Daryl Hall Invites Alec In

another six gold ones. They made the Billboard Hot one hundred thirty four times with mega hits turned prom nite standards like men, rich girl, you make my dreams come true and I can't go for that. But by the early nineties, Hall and Oates have become a little passe, too smooth, too perfect. People said their time in the wilderness was blissfully short, thanks to a new generation of artists inspired by their sound, who sampled or covered Hall and Oates classics like Two Live Crew, De La Soul.

I can't have none of that, Dolla, what to say? Mate and the Bird and the Bee. Yeah, anything to Paul and Oates, Ace and the Pop Cannon was now secure, and Hall has a sort of second career on television. In fact, he's recently had two successful TV shows. Legendary Roger Darryl Hall takes on his next project, restoring this eighteenth century farmhouse. Darryl's Restoration Overhaul on the d I Y Network is about his passion for saving historic hones.

The other show is called Live from Darryl's House, where big name musicians join him for jam sessions. It started out as a web series and eventually got picked up on MTV. Do that So, yeah, the intro you want to start with just drumas like started with like that, Jake Jake to, and then we're in would You Play the Ball? The Darryl's House of the title these days is his restaurant and music. Then you in Pauling, New York, about seventy miles north and a world away from Manhattan.

That's where he invited me to sit down and talk. So learning about your early years, one of the things that strikes me is that you know, before you go to study music, you're on the streets of Philadelphia singing groups. Correct, Yeah, that's right. How did that happen? Well, it actually was simultaneous with me moving to Philadelphia. I grew up in Pottstown, which is a about forty miles northwest of Philadelphia, and uh, it had its own kind of small town street scene there.

So I started a really young age doing doing you know, like busking, more like the doop, you know, the street corn music. There was no instruments involved, acapella and all that, and uh, it was always very racially integrated, you know, is that whole thing. And uh then when I went to Philly, I had already been involved in that off and there was this place called Mitton Hall where all everybody hung out. It was like the place where the whole temple of University went and people used to stand

in the corners and sing. It was that's that kind of stuff was still going on. So I just walked up one day and started singing along with these strangers. And that's how I got into Philadelphia and started But at a time when in my mind when I think about Philadelphia, then I think about a lot of racial difficulties and move and you know, historically, not not for you, I'm saying, the city has always had a kind of a racial stratification. It seems like what was it about

you that these people welcomed you with open arms? I just sing. I grew up in a very racially integrated environment, you know. And in Pottstown there's a big black community, and my my parents best friends lived right in the middle of the black neighborhood. So I as as a kid, I'm talking like a kid kid. For the summer, I would be over there and and all my waking hours, really I would be hanging out with white and black kids to other So the music that I grew up

with was that, you know, R and B and soul music. Uh. It was really my baby food, you know, and it just went that way off things. My dad was he musically and he was in a vocal group. Sang he sang like gospel vocal group and uh he uh. I learned a lot about harmony from him. And uh my mother was a musician. She uh did other cons music, you know, she like musicals and she was in a band.

So it was very musical environment. Let me just put these cards on the table, which is you are one of the ten greatest male vocalists in all of history of rock and roll. I mean you are, and what kills me is like how you've stayed because a lot of these guys have to drop it a key, and we interview a lot of my you know, you name it, and only you and Bano pretty much sound the same now almost. First of all, I do on stage, I do drop it a half a key now, I do, so,

I admit it. But but you know what, that's that's cool too. It gives me more room to play around up top. Um. But you know, my voice has changed a lot over the years. You listen to those records that I made, you know, the Rich Girl and all those kind of songs, I'm like a little boy compared to the way I sing now I have. I sort of have the voice now I always wanted to have. It's that bigger, you know, and um yeah, so but

I so, I like how my voice has evolved. And I haven't lost any of the stuff that I had. I just it's just sort of got bigger and wider. Where did you start singing? When did singing? My mother was, as I said, she was in a band, but she was also a vocal teacher and things like that, and she encouraged yeah, and she it was sort of always there, and she taught me how to sing? Did they both

play instruments? Yeah, my mother played piano and uh. Um, I started taking piano lessons around five, and uh took lessons all the way through and then I, unfortunately was got into was I would say, I got into I was forced forced to play the trombone for a while, but uh, that didn't last long. But no, it's it. I've been playing piano since five, and then I started playing guitar and self taught. You took yourself on the guitar. How old were you when you picked up the guitar

for the first maybe late teens, early twenties. And when you go then you go to Temple to study music? Why, well, at first I was going to go. I didn't think there was any money in uh, in music at all. It didn't even occur to me. Uh and to have a career in music, so I was gonna be I was.

I wanted to be a psychiatrist. Why because I was really interested in the life of the mind, and I was up against these I didn't realize and might and I have to tell you that you had to be a doctor to do all these thing in a medical degree. I quit that one too, and then I was up against all these kids that were like premed and I failed miserably. It was just horrible. This is not for me. I had the same problem. I was like, I had to have to study chemistry just I just want to

talk to people. Yeah. Man. What happened was I did that for a year and then I switched to the Temple Music School and they you know, they let me in and you finished, you graduate and I finished, well, I I quit. I quit five weeks before I graduation because I was a student teacher and I was up, you know, early in the morning all day doing all that stuff. And then I had a bar gig, playing playing music in a bar band at night until two o'clock in the morning. So I didn't work out so well.

And the teacher said, you know, you have to choose one or the other. And I thought to myself, do I want to be a music teacher or do I want to be a musician for real? And there was no choice in my head. So I said, okay, see you later play when you uh leave Temple, when you leave, when you finished school, what happens after that? During my time in Temple, as I said, the whole thing was sort of simultaneous. I was going to music school, but I was also hanging out with Tommy Bell and uh

who was that? For people who don't know, Tommy Bell was was the the producer and writer behind oh a great number of the Philadelphia sound, the Stylistics and the Delphonics and people like that. Um, he was very, very influential in the sound of Philadelphia. And he sort of took me under his wing. He was not that much older than me, but but I would just sit around and listen to him, right and he was an amazing

writer and uh so I was friendly with him. And then I also I had a band that sort of came out of that thing I was talking about in in Mitton all. And we called ourselves the temp Tones because we were a temple university. Everybody thought it was the Temptation, but it was because we were a temple

and uh. We did a talent show at the Uptown Theater, which was not that far from the university from the campus, and it was on what they used to call the Chipland Circuit, and you know, every soul group on earth came to the Uptown It was like the Apollo and uh. I used to hang out there and uh, just like the Apollo, the had talent shows and we won the talent show and James Brown band was the house band backing us up. That was I was like eighteen years old.

I'm singing O Baby Baby with James Brown's band at back of the and we won the talent show and the prize was you got to record a record with gam One Huff, the songwriters songwriter producers who Gamble and Huff and Tommy Bell basically created what the world knows as the sound of Philadelphia. I did a record with Gamble and Huff and it came out and went on the charts and w D A S and Philadelphia the R and B station. And I was doing all this while I was going to school, and so I became

part of that whole scene. That's the I started hanging out at Sigma Sound and with studio musicians, and I wanted to be a studio musician, you know, I want to learn things from them. So that's what I was doing during my student years. And and in the meantime, I met this guy John Oates who was in Temple University. Yeah, we we we were from He's from about fifteen miles from me and North Wales, Pennsylvania, just northwest of northwest

of Philadelphia. So um uh we were both promoting our singles because he had he managed to get a single too on Kenny Gamble's label. He had a group called the Masters, and we were both promoting our single at this place called the Adelphi Ballroom and uh, before either one of us went on, uh, it was a gang

fight broke out. This whole thing went down typical Philadelphia and it was on it was on the second floor, and you know, people started whipping chains out, and you know, the whole you know, typical, Like I said, typical, all too typical of Philadelphia at that time. And uh, we said okay, time to leave timely. So I didn't even know the guy, and we both wound up in this little elevator going downstairs. I said, okay, we just dodged that bullet. And I was looking at and said, hey,

so who are you? You know? And I found out right then that he was also at Temple. I said, oh man, okay, you know because I figured Kindred Spirits here and we sort of got to know each other that way. Uh, and um then I needed I don't this is a little vague in my mind, but I needed a roommate because I was I wanted to having a apartment Philly, and he volunteered. So we we got this kid moving together. Yeah, we we moved in and

we started sharing apartments. And we did that on and off through school without any idea that we were gonna work together. We were there was no plan, you know, we just he was your roommate, my roommate, you know, it was doing partner or anything. And uh so, after after school was over, I became a full time studio musician at Sigma for the whole sound of Philadelphia people.

And John went to Europe for a little while, came back, had no place to live, and moved in again with me and my new I guess she was my wife at the time. And uh we we renovated this eighteenth century house right in the center of Philadelphia, lived in it for a while, and that's when we at the beginning of that bug for you as well. Yeah, we're

gonna talk about that. Yeah, and uh we decided, okay, we were in close proximity, so we just started playing together and said, well, maybe we should try doing something. Let's share a stage let's Uh, you play your songs, I'll play my songs and we'll do them together. When does songwriting begin for you? When do you decide you want to write songs around? I think I wrote a song when I was about fourteen, and I thought, Okay,

maybe I can write a song. And I do remember the name of it was called I Broke my Own Heart? Was that a weird title? No? I like it? Actually, haven't we all done that? Yes? But at fourteen? What did I know? Yeah? A little advanced? That was your first song? That was the first song, I Broke my Own Heart? And when did you write your first song that you recorded? Uh? That was the song girl I Love You with the tempt telling him and that was I don't know how well was I nineteen? I guess

the recording countrict you got from winning the past? So when do you and he start to How do you and he fused to become what you become? We didn't we started. It's hard to describe. We were just trying to write. We tried to write songs together, but it was more asleep. He would write songs that I would write songs and we and we do them on stage together, and we played at this place called um World Control Headquarters, which was held about a hundred people, and we became

sort of a fixture there. There was another guy. You could do anything you wanted there. I would sit there with my world. It's her piano and Mike mandolin and John would play acoustic guitar and we would just tell stories and play songs. It was it was sort of in that folky tradition, but it wasn't folk music. It was something else. And uh, we did that, and we

got we started getting a following doing it. And I remember one of the first things that happened was it was all kids, right because we were we were kids. But then these older people started coming when I thought were older people like forty fifty, you know, and I'm and I remember and this is late sixties, and uh, I remember saying to John, you know, this is really strange. Older people like our music too, not just people our own age, that maybe we're doing something different. Because I

actually said that to him, I'll never forget it. And now, of course it's the reverse. Younger kids like what I do and the older people have lived with it, right, So it's always been multi generational and multicultural something that people, well, I don't know whatever it is, it's I think some of your songs are pretty good. Well say that people like, what's good the multi generation that happens, Yeah, I guess

it does for sure. I'm assuming that, Um, you meet someone who's a producer, like as your dessert, a producer that comes into your life, that takes you to the next level, that helps you make the sound, that becomes your sound. Yeah, who's that? A Reef Morten, the producer arranger behind A Wretha Franklin and you name it, Donny Hathaway, Aretha Franklin, uh oh man, on and on and on and on. I can't even tell you his his Atlantic lar and he found you where. Well that's another long story,

but we have time. I'll try and and and truncated. But we were locked in this messed up relationship with a songwriter producer guy in Philadelphia. We were trying to get an album deal and he was failing us miserably. And uh he was involved with Chapel Music in New York through his catalog. And we went up to New York one time and met this young kid who was only twenty named Tommy Mantola. Two years younger than us, and and and he said, hey, well he's this guy

is not doing anything for you. Let me do something for you. He's twenty years old, right, and uh why So he had connections because he had an office the size of this table in Chapel Music. But he did

have a contacts. So he sent us out to California to have a chapel rep take us around two various people in California and we sort of were playing for and went shiitting basically, and uh, we found this guy, Earl McGrath, who was a really great guy and was in who's sort of developing new talent, and he wanted to sign us immediately, which was great. And then he was connected with Ahmedary again and all those people in Atlantic, and he sent us back to Atlantic and we auditioned

for Ahmed. And I sat there at a piano and half the keys were stuck. They wouldn't work, so well, you know, it was this was like my big, my big day. I'm in front of Atlantic Records. I couldn't play. Yeah, I think I had the flute glasses on the piano. So I played badly and we sang a couple of songs and uh, I thought, okay, we blew that completely. Two days later I found out that they had called Errold said Earl, we want these guys. They're not gonna

be on your label. They're gonna be on our label. And and they signed us to Atlantic Records. So then we were off to a start of some sort. We were immediately thrust into I mean I completely was thrust into a different group of musicians, all those Atlantic studio musicians, uh, everybody from Dr John to uh pretty you know, Ralph McDonald to you name it. That that that whole New York R and B scene, And they were all unbelievable musicians. And they're the guys that played on our first records,

especially on the abandoned lunch Net record. I mean, that's the musicianship when that record is unbelievable. So I was in that world, in that scene. I mean A Wreatha was wandering in and out and Bob Dylan was wandering in and out. I mean we're just like, what's going on. It's a big machinery, you know, I mean it's it's it's Atlantic Records. Back when people were buying records, they choose you if they believe in you, and they get their marketing behind you. It's kind of hard to fail,

correct if you have some talent. Well, it wasn't quite like that, not in those days. It was. It was still a lot freer and looser. And I remember I'm saying to me and John, he said, just just make just make music. We'll figure out how to sell it. That's what he said. And uh, he said, don't worry about hits or don't worry about it. You know that.

That's he said. Don't worry about it. Literally said that, don't worry about hits, marriage just do you just do what you'll make it a hits, do what you do. But they didn't. That was the thing. We were a little strange for the world at that time. We're I won't say we're ahead of our time. We were out of our time, but so we I don't know what

what what was? First of all, we were doing a hybrid of Philadelphia soul and other kinds of R and B and mixed with this other eclectic kind of thing that John brought in, you know, like country music and all kinds of other stuff, singer songwriter kind of things, and dance music, you name it. It was hybrid eised and and and also in those days, they had no idea how to label us because we were popular on

black radio, not even known on white radio. And the whole idea of musical integration was not ready for the world. I mean we were, we were pioneers in that. And when did the first hits come. It wasn't until nine five when we actually went to our see A Records. We left Atlantic and went towards uh m hmm. I think it's an extent you can say. I don't know. I mean it was business. I mean, I think it was mutual. I think that we felt that they didn't. I don't know. I don't know what what we felt.

That a lot of it has to do with what how Tommy Mattola felt, you know. But they I think that they were saying, Okay, well we don't know if we can sell you guys. And they tried, and then they tried and then uh yeah, And so we went to our c A and immediately they did know how to sell us. Dissatisfied last time I asked him, I really got excuse that play. You're listening to my interview with Darryl Hall of Hall and Oats. Another musical hero

of mine is David Crosby. When he came by the studio last year, he told me about how hard living influenced his music and landed him in the Texas State penn There he went through heroin withdrawal as his fellow convicts looked on. Full Ranger went all away from like music man to uh hey, rock star, how are you doing now? Hey vern? Look over here? Rock Star going up again? Was Texas. Yeah, they didn't even have a meetings in prison and nothing. You had no help at all,

and you crawled out of there. Was bitter. It was bitter, but I woke up. My full interview with David Crosby is in our archives that Here's the Thing, dot Org. I'll return with Darryl Hall after the break. So, m, this is Alec Baldwin, and you were listening to Here's

the Thing when we left. Darryl Hall's a story it was and Hall and Oates were with a major label but had no big hits to show for it, so they left Atlantic for our c A. The die was cast, and then we put out Sarah's Smile on Black radio and it became a top five R and B record in all the black stations in America, and then then the white stations started playing it afterward, Baby with the Womans, I can feel you watching in the night Hallollo with me.

We're waiting for the sunlight. Ah and I feel cold, yea wom me And when I feel I can't go back, you'll come at me and me wherever. Sarah Smile. Sarah and Sarah Smiled was our first hit, and then suddenly things happened. Then Atlantic said, oh wait a minute, okay, they did are work for us in Atlantic put out She's Gone after that, and She's Gone became a hit

immediately after Sarah Smile a re release. Soon after that, we had Rich Girl and You're Off And you stayed with our CIA for how long we stayed with our CIA through shipes seven? I think what was touring for

you like back then? Did you enjoy touring? I enjoyed touring, especially because we became popular all over the world very early, right, I mean England embraced us like from the beginning from seventy I think seventy four seventy five is when we first started playing in England, and so we started doing a lot of touring in Europe and that it just you know, opens up your brain and we're kids, right. We had a lot of fun that changed you and him.

Sex symbolism, rock stardom. It was fame. If you're in your mid to late twenties and and you're running around the world and people are throwing there whatever at you, uh, you indulge that unless you're crazy, you know. I took advantage of whatever was opportunities where I was having fun. Man, I was you know. The one thing though, I was never into cocaine. I just didn't. I have a very sensitive nervous system. It doesn't work for me. But I didn't. But I I did it, just I didn't like it.

So you guys were dancing around coke daddy your brains and I was completely sleeping taking it. Now, I wasn't sleeping sex, drugs and rock and roll without the drugs. But when you so you go on tour, do you get sick of it? Do you get sick of the attention? Do you get sick of going on the road? You know? I mean then mean when you're resting and everything, you're becoming this huge musical act. At one point you would look at each other and go. I really want to

stop for a while. You know. It's funny. I look back at it, and it it feels like I had more time off than I do now. I don't know why.

I must have. I felt like I would go out and I would tour, and I would go balls to the wall for whatever a month and we'd work, you know, every day with no days off, and and I would take it all in everything, you know, stay up all the stay up late, do you know, do everything you can imagine, and uh, then then we'd stop, and then we wouldn't be doing anything other than going to a studio,

go into studio or right and prepare to go. You find that you go on the road more now, like most acts go on the road more because that's really the only one you can make real money. Yeah, I mean I tour all the time, and uh I I I'm busy, man, I'm much busier now than I was. In fact, I don't have time to make a record as that. I've been trying to make a record and I have to do it in little dribs and drabs and starts and stops, and uh, it's to try and

get into a flow. Is really really hard. Was there was there and I'm not assuming there was there a spot in your career were you sut there you go? This is it, man, we we This is the top that happens very seldom, but it did happen. There was a period of a very small period of time in where we did we Are the world I played, I reopened the Apollo Theater with the temptations, uh live aid and uh just we'll just use those three things all within a month and a half. And I remember thinking

to myself, Okay, I I feel like I'm here. I'm doing something right now that I know is a significant thing. This is and I'm experiencing it. I'm here now, be here now. Yes, that's that's one of the few times it's ever happened. So take me through, just just in a shorthand what the tour is like? In two of the evening the show, is there a prep you do? Is there kind of is there? Is there a vocal thing you do? You know, talk all day and something?

What I what I do is I lay in bed all day, rest, I just read all day, hang out, don't do anything about Oh late afternoon I might power an up and then I wake up and drink a whole shipload of tea, green tea to really wake myself up. It's all this preparation towards this crescendo. And then I get to a gig, never more than an hour before the show, put on my meg up, talk to the band, laugh with the band, have a couple of drinks, hit the stage, and uh, that's that's the all the time,

same band. Much rehearsals involved with you, guys, not much. We even together a long time. We know, we really so most of the work you do tour now was with John or uh no, most of us with Johnson. John. I do do the occasional solo stuff, but no, it's mostly with John these days right now anyway, And is scheduling between the two of you? Is it easy? You both through in the same kind of group, you know, when you want to go out, time of year you want to go, We work this out. We both like

the same kind of touring schedule. We're very still, very much the same when it comes to that. Yeah, yeah, we we have a good relationship. John and I do my TV show. That's that's something else. How the hell do you get people to come to a house and upstate New York. You tell me, man, it's the people. You've had one of the most gratifying things ever in my life that I could get Smokey Robinson to come to a MENI in New York up there, which is twenty miles north of here, take time off his schedule

art to come and do it. He was one of the first ones whose idea was it to do this thing? Man? And how did it start? I just thought, let's just turn everything upside down, you know, and that of me studio there, yeah, and every everything is opposite. Instead of me going around the world, I bring the world to me. There is no audience and all these people would just come.

And I only had this internet show. It was. It was very small, nobody knew about it, but these people were coming from all over the world to do this. Then it caught on and then it became a little easier to book. But still do you release the recordings of these can be or its only lives because because otherwise you do what pay them and pay rights to The One thing people don't realize is how expensive the

show is because of clearances. We had such a hard time with that over the years, especially in the beginning. Once we established it, then it was sort of okay, But it was really really difficult because I was in there, you know, totally innocent. I said, Okay, this is promotion for the record companies, promotion for the artists. Why should they not want this? But they were looking at it like we were napster, you know, like we were taking money out of their pockets. And I was like, what

money am I taking out of your pocket? I'm helping you, I'm giving you free from ocean. But forget about it. We had to deal with lawyers, we had to deal with record people, we had to deal with managers, and everybody wanted their thing, and the clearances. It became so high cost. It's a very it's a very hard show to pull. You haven't kind a record of it. You haven't kind God, that would be so hard to do. It would be almost impossible because so many people would

have to get things. But everybody's publisher would have to get something, every artist, every label, and oh my god, But so I guess my idea that I have for you, I have an idea I want I want to produce with you. I guess my idea for you isn't gonna fly? What would that be one? Having seen the Springsteen thing,

what a phenomenon that was. And my idea for you was to do at Darryl's house on Broadway, on Broadway and for one week, each artist comes on and plays a whole week of shows with you, and every week it changes it's another group and you do what on broad Well, that would be doable. Okay, here here's our Broadway story. We we've been spending five years. We got to the point where this guy uh was was writing a book, the guy that did Rock of Ages, Chris Derenzo.

Somebody's throwing down a shipload of money. And we read Chris's book and everybody thinks it sucks. So we're back to square one after five years. So I'm ready for I'm ready for new ideas. You're welcome, Thank you. That is a good idea. You're you're making a fuck with a lot of work for me, though I know you don't want to work at Hark. You want to flip houses. I hate Broadway, man, that you gotta play all those days and two days and Wednesday as easy for well,

let's see, let's over to your on that show. There's some people I see who come there and they really kind of rise to the occasion. Yes, you almost. Somebody who I know a little bit. I worked with them years ago is Kevin Bacon. And I've always had Kevin peg to somebody who's as cool as a cucumber. And yet even Kevin, when he's singing with his brother When the Morning Comes, you can almost see a piece of Kevin,

there's a little glint of it. Was like, I can't believe I'm singing When the Morning Comes with Darryl Hall. That was a fun show. I mean, Kevin lives near here, and uh, I've known Kevin outside of this stuff. But there's two different kinds of people. There's brand new people who are looking at me like they have to get over that, you know, and and be you know what I mean. Some of these people just had their first record and they can't believe they have to like do

this stuff on their feet. They're not used to it, and to see them rise to the occasion blows me away. I just I feel very uh paternal about him, I guess that's the right word. And then there's the veterans who are used to doing things their own way and used to doing these arrangements they've been doing for thirty years and forty years. Well there's there's a perfect one.

In fact, I had to call him out on the show about him, you can see that, because he was trying to make it into the like his live show. And I said, no, no, this is Darryl Sauz. This is forget it, Kenny, let's do it this, let's not do it. You know what you've been doing. Change is a good. Change is good. Change is good. And it's funny to see the veteran artists adapt to this, Like on the Spot, there are brains are going like this. It's talk to me about flipping houses and what's your

term for restoration? Uh? Losing a whole lot of money on houses tax write offs? No, and I wish now. My other personality is totally immersed in history. And I grew up in old houses. I grew up with a family of people who worked on old houses and lived in old houses. You know, outside of Philadelphia it's, you know, a star. I lived in Valley Forge for dad's sake, you know. I grew up in those kind of houses,

A seventeen hundred houses and everything. I used to go on job sites with my grandfather who used was a stonemason and a brick person, used to restore old chimneys and do all that kind of thing and actually build houses too, And so I would watch the construction of these things, and I was very I don't know, I really really liked that world because it's it's not that dissimilar to music in some strange way. It's making something out of nothing. It's you know that that whole old

saw about architectures frozen music. What's the first project you did in that regard other than the apartment with John Well? Now, yeah, that was a whole house. That was the first one. This house was taken over by people who I guess just I don't even know what it was. They ruined, they basically gutted the house. But it was a house

from about eighteen hundred and uh. It was one of those small Philadelphia houses that they call him Father's Son Holy Ghost houses because there's three rooms on three floors. It's a very typical small house in Philly. We were faced with the shell of this house, so I basically got in there and started renovating it. And we did. We renovated it. I don't know how much John had to do with it, although he like he likes this kind of thing as well. He actually became a general

contractor when he built his house. He went to school for it. But he doesn't do his storic houses. My thing is is historic houses and how many of you done I've done that when I've done too in England. So if you're restoring houses in England, you're living over there. Oh yeah, Why I live in England as much as a low in America. Outside of London, I live in Why, I don't know. I love it. I have family there. Well, my family is partly from England, but also I had

a britt wife and British kids. Now, how many kids do you have? I have to and they were in England, the ones in London, and one was just it wasn't in Charleston's, South Carolina with me for a while and she's now moved to l a anybody in the music business. The two kids, both of them, they're both they we want of them work with you. Yeah, March my daughter, she's a really good musician. We wrote a song a week ago. You're not married now, but wasn't one of

your wives your partners the restoration of the houses. Amanda, she's unfortunately gone. She died almost a year ago. But I'm sorry to hear that. Yeah, well, yeah, she was. I did a lot of interior design things like that. So we we worked on There was a good partner for that. She was really good about that. Yeah, we there's a house about three miles from here that that we've worked on. Now I'm finishing it. So do you

own all your publishing? You have all your publishing? No. I I was very stupid, like many people are over the years. But I let's just say at the end my apology, right, and that that's a tough reality for some people. Was antistic. I was. I was so stupid. I can't believe it. I didn't I didn't know. I didn't know what it meant. I didn't know that it meant everything right, right? And when you would write songs, you told me that you and he it was it was more he'd do his thing, you do your thing.

I mean, truthfully, I've written the bulk of the songs, but I mean I noticed him when I read this. Yeah, but also a lot of this stuff, A lot of the if you look at the songwriting credits, a lot of the were very haphazardly attributed, you know, but uh, we did. I mean that's not to denigrate what we've done together for sure. Do you have any connection now currently to Philadelphia and then in that area back there?

I have a familial connection my most of my family got there in the early sevent hundreds have never left. There's no Darryl Hall Scholarship, but there's I do have. I do have a star on Broad Street. I got that. And every year John and I do a festival in Philly called Ogi Nation. It's literally good when is that? What time of year? Memorial Day weekend. It's a region that's defined by it's fast food. It's New York without the ego. It's so elegant, and there's so much to

do and see there. I love. Philadelphia is a very special place. Yeah, let me just finish with this, which is why do you think it is that you can sing the way that you can. It has to do with how your brain works. You know. I'm a very spontaneous singer. I'm a very free singer. And you don't know where you're gonna go, man, where I'm gonna know once it's it's not intellectual. It's there is no thought involved. It's total spontaneity. I'm just a bird. It's opening my

mouth and shirpen away. And I've been lucky enough to be blessed with the physiology to pull that off. That's that's really what it's all about. Let me tell you something. If I could sing, I want to sing like you. Alright, thank you so much for doing Oh this is good, it's great. When A big thank you to vocalist and songwriter Darryl Hall for inviting me into his club and giving me so much of his time. I'm Alec Baldwin and you're listening to Here's the Thing when you shot

now standing here. Wait, it'll be all right, Lord and wh