown. And I was like, yeah, from the age of two years old, I'd watch the band. I always wanted to be the band leader, you know, the guy that had the, he had like a white coat on. Everybody else had red coats on. He had a white coat on. So yeah, I wanted to be that guy.

What does Darrell Hall's mom's voice sound like? What is her singing voice? She was a soprano. She's 98 years old now. Wow. She's still here? Yes, she is here. She still sings.

But yeah, she's an amazing singer, amazing soprano. And my father was in a gospel group, vocal group. And so I learned harmonies from him and his brothers and his friends and all that. So I, you know, I grew up in that whole, that whole world. Were they closer to Duop or more Mills brothers or like harmony? Like, what was there? Church harmony, you know, like, Cortet harmony.

Yeah, gospel harmony. Okay, but when you say quartet, Farte, right. I'm thinking of below, you know. I got into that. Right. Okay. It was a core set. What's your sibling situation?

How many, are you, how many brothers and sisters do you? I have a sister, one sister. She lives up here in Connecticut too. And she's musically inclined as well? She is, but she's an artist. She does all my visuals. You know, she does everything from my album covers to my t-shirts to everything. Yeah.

Really? How long has she been collabing with you? Well, as long as we've been alive. Oh, so even in the days of like, She was the visual artist and I was the singer. We both do both things, but that's how it's sort of panned out, even when we were kids. 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 first weapon of choice growing up as far as the instrument that you...

Piano, 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 sing because she was sort of a vocal teacher too. And she taught me how to sing from age zero, you know, I mean, I was always. Okay. Yeah. Well, I know that you have sort of history in Philadelphia proper. So can you tell me what, like, when you started gravitating towards metropolitan Philadelphia,

as opposed to outside of Pots Town? At what time did you start going to Philadelphia proper? Sort of when I was a teenager. I would go in because they used to have trains in those days from Potsdown. So I used to go in and my friends were in there. And I moved right out of high school. I moved to Philadelphia. Okay.

So you're talking about like the R5 or the R3, like those high-speed trains that SEPTA? Yeah, there was like the Redding Railroad and all that stuff. Yeah. Even when we asked John about the time that you guys put in during those, those years in the 60s 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 basically describe to me what the Philly environment was? I guess, you know, your teen years was was in the 60s. So, you know, if you wanted to see your, like of the acts of the day that you saw, like where would you see them and what acts would you see of the day? I used to go to the Uptown. I mean, I lived in the Uptown, basically,

and I would see everybody there. And I got involved right away with Kenny and Leon. I actually did a talent show at the Uptown with this group I had, the Temptones. And we won the talent show, so I got a deal, and I went to Virtue Studios and did a record with the Romeo. with Kenny Gamble.

Hi, with the bromials. What year was this around? It's 1967. 667, got you. You must have been a crazy extrovert, not very shy. Like, you sound like you were crazy confident from the jump, because to go in to Philly and just dive in and just talk to folks. You know what?

I always had confidence in the music area. I'm not exactly, I wouldn't call myself an extrovert by any means. But when you get into music, then yes, suddenly I shine. I, you know, I do have confidence. So was it unusual for you in the late 60s? Because I'm assuming that 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 the Dovels and those other like Philly Duop legends that were kind of around my father's era. Like, you know, I'm not hearing them telling me stories about, yeah, man, we used to always go downtown, whatever, whatever.

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 60s? It didn't seem so unusual, believe it or not. It was a different time. I don't know, man. But you talk about the Dovels, they all went to Overbrook. I mean, those guys, they were in it big time.

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 70s and 80s, like past the, I don't know if I have a visual of any of the Philly legends in their prime, you know, late 50s, 60s, because obviously I wasn't born then. I knew those guys really well. Okay. So. Mike Frieda and Lenny Barry were really close friends of mine. Really? Yeah.

Yeah. You were real, man. I mean, they came from the real thing. Well, I got to ask an eyewitness. Have you ever seen my dad before? This is one of the weirdest questions I've ever asked on this show. One of the first records I ever bought was your dad. Really?

Wow. Yeah. See, again, I only know my dad from the second phase of his career because there really wasn't documentation of, you know, of his career before then. And so I can only go in word of mouth of, oh, I used to see your dad's all the time. Well, shoot, Darrell got stories then. I want to know. 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 Chitlin circuit. If you're in New York, the Apollo is a highlight. If you're in D.C., the Howard, if you're in Chicago, is it the state theater, I believe? Yeah, I think it's the state. Yeah, and if you're in Philadelphia, you're at the Uptown.

Could you explain, like, what a typical bill would look like? Like, is it hosted by Georgie Woods? Is it, you know, is it an all-day thing? Like, do you go there 12 in the afternoon you stay till all the shows are over? I used to do that occasionally, yeah. I mean, it was whoever was popular at the time. It would be anybody for like Billy Stewart, the mad lads to, well, Gladys Slate and Pips and the temps, obviously, and everything in between. I mean, it just depended who was, you know, who was touring at the time.

You know, my generation, if you go see, okay, run DMC, you're expecting an hour show 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. But was it just expected for like an act to come out and do 15 to 20 minutes and then that's it and you're out? Yeah, that was usually the way it was. People didn't do long, long shows. It was usually some kind of review, you know, and a mixture of people for sure. Okay. I never knew this what review meant.

Thank you. I never knew that. It meant it was a time limit when you say review. You're referring to a show. Yeah. Like, you know, just from the days of like, well, I mean, most people. Motown review. Yeah.

Or even like modern, the modern era of like where Ma Rainey's. Festivals. Yeah. Maureenies traveling circus. And then that sort of, you know, morphed into vaudeville, which then morphed into the review, which, I mean, at the time, only Motown and James Brown really had a strong enough presence to carry, you know, other people with them. Multiple acts, yeah.

Yeah, back of the day, it was the radio guy. It was the Georgie Wood, you know, the funk master flex of that period that would throw these shows and whatnot. So were you ever in a house band situation? Like, usually if we talk to New York guys and they say like, you know, I played, I was a backing band in the Apollo. Like, were you ever in a house band situation having to back these acts up when they came down? 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 would play with the Stylistics or somebody like that. But I didn't do a lot of background play. No, I was, no, no. Okay, so if you're playing with the stylistics, you know, today it's easier for acts to, because of the Internet, I can easily Google something, I can 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 it in the radio a few times, 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? I mean, we used to do, I did, I worked at Sigma a lot and, you know, I did a lot of recording with people and just read court charts. I mean, that was how you did it. All right, so you're a court chart reader. Can you name some of the singles that you played on? those like early I used to work a lot. I can't even remember. I used to work a lot with Norman Harris. He was one of the guys, the guitar player, and MFSB, you know, whatever. And, man, I can't, you know, I,

so long ago, man, I did, I remember, I remember doing a Clyde McFatter record. You know, I mean, you know, like, that sticks in my mind. We did a lot of stuff where we would do demos and it would even get. anywhere. There was this guy, George Tinley. I used to work with him. I think I played, I think I played on a Delphonic's record. Okay. You think you play. Was it, was it, was it, was it a good living as,

I mean, for you, like, in that time period, was it, was it for you like, is it a good living, like, okay, I'm a session 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. Yeah, it was, it was, I wanted to be in front of the microphone. I liked doing it, and 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 I, you know, I did a lot of writing, too, you know, it was sort of a combination 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 out the hop, you know,

And he was in the Schubert building. And he was on the 6th floor, 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. And so it was a combination of being in the studio and writing at the same time. Well, at the time period where Gamble and Huff sort of, or at least they dropped the anchor as 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 I'm listening to either their work or,

you know, or the work of Dexter Wanzell 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 using the same session musicians and they had nothing to do with each other. But sonically, it all sounded like the sound of Philadelphia and Gamble enough. Did you ever at one point, like, try to approach them and say like, hey, I produce and I singer song, right? Like, can I join the fray? Or was it instantly like, I want to establish my own thing and not be under? Yeah, that's what happened actually. Is it, Kenny actually said, to me, would you like to come to Philly International and write and do whatever, you know,

a record? And that was just when I was getting ready to leave to go to, to move to New York with John. And I said, well, you know, I was tempted, I got to say. But I figured that what we wanted to do, what became the Hall and Oates sound or whatever. It was, it was a Philly sound, but it wasn't the Gamble and Huff sound, you know, and I wanted to do my own thing, just what you said. I wanted to to create my own version of, of Philly music. And so I turned that idea down, you know. John had casually mentioned how you two had met, but I got to hear the details. He mentioned that, I guess, a fight had broken out at a show, and that's how you two met. But could you tell the story how you met? We've told that story so many times. I mean, we've told that story so many times.

I mean, singly and together. Our listeners have not heard it, I guarantee you. There was a record hop out in the Delphi ballroom in West Philly. On 52nd Street. Yeah. And that's where it was. And I forget who was on the bill. I remember Howard Tate was on the bill and five stair steps.

And then they had, you know, the bottom of the bill was the temp tones and John's band. And we, you know, we were waiting. to go on. And, you know, those days, shit happened. And some kind of fight broke out. And they closed the whole thing down. And it was up, it was on a second floor. So we had to get an elevator, go downstairs 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, blah, blah. And we started kind of being friends, you know, hanging out. What was your major at Temple?

Music. Okay. Did they have our RTF program back then? Or was that like? Yeah, John was RTF, I believe. He was a journalism, RTF kind of major, but I was a music major. First of all, how many members were the Temptones? I know you guys were.

It was a result. It was a revolving. We called Temptones because of Temple University, not because of Temptations. Oh, wow. Okay. See? Okay. I thought it was.

But, yeah, it was revolving, but it was basically at the same time singing it would be four people. Yeah, it was a quartet. I get it. So what was the deciding factor that told you like, okay, well, let me try this out, you know, leaving it. Like, it's the Tim Temptone's 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? 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, together. And then we decided to call it something. And it was various people coming in and out. And then we eventually, we got a little rhythm section to back us up. And John wound up being one of those people at the very, very end. And that's how it sort of continued, you know, the whole, it kind of morphed. into just me and John working together and writing songs.

As a singer, at least back then, like 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, but who did you felt like influenced your vocal style? I mean, I was trying, you know, Smokey, loves. And then I loved all the singers of the temptation. I was really into all that stuff.

But a lot of street corner people, you know. Your father, man, I loved him. Later, you know, Felipe Wind, you know. Oh, yeah, spinners. And these are the people that I idolize. Yeah, I guess when I was a kid, emulate, yes, for sure. Well, I meant just in terms of influence, that's all. I was going to say, Costello mentioned Mr. Wend.

also from the spinners as his, like his all-time, you know, vocal idol. There you go. Yeah. No, he's the monster. Darrell, can I just ask what your parents have, were 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?

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 do something that I would make some money at, hopefully. But they always supported me. Always, always. That's so dope, man.

With John, was the chemistry with you guys mostly on the songwriting tip, or was it a musical thing or vocal harmony kind of thing? It was sort of songwriting more than anything. I was interested in what he was doing because he was way out of, my realm of experience. You know, he liked bluegrass music and all the stuff that I'd never heard of, you know, or heard, I heard of, but I'd 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 you the truth. I mean, we decided we were going to share a stage, but be very separate, which we've never changed, you know. He has his own music. musical style. I got my own one. We 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. The original Alcass. Wow. Yeah. Original mobbedee. Yeah.

You both write music and you both wrote lyrics and it was, how did that work? Occasionally we would work together. That's how it worked. Like the song, she's gone, that's a, uh, I've called exception to the rule if you want the truth John John writes his own kind of

songs and I write mine and occasionally we would collaborate on lyrics and I would throw things at him and I also collaborate with other people like the Allen sisters Sarah Allen and her sister Jana

wrote a lot of songs with me and I would jump into that too 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 this is this is it or is it hey why don't you try this idea and then no no no no fix that around 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 Darrell, like, are you too allowed to offer unsolicited suggestions of a, you know? Absolutely. 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'd say, well, why don't you try that or sing that or do that? But I would generate the song. or sometimes Jan Allen would bring a song in and I would do that with her. You know, works like that. Very flexible, very flexible.

You mentioned she's gone, but I don't think we got to hear you when you broke down the workflow of that song. We sat and wrote that. John came up with a chorus and it was sort of a more folk-y 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 I did all that. And then we sat down and we wrote lyrics about it. I mean, that was a real whole note song. We sort of pooled 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 what the lyrics are of that song.

And then we took it to Atlantic. When we played it for a reef, he's the one that put that crazy modulation idea into it. How does a group pursue a record deal in the 70s? 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 sign to me. But how do you gain the attention of the industry? Like when you and John are like, all right, we're going to do this.

What's the step in the process of getting a record deal? We, you know, we knocked on doors in New York City and everybody liked us. And then we'd get the word, well, they liked you, but they, you know, they turned us down. So we, long story show, we actually went to L.A. And we went out there and we were knocking around. We were introduced to some people. And I was introduced, John and I were introduced to this guy. Earl McGrath, Earl McGrath, who had this tiny label that was an indie label subsidiary of

Atlantic and was called Clean Records. And Earl wanted to sign us. He liked what he heard. And he said, okay, I'll sign you. And then he took it back to New York and we auditioned for Ahmed and a reef. And I remember I had the flu man they gave me this piano where all the notes were sticking on it. It was the worst audition in the world and whatever happened a reef really liked it. Amon really liked it so they basically stole it from Earl, stole us from Earl and we went up going to Atlantic and that's how we did it.

My dad mentioned what we commonly say as a showcase. I don't know if showcases are as common now as they were back then. But when you're saying we audition, is it a thing where you book a gig at the bottom line or a club and they come see you or are you in a confined SIR situation? Or I know like Atlantic has their own facility in room like that. Like do you set up there and then you just perform for 10 suits in a room? Is it is that process more jarring and weird like to? Yeah. It was. It was really, like I said, all the conditions were the worst. We were in this little room with this shitty piano, I mean, with the key sticks stuck.

And we had, and across from me in the other side of the room was Ahmed, Arif, and I don't think, it might have been Jerry Wexler. I can't remember. But they were all sitting there watching us. And it was just me and John, and I'm playing like, I can't even. I remember what I played. And I thought it went terribly, but I guess they saw something, you know, they saw through it all. And that's how it was. It was a really personal audition.

Keep talking about, like, you know, Mr. 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 Aretha Franklin and Donnie Hathaway. talk about working with Areef Martin as far as his production style and what was it like for you? He was the greatest producer, man. I mean, in my opinion, Areef and Quincy are the two great producers

of all 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 allowed you to shine. He had this uncanny ability to figure out what it is that you were good at doing and where where the spark was and

developing that spark and he could add all kinds of he had no boundaries at all he would mix genres he would uh mixed eras everything all at once together whatever you whatever the the uh the song needed or he thought it would be would need he would just add it and he he had an incredible like an encyclopedic knowledge of every kind of music. And it was a really amazing, and he was such a gentle guy, but yet he knew how to drive the bus. And he was an amazing producer. That's all I can say about it.

Was he hands-on in terms of soup to nuts? As far as picking the songs, picking the mixer, staying there for the mix, 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, I won't be here next week, but that, like, Jerry's going to sit in for me. I got to work with the refit for this thing. 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?

No, he would do it one at a time. You mentioned average white band, who are good friends of mine. He went directly from Carly Simon to Holland Oates to average white band. That was the three things in a row he did at that period of time. But he would devote whatever it was to each one. He didn't mix and match. Because I was wondering 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 or a little bit? I don't think it was because he had the ability to do that. He would just switch projects. But he didn't, he, you mentioned before, he didn't have anything to do with picking singles or anything. He would A and R it. I'd sit there and play songs for him. And he said, well, this is a good one.

Are you okay? Let's work on this. And he would do that. But, and then it developed the song from beginning to end. Okay. But once the song was done, then that 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 you the truth.

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 got to sell that, she's gone. Like, how is he? Is he nurturing as a producer in terms like that? Or is it like, do it again, do it again, do it again, like. No, that particular one, that was just, what can I say?

That was just inspiration from me. I just did that. I just opened my mouth and that's okay. I can't even know it anymore, by the one. And he lets you suggest things and let it happen. He let it happen. He went and he went, oh, that was really good. you know, afterward, he was saying, yeah, that was the shit.

He didn't, he didn't even say, even think about saying, can you do that again? He just, okay. It was there. It was what. 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 10 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 a cover song of your song?

Yeah, it was a weird thing. Boy, you know, it's a long time ago, but our enthusiasm overrode our frustration, if you know what I mean by that. But is it like seeing your girlfriend with another guy, or is it just like, hey, I'm in the top 10 and I wrote this song, so here comes the month. 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 expectations. Whatever happened, I just, I rode the horse with whatever direction was going in. And if Tavares has a hit with it, okay, well, I wish it was me, but it was them. So that's all I could say, you know.

What was the decision behind working with Todd on the War Baby's record and not? staying with a reef to see if you guys can go further with it. I just I felt that I wanted to do something completely different. I don't know what my mind 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 my Philadelphia, you know that the Philly sound thing. 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 be interesting to see what would happen if he would get together with us and what would come out of it. And that was really what it was all about. And were you an immense fan of his early records or the albums that he was doing at the time?

Yeah, I liked what he was doing. I really liked what he was doing at the time with Utopia. It was really... Okay, well, having discovered his discography 20 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, I mean, Todd's whole canon is really... It was forward 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 creatively on all of his records. Was 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 could go? Well, I was into that headspace, so he didn't have to push me. I was right there with him. I said, how far can we go? That was the whole idea. And how receptive was Atlanta to this at the time? Not that receptive.

Receptive. Okay. Hence RCA. I get it. I get it. Can you talk about Sarah Smile and just the inspiration behind it? It's one of your most loved songs, you know. Sarah Allen, me, and John were sharing an apartment,

a two-bedroom apartment in Yorkville. And I had a keyboard. 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 going on around me. I mean, was she receptive in these flowers that you're,

I'm now mocking an unpaid bill. Was he receptive or was it like cringy? Like, oh, man, like, now you're going to immortalize me for the rest of the... Like, what was her feeling towards this song? And actually, can you... How did you guys meet? We met in Philadelphia. John met her and introduced me to her.

And we all sort of... She worked for a charter airline. And that's what was in the Vegas tournament. around came from. And we all decided to move to New York at the same time. It was like that. Could she sing? She could sing. She's not a great song. She could sing. And she's actually a really good songwriter. Wow. In retrospect, since you didn't know it was going to be such a hit song, would you have changed the name if you would have known you'd be singing the song so often? Oh, I don't know. You know, after Sainty and I split up, man,

She says she couldn't go to the supermarket for about two. Yeah, I was going to say, how awkward is it? How awkward is it if, like, I'll never sing that song again if you guys break up and, you know. Yeah, but, you know, that song transcends relationships and all that. That's good. You know, it's bigger than that, you know. And every Sarah in the world thinks it's just about her, so it's great. That's true.

That's true. so the the time period between the uh i'm about to say the the silver cover uh the darrell hall and john oates uh self-title record with zero on it yeah between that and you know between i think faces you know there was kind of a period or not faces voices forgive me um and 80 that that five-year period was where, you know, you guys weren't exactly sticking in terms of finding an audience that's receptive to you. Just between that period, what was it like between 75 and 80? Well, we had rich girl.

Well, yeah. I mean, yeah. Yeah. But it was, you know, in music, it was a transitional time. There was this, that weird shit going on, you know, rock versus disco and all that. And man, that put, that put, that put, that put us in a really strange place. Because I, you know, it was a 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.

It was a really strange time. And it seemed like in 1980, it turned around and something else happened. Also, we started producing ourselves. And that changed. I don't know. I think the world changed and we changed. So having spoken with our previous QLS guests, Denise Williams, about her experiences. I know that David Foster produced along the Red Ledge record.

and the static record. What was it about, what was it, one, what was it like working with David Foster? 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 70s to the mid 80s, it's rather controversial.

But, you know, as far as his work with Earth, when and Fire, Denise Williams, Chicago, go like whenever there's a documenter it's always like and then David Foster came and it's like 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 him well actually Tommy Matola chose him so I okay well let me ask you well at the time I mean he wasn't the time mitola I grew up knowing like the established CBS you know, executive.

How did you guys discover Tommy Matole? I've known Tommy since he was 20 years old. He was working at chapel music. He was our first manager. We were a trio. It was Mottola, me and John. And that's, I mean, he was our manager. I can't imagine Tommy Mottola as a teenager.

He was pretty much the same, just younger. And how is he good enough to be your manager as a team? Like, how did you see? see that in a teenager. Yeah, what did he show you all? Yeah. He's one of those people who just acts like a manager, even if he's a kid. Oh, yeah.

So when did he, was he managing guys from the beginning, the very beginning? Yeah, we were his first project or whatever you want to call it. We were a team. It was me, John me and Tommy. And it was that way all the way up till he discovered Mariah, man. And then he dumped me before. Wow. Wow.

Sound by for yes. Okay. Everybody's always talking about Holland Oates albums and rightfully so, but you also release solo records. And in 77, you worked with Robert Fripp on Sacred Songs.

So can you tell us what was the impetus for releasing a solo project in that year? And what was the story? It took like three years for it to come out. Yeah, yeah. Well, one of the reasons we're talking right now is because

I have a whole project that I'm releasing all my solo records. You know, I've done all, I have a whole, like, parallel universe of music that I've been doing since the 70s. But to talk about Robert, Robert and I became friends, and we just decided we were going to try and see what would happen if we worked together. And we did that album in 70, what was it, 78, 77, immediately ran up against the machine that was uh,

was, uh, unreceptive to the idea that I was not doing, um, rich girl junior, you know, and, and,

and they, they didn't want to hear about it. And that's, that's been sort of a, a recurring theme with, whenever I do my projects. It always sort of takes the, uh,

the back seat to, uh, the cash cow. And, uh, very frustrating. And, uh,

Have you ever wanted to keep a song for yourself? Or is it, are you basically just saying that? Well, I write for projects. I write for projects. It depends on who I'm working with. So I don't think I ever said, I'm going to hold this song for a solo record or hold this song for a Hall on Oates record or anything like that. Just, yeah, I work for projects.

You know, one of the very first sounds of a drum machine that I've ever heard was, I mean, at the time that I was aware 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 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 kind of,

the standard for what was sonically the standard for music. Can you just explain that process? I mean, so stripped down, but so timeless at the same time. Yeah, it's a funny thing. It happened by accident. There was no plan. I sat down and I turned on a roll-in compi rhythm, which is the simplest drum machine that you could ever imagine.

and I pushed rock and roll one, which is that beat. And I started playing, I had this corg organ, and I started playing the bass line to it, and then I started playing the right hand to it, and that's where the song came from. I mean, it all just happened spontaneously. And there was no plan to, I was just using what was in front of me.

It was really like that. You mentioned Quincy Jones earlier, having worked with both of them. Can 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. It was one of the weirdest things that I've ever done in my life. Talk about it.

Talk about it. Yeah, go ahead. Well, first of all, I mean, the whole idea is that you're not allowed to, you're not allowed to bring anybody in with you into the room. So 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 didn't know everybody. I mean, it was an outrageous assemblage of people. I mean, it was like right, Charleston at the piano and Diana was there, Tina Turner, and I mean, I'm dead, da, da, da, da, da, on and on and on.

And it was, nobody knew how to act because... It was awkward? It was awkward. So everybody regarded to being like an eighth-grade chorus. Because we're all standing on those, you know, the bleachers. And that's how people started acting. They started like kids.

And everybody's like making these weird kind of like kids. jokes and stuff and asking each other for their autographs and all this kind of thing and really being really open. I've never seen a group of artists be so open with each other as we all were that night. And it went on too. It went on well into the night. Some people were still there at like four o'clock in the morning. And it was crazy. It was really, it was a crazy experience. In cutting those vocals, 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? What do you prefer?

Actually, I like doing it in front of people. It works. It works for me. So that pressure is good for you. Yeah, that's a, yeah, yeah, 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. Everybody was different, you know. I get it. I would also like to ask you about the Apollo record with Eddie and David. Well, okay, you told me that Timptones were more based on Temple. I always swear some of the temptations, but could you describe your fandom for the temptations? Like, and how was that a special moment or was it just like, Okay, that was cool.

No, no, no. It was one of these special moments. I mean, you're hitting on all the things that actually matter. Yeah, yeah, with the temptos were Temple University, but I idolized the temptations. And I got to know them back in those days. There's a picture of me with those guys back then in 1967. 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 Paul Williams and Eddie. You knew Paul Williams? Wow. Oh, God, please. Could you, okay, I've never heard of Paul Williams story in my life. Can you just describe? One time I took him to Linton's diner out in West Philadelphia at Overbrook Park.

And I was the celebrity of the evening, man, because I put him into this fucking diner. Oh, yeah, everybody was like, yo. He brought Paul Williams because, you know, everybody was a temptations fan. And I brought him into the place, man. I really like Paul. I had a lot of heart-to-heart talks with Paul band. And he used to listen to the records and listen to my songs and stuff. 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 temptation say about that? I actually, sometimes after hours, I'd go in in 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'd take David's parts. And I'd sing, I'd sing, 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, what? Well, I guess they saw what it, or heard what they heard, you know?

I mean, that's all I can say. Yeah, the fact they let you come in the room, that says it all. That's true too. One of the double beds, you know, and sing, shit. Damn. Wow. That's, okay.

So, I mean, for me, that's, like, to make an album with my idol, you know, that's, that is special. I'm glad that that was a good experience for you. Any memories of the, the three hearts and a happy ending machine record? I know that by that point, even though you two, will have made like one or your final, at least of that Hall of Notes run, the one for Arista. In making that record and working with David Stewart and, oh, my God, I didn't even mention T-Bone, your bass player and your musicians.

What was that, for you, what was that process like? Well, Dave and I, again, I tend to work with people that I get friendly with first. Okay. Dave and I got friendly, and we started writing songs together right away. I mean, we're still really close friends. And it was very natural. You know, 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 doing a good part of that album in Paris.

But T-Bone was sort of in the middle of it all. He was the voice of reason, because Dave is very, he and I are very similar. you know, we just go for it, you know, and it's all over the place. And we, it's very loose and spontaneous. And T-Bone was sort of holding down the fort. 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 a lot of fun making that record.

How did you guys induct him? You know, even before, like, we got to know musicians or whatnot, You guys had like a really charismatic band. So, you know, I knew of T-Bone. I knew of your guitarist. GE. It was G.E. Yeah, G. Smith.

Those cats. Like, how did you guys assemble that particular band? Were they just like New York's finest? And do you know already? That happened. Let me think. G was working with Dan Hartman. and now don't ask me how that all that oh is the replayed dan hartman okay yeah yeah that that dan harman

and then and dan wasn't working so somehow gee man i can't remember he is somehow he got introduced to me and i said do you want to join the band and and i brought him in and uh who else was playing uh jerry marotta yeah jerry marauda was it was playing drums with us right there. So it kind of happened gradually. And then we were looking for a bass player and, and the guy that we were using couldn't do it anymore. I was John Siegler. He went back to Todd or someone because he was working with Todd Runward. And, and T-Bone auditioned. And, and yeah, there he is, man. I said, well, this guy's a monster. And so I forgot to mention 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-Bone had passed away two days before.

I forgot to also mention at least for our fans that that's T-Bone, that's the bass player on Curtis blows the brakes. So, you know, it's a legendary, legendary cat. Yeah, he did that before he joined us. That was his first thing he did. Really? Yeah. Oh, shit. I bet I did not know.

After the initial implosion of Hall of Notes, like how hard was it to come to that decision after the O'Year 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 separate? 72 to 88 that you had enough at that point? 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 90s. Well, I know you did it, but it was always billed as like a comeback record or like a reunion album,

which... It was part of people's perceptions than ours. But we sort of morphed into just into a touring band. And that's really what we are now. You know, we're a performance band. We don't really, you know, we have this outrageous body of work that we can draw from. And that's really where we come together at this point.

And it's sort of, it just turned into that. And we decided to be more individuals, which is what I think tends to happen as you go on in life. You want to become more yourself. And it's part of maturity. whatever, knowing yourself. And that's what, that's, that's where we're at right now, you know. Y'all are still good friends and still like work, but just not recording. Yeah.

Just touring. You just, if I want to make a record, I'd rather make a record with me. And he feels the same way. You know, we do it. No, I get it. I completely get it. Fonte's kind of in that situation of yourself, right? I understand.

So are you in a whole different way? Like, it's, like, it's interesting. I'm thinking about I'm looking at Fonty. and his group situation, I'm looking, thing about you and Black thought and existing separately in your projects. It's kind of interesting. But the thing is, is that the roots, like for me, like, Tariq and I have an agreement that we can go and scratch our back. Like, 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 going to come home and, you know, sort of come back to home base eventually.

like check in hey you 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 bath water and then there's always the thing where you miss it in eight years you're like

all right let's rebuild the house again you know I just always wonder and then you start realizing why you left the house to begin with it's like no I should stay gone yeah okay can I ask in a and you know i understand this might be a personal question but in in a situation where you i'm certain that you can't be partners with someone for that long 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 two at least have your version of not going to bed angry or make sure that you're clear yeah what is kind of conflict resolution look like for you guys? We don't really fight. It's a funny thing. Again, we've known each other since we're kids. I think we sublimate it.

I think there's a lot of, you know, maybe, maybe there's resentment and shit under the surface that doesn't come up. But we don't, we never fight. That's the best way I could put it. We just don't fight. We either let it go or bury it. I see. I have a question about your Philly home. Your house on Quint Street, the one in Philly, that still remains.

You know, why was that, you know, a perfect creative enclave for you and John? It was the time. There was something about that period of time. I got that place. I was married to this girl at the time, and right now I was, I was, 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 there. It was great music and just a great, great atmosphere.

And that house was great. That was the Hallin-Odust birthplace, really. Right. Okay. That's all I can say about it. I love that house. I renovated it, actually. For a whole new generation of fans, a lot of them had their discovery of you via your legendary show live from Darrell's house.

Which, you know, what was the sort of what was the genesis of the idea of that of you inviting a guest over to jam and whatnot and yeah, that was the OG Tiny Disc. And is it streaming or what? Because it's not,

right now I'm waiting to restart it again. I'm waiting for my invitation. You ain't got it. Oh, Darrell. Oh. I think I actually did give you an invitation. And we were on tour, yes, you're right.

I forgot. Wow. Yes, we were, I forgot, we were on tour. Forgive me. I was in my own face, sorry. My point started up again in some form, for sure. But Darrell's house is operational all year round, right? You mean the club, Darrow's house?

Yeah. Yeah, that's in appalling New York, yeah. Right. My sister lives in Westport and yeah, she wants her on table there. She's there every show. Yeah, I love having a club. I love clubs. But seriously, Darrell, can you see old episodes anywhere?

I was literally literally just thinking about that today because it was on an interest in network in the first place. Can you see the episode? Can you see the old episodes? Yeah, can you see the old episodes? Your archival. Not all of them. My plan is to make them all available. Okay, okay, cool.

Get that deal, yes, yes, yes, yes. 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 like? No, I went into hibernation. The studio house is where I lived, and I didn't, I stopped making music. I didn't do anything because I had. this feeling that when this whole thing blew over that it was all going to be different. I knew it was going to be different for me. A lot of re-evaluation 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 sort of embraced it. That's the best way I can put it. I just said, okay, here I am. I'm not seeing anybody with my sister who lives up the road and and uh and that's really what i did for all that time and this was the longest that you've ever taken a break from not doing music not since i was a teenager yeah for sure and when i realized that it was we were coming out of it i said okay now what am i going to do it's re-evaluation i think a lot of people were thinking that way but yes the way i'm looking in 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 era 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 just, I'm just, I used this term before, but I'm going to just ride the horse direction it's going in. I know that another area of creativity for you is like restoring houses and whatnot. Is that therapeutic for you?

You, yeah, it's therapeutic. I love history. I love all that stuff you can tell by this room. But I, it's sort of like making music. Antique architecture is what it's all about with me. And restoring old places and bringing them back to their period, what they were in their period. And working with all these arts.

artisans and artists, which is like working with musicians and getting teams together and making a project happen, making something out of nothing. It's not unlike making a record. It's the same thing. Is there an HGTV show I don't know about? I did a TV show about restoring an old house. You said you did? Yeah, I did. I thought it sounded familiar.

Restoration overhaul. That sounds familiar. Yeah. Your before-after project, could you tell us, like, the inspiration behind it and the creative process to create it? Well, I wanted to put together my alternative body of work. Everybody knows my work with John, 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 I took excerpts from every album and included excerpts from The Life and Darryl Sash Show and put them all together. 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 the flow would, I just felt the flow. And that's the best way I could put it. I just, showing the world that side of my music and the people that I work, with and all these different projects I've been doing for many, many years. The ultimate mixtape for you, like the ultimate retrospective of your favorite songs, your personal favorites from your solo catalog.

Yeah, all the ones that are my first, the ones I think are the great, the good, the best of, the best of the best, you know. And that's an introduction. It's a reintroduction to some people, but it's an introduction for a lot of people. And then I'm going to continue on with this and start making original songs. I'm already working on new songs with various people. 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?

I think it's on Spotify. That shit is hard as fuck. Pomo? He did like a, it's kind of like a house, kind of forth to the floor version of I can't go for that. Yeah, I spin it every time. Yes. Yeah, that shit is a jam.

I think you dig it. Are you familiar with people dipping into your paths and sort of reintroducing your music to, Because they, I have to approve them, number one. So, yeah, I hear what people are doing. And I love it when people mess around with my songs. I think it's great. Dara, I always wanted to ask you, what do you think after you, you guys, did your thing

and, of course, changed the way Philly music has looked at. What do you think about after you left and some of the other Philadelphia artists that came after you? Have you noticed any body that locked in your ear? I don't know any. I'm trying to think It's like the, you know, so many errors It was, of course, I mean, I ain't gonna say to roots Because you know, so-and-so is here

But as in, you know, the music solo childs, the Jill Scott's, The John Legend Well, college, really Yeah, I mean, they're all great. I mean, carrying on the tradition that, you know. Before I go, I definitely want to ask you about these tour dates. Like for you, do you like touring still or is the grass always greener on the other side?

Like for you at this stage in your life, when you see, because you're about to do like a three-month or two-to-three-month run for your solo tour, like for you, is it like, ah, 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?

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 routine. It's constant, you know, moving around, doing all that. But when you're on stage, a bird's got to sing, you know. I mean, it's, it just feels like it's, if you're having a good night, your monitors are good and everything's, everything's working. It's a, it's a spiritual experience.

I know you're hitting a card. is this the first time that you're playing car niki hall as a solo act first time i'm playing carthage hall with anybody act yeah oh wow that's what's up man i have one final question from me darrell and i'm this is not you've probably heard this before it's not an original question okay and it and it and it's not a joke um we're a lot of us out here still waiting for rock and soul part two you know as promised uh by the calling the original part one so What's wrong with What's wrong with

releasing another edition of that, a part two, with just deeper cuts from your immense catalog with John? I think it's a good idea. Maybe I'll do it. There you go. Not a bad idea. I have a question in closing.

And I guess I should have asked it earlier. I mean, when people mention you, of course, you know, the term blue-eyed soul always gets tagged with you. When you think of blue-eyed soul, at least if you're kind of my age, the first thing you think of is Hall of Notes. Did you guys mind this 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 title. Like, did you mind it or was it like, yeah, I hate that term? the first duo that ever got it was the righteous brothers. That I did not know. Righteous brothers was, that's where the term, that's whoever, I don't know what journalists used it, but 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 have blue eyes. Oats got brown eye, whatever, you know. I don't like to, I don't like to break people. break categories down, especially those kind of categories. I see. Do you feel the honor in existing, thriving,

and being an example and soul music in that way, though? I'm happy to be respected in a world that I care about. And it's my baby food. It's what I grew up with. It's what I, 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, that's where it generates from. Wow.

We're hearing that so much these days, Bonnie, from Bonnie Raid said that and about about the blues. And John said that and Costello said that. Yeah. So it's just, you know, if that's what you grow up on, that's what you are. That's right. That's absolutely true. Well. Hey, I just have to say, you know, you guys are, I mean, you in general, like, you're the, 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 thank you very much, Darrell, for doing this with us and making this a special episode. Darrell 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 once stopped a robbery from happening once on tour. Yeah. Is this true?

Yes, yeah, that's true. How? I've heard the rumor of it, but never. I'll tell you the story. This is the encore. promise it's over. Right, right. Because nobody ever asked about that.

The first time that me and John went to Australia, right? 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 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 our, one of our minders. So it was some guy that was with us.

And so we're sitting there. And suddenly this guy, we look up and there's a guy standing in a ski mask and a shotgun. Oh, shotgun. What was this? This was 1981, I'll say, something like that. Jesus Christ, this is private eyes, huh? Yeah. Yeah.

Yeah. Yeah. Okay. So the guy, he starts waving the gut around and he says, you know, give me your money, give me your money. And I remember the bass player, as they was Kenny. He pulled out a credit card and handed him a credit card. Okay.

We're all sitting there and I'm, it's unreal situation. I mean, anybody, you ask anybody in a situation like that. It's all very unreal. The guy that's 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 me your money out of your purse, right? And he put put the gun down just enough that 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 this guy. And I tried to jump on him. And the bass player's girlfriend grabbed me around the leg and pulled me back. It says, save me, save me, save me. So I couldn't do anything because I'm fighting. She's like a little puppy dog or whatever.

And I'm trying to fight her away and grab this guy at the same time. We basically broke the shotgun, took the shells out. And then, okay, he was disarmed. So then we held him And by then the The matrieree or whatever it was The guy that was there Had called the cops

The cops Charging up the stairs Because he was on the second floor And grabbed the guy And basically threw him down the steps And And then took him away And apparently he had robbed

25 restaurants And he was called the Rusty Gun Bandit Wow A Rusty Gun Ladies and gentlemen, that sounds like you stopped Samuel Jackson from Robin McIllals. Right, I was thinking the same thing, Fonte. I was like, this is three Beverly L's cop and coming to America, okay. Darrell Hall, legendary crime stopper, ladies gentlemen.

Yeah, man. That's how you end the show. Yeah. Bill, Laia, Stiggin' Steve, Fantigolo, and I'm Questlov, the legendary Rock and Roll Hall of Fame. God himself, Darrell Hall. Thank you very much, sir. Thank you, very. We'll see you.

On the next go round, thank you. Okay. Thank you, sir. Thanks, Sarah. Questlove Supreme is a production of Iheart Radio. For more podcasts from Iheart Radio, visit the Iheart Radio app, Apple Podcasts, or wherever you listen to your favorite shows.