Questlove Supreme: Daryl Hall

Quest Love Supreme is a production of iHeartRadio, Ladies and gentlemen. This is Quest Love Supreme. Today marks the conclusion of what I feel is an instant classic episode. As I expressed in the previous recording that I personally like one on one qls's meaning one artist to 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 where you get the same identical story. But previous episode we talked to one half one of my favorite duos and the music one of the most successful duos and music. And now we are given the honor and the pleasure of speaking to the voice the soundtrack, I mean, the personal soundtrack of my childhood. And I'm, you know, a Philadelphian. So this episode is doing me some pride right now. What else can I say? But the one and only

Team Supreme.

I'm sorry I didn't even acknownce you how damn he was waiting for that.

I was gonna say, it's okay, it's Darryl 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 uh, you know. Yes, So how are you doing?

Like you?

I'm doing great, I'm ready, I'm so good. This is yeah, life is complete.

Man.

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

I said, this is actually my studio house.

Oh yeah, this is mine too, Okay, exactly, that's what it is, a mere 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.

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

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

I'm great man.

You've been winning awards like handover whatever that expression is. And we have to do some flowers a beer flowers for a beer.

Congratulations. Yes, thank you, thank you for that deflection. Thank you.

Well.

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

Finished just last week season fifty three. I think fifty three.

Season fifty three.

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

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

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 fifty a couple of years ago, and they were definitely there for that. And I saw him at that and he's a fantastic like Emelio, like played the guitar really well and saying really well, and it was just a consumt a musician and a wonderful human being.

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

You make it seem like I physically placed you upon the Thanksgiving Day float, and I will take full credit for that.

Well, 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 Flace sidekick, Like you're.

You're a major staple in the circle. Man you are.

You know, you're writing brought hit Broadway shows and producing my platinum albums.

And just for the record, I'd be happy to be a Flavor Flap sidekick. I'm totally fine with that. But that's very nice.

I'm I'm throwing some flowers back to you, sugar steans you okay, even though you're upgrading your computer right now, you're doing this on your telephone.

I'm really good. Thanks for asking.

I actually wont a Schmuky award last night, and I'm thinking about buying my own paper airplane.

Okay, like like it, don't.

Step on my punchlines in front of Daryl Hall.

I'm sorry. You know you heard me.

I'm sorry anyway, fon Tikeolo good So I'm good, brother, I'm good, man, I'm good. Congratulations to you, man. I was happy to see that straight. I appreciate that. Yeah, now we can finally.

Get to the business. First of all, Sir Daryl Hall, are you in the world famous Darris House right now?

I'm in I'm in my studio house.

Okay, explain that this is different than the Daras house that I've seen on television.

Yeah, it's a different house and age.

That is bullershit. I like this.

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

Yes, this is this is this is a next.

Room man to Imaginative one one Light.

So so as I so, as I said on on the top of the show, we we talked to your your partner for over five I don't know, maybe six decades John Oates about his experience musical experiences in his life. And and now's your turn, because you know, although you too share common ground, you two also have done different endeavors, and so I kind of wanted to make this more one on one instead of like the the group project. So for you right now, like where where do you?

Right?

I'm in Connecticut right here? I I you know, I have a house in London too, So I kind of go back and forth.

Nice what party in London?

Uh? In Kensington?

Nice?

Okay?

I used to live in Kinsistown. Okay, all right, yeah, Kinnistown in London. When when did you cop a spot in London?

When I've been since the seventies?

Oh? What forever?

So you're a dual citizen.

Right sort of.

Wow London? What made you choose to go over there?

I just I had an affinity for it, just from the very beginning. It kind of it reminded me of Philadelphia. It's so crazy play.

Oh wow, we are a little cleaner than that.

Well yeah, well some parts, some parts.

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

There's something familiar about it, you know, very much.

So so that's okay, Well that that's that's cool to hear, Like.

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

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

Same.

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

I don't know, man, I've always sort of had one foot in the country. I went for the city I grew up.

I grew up.

I didn't grow up in Philadelphia. I grew up in Pottstown, you know, out in Chester County, and uh, you.

Know I considered that, Yeah, Phillly adjacent.

It is, but what I hey, I'm an old guy. You know it was. It was in those days. It was really good and uh, you know, I grew up in.

A colonial house, so all that kind of stuff, you know, I mean it was as I grew up in that world.

You know. My family were farmers and 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 this city and 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 my what my mother and father both were musicians. See my mother in a band, I mean, my mother was in it was in a band in post Town, and I was like, yeah, from the age of two years old, I'd watched the band and I always wanted to be the band leader, you know, the guy that had the he had like a white coat on.

Everybody else had red coats on. He had a white coat on. So yeah, I was I wanted to be that guy.

What does Daryl Hall's mom's voice sound like? What is her singing voice?

She was a soprano. She's ninety eight years old now and up man, she's still six, but yeah, she she's amazing singer, amazing soprano. And my father was in a gospel group, a vocal group, and so I learned harmonies from from him and his brothers and his friends and all that. So I, you know, I grew up in that the whole that whole world.

Were they closer to do wop or more Mills brothers or like harmony?

Like what was their church harmony? You know, like gospel harmony?

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

I have once?

I have a sister, one sister. She lives up here in Connecticut too.

And she musically inclined as well, she.

Is, but she's an artist.

She does all my visuals, you know, she does everyally, 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.

So even in the days of like she was like she was.

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

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

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

I mean I was always okay.

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

Short of when I was a teenager, I would go I would go in because they used to have trains in those days from Pottstown.

So I used to goin and my friends were in there, and and I moved right out of high school.

I moved to Philadelphia.

Okay, so you're talking about like the R five or the R three, like those high speed trains that Septa.

Yeah, there was like the Reading Reading railroad and all that stuff.

Yeah.

Even even when we asked John about the time that you guys put in during those those years in the sixties in Philadelphia, he said that you would have more intricate stories because of your involvement with like Gamble and huff and like all those groups around. But could you could you basically describe to me what the Philly environment was. I guess you know, your teen years was in the sixties, so you know, if you wanted to see your like of the acts of the day that you saw, like

I used to go to the Uptown. I mean I I I.

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

We won the talent show.

So I got a I got a deal, and I went to Virtue Studios and did a and did a record with the with the Romeos with Kenny Gamble.

What year was this?

Around nineteen sixty seven?

Sixty seven? 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 into Philly and just dive in and just talk.

To folks, you know what I have? I always had confidence in the music area. I'm not exactly.

I wouldn't call myself an extrovert by any means, but you get when you get into music, then yes, suddenly I shine. I you know, I do have confidence.

Indeed, was it unusual for you in the late sixties, because I'm assuming that you're you're kicking it with the brothers in terms of like, you know, if you're at the you know, having met like Danny and the Juniors and and the Dovels and those other like Philly doo wop legends that were kind of around my father's era, Like you know, I'm not hearing them telling these stories about.

Yeah, man, we just always good to own town 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 sixties.

It didn't seem so unusual. Believe it or not, it was it was it was a different time.

I don't know, man, I mean, will you talk about Dovel's they all went Overbrook. I mean, those guys, they were they were in it big time.

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

Guys really well, okay, so Lenny, Mike Freeda and Lenny Barry really close friends of mine, and yeah, yeah, they were real.

Man, I mean they came from 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 on this show.

One of the first records I ever bought was your dad.

Really see again? Only I only know that dad.

I only know my dad from the second phase of his career, because there really was a documentation of, you know, of his career before then.

So I can only go on word of mouth of.

Oh, I used to see your dad's 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 Chiplan Circuit. If you're in New York, the Apollos a Highlight. If you're in d C, the Howard. If you're in Chicago, Uh, is it the State Theater?

I believe, Yeah, Yeah, I.

Think it's the State. Yeah.

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

Is it you know, is it an all day thing?

Like?

Do you go there twelve in the afternoon, you stay till all the shows are over.

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

You know, my generation.

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

But was it just expected for like.

An act to come out and do fifteen to twenty minutes and then that's it and you're out.

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

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

Show, Yeah, like you know, just from the days of like well, I meant most people sight yeah, or even like modern the modern era of like where Mom Rainey's yeah, Mom Rainey's traveling circus and then that sort of you know, morphed into vaudeville, which then morphed into the review, which 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 Yeah. Back in the day, it was it was the radio guy.

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

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

So if you're playing with the stylistics, you know, today, it's it's easier for acts to because of the Internet. I can easily google something, I can easily easily reference something. But in your day, how easy is it to pick up someone's music? Or is this just a thing where like you hear in the radio a few times and 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 record charts. I mean that was how you did it, all.

Right, So you're a court chart reading Can you name some of the singles that you played on and those like early.

I can't even remember. I used to work a lot with Norman Harris. He was one of the guys, the guitar player and m mfs B you know whatever, and uh uh uh, man, I can't you know. I I so long ago, man, I I did, Like I remember getting to remember doing a Clyde MCFA record, you know what I mean, Like that's stick in my mind. We did a lot of stuff where we would do demos and and it wouldn't even get anywhere. It was this guy George Tinley. I used to work with him. Uh,

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 I'm assessing musician or did you instantly know Nah, it's it's in front of the microphone, like that's where the real that's where I want to be.

Yeah, it was it was I I wanted to be in front of the microphone. I liked doing it, and it was it was an experience and I learned it and I would be like, you know, I was never I was like third string or whatever, you know, but I was, you know, I'm still in school and uh uh I you know. I did a lot of writing too, you know. It was it was sort of a combination of studio work and writing at the same time I worked. I worked with this guy John Madera. We talk about

And and gamble and Huff were like a couple floors down. Tommy Bell was in there, so we all knew each other and hung out together.

And uh so it was a combination of being to being in the studio and writing at the same time.

Yeah, well at the time period where Gamble and Huff sort of or at least they dropped the anchor as the the alphas in this in this Sound of Philadelphia thing, which always confused me because you know, I'm assuming that you know, not having the aid of liner notes when I'm listening to either their work or you know, or the work of Dexter Wanzel or any of the other

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 Kenny actually said to me, would you like to him to Philly International and write and do whatever you know, the record and and that was just when I was get ready to leaf for to go to to move to New York with John. And I said, well, you know, I was tempted, I got to say, but I figured that what we wanted to do what became the Hall and Oaks sound or whatever it was.

It was.

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

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

But could you tell us how you met.

We've told that story so many times, I mean singlely and together.

Uh, I mean listeners have not heard that.

I guarantee you there was a record hop out in the Adelphi Ballroom in West Philly.

And the Second Street, Yeah, and that's where it was. And and uh, I forget who was on the bill.

I remember our tate was on the bill and and uh five stair steps and and and then they had you know the bottom of the bill was the Temptones and John's band and uh and uh.

We you know, we were waiting to go on.

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

What was it?

Where was your major at Temple Music? Okay? Did they have an RTF program backman? Or was that?

Like?

Yeah, John was RTF. I believe he was a journal He was a journalism of 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 an imitations and influence, but.

It was a revolving We call it Temptones because of Temple University now 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, I get it.

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

Well, yeah, probably, I probably was. But it all just

I was like as a singer at least back then like who who was your north star? Who? As far as like who you idolized as a singer? And then I guess who were you not emulating?

But who do you felt like.

Influenced your your your vocal style?

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

Uh yeah, Spinners and.

These are the people that I idolized and I I will Yeah, I guess when I was a kid emulate, Yes for sure.

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

Now he's a monster.

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

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

That's so dope, man.

With John was the chemistry with you guys, honest, mostly on the songwriting tip or was it a musical thing or vocal vocal harmony kind of thing.

It was sort of songwriting more than anything. I was interested in what he was doing because he was he was way out of my realm of experience.

You know.

He liked bluegrass music and all the stuff that I had never heard of, you know, or heard I heard of, but I never heard and I was sort of you know, I was in my student mode, so I was learning about all these things, and so I was really interested with what he brought to the table that way. So it was more of a friendship than anything else, tell 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 musical style. I got my own one week somehow put it together when we when we work together. But yeah, it was more. It really evolved from a friendship to something a little more than that.

The original al Cast, original mob.

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 said the song She's Gone, that's h I would call it exception to the rule, if you want the truth. John John writes his own kind of songs, and and I write mine, and occasionally we would collaborate on lyrics, and I would throw things at him. And I also collaborate with other people like this. The Allen sisters Sarah Allen and her sister Jennau wrote a lot of songs with with me and and I would jump into that too.

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?

No no, 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 Daryl, like are you too, allowed to offer unsolicited suggestions of a.

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

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

Very you mentioned she's gone, but I don't think we got to hear you when you broke down the workflow of that song.

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

How does a group pursue a record deal in the seventies? You know, now we're in a time where you can go viral on YouTube. Someone sees it and chances are they'll stalk you and see what your situation is and signed to me. But how do you how do you gain the attention of the industry? Like when you when you and John are like, all right, we're going to do this. What's the what's the step in the process of getting a record deal?

We you know, we knocked on doors in New York City and everybody liked us, and then we get the word, well they liked you, but you know they turned us down, so we we want long story show. We actually went to la and uh we we went out there and we were knocking around. We were introduced to some people and I was introduced John and I were introduced to this guy named Earl McGrath who had this tiny label

My dad mentioned what what we commonly say as a showcase. I don't know showcases are as common now as they were back then.

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 s I R. Situation or I know, like Atlantic has their own facility and room like that, Like do you set up there and then you just performed for ten suits in a room? Is it is that process more jarring and weird like to.

Yeah, it was. It was.

It was really like I said, I all the all the conditions were the worst.

We were in this little room with this.

Shitty panel, I mean, with with the keysticks stuck and uh, and we had and across from me on the other side of the room was Ahmed a Reef and uh, I don't think it might have been Jerry Wexler, I can't remember, but they were watching us and it was just being John and I'm playing playing like I can't even remember what I played. And I thought it went terribly, but I guess they saw something, you know, they they saw through it all and that's how it was. It was really personal.

Addition, he talk about like, uh, you know, mister Martin is one of my idols because one of my favorite groups ever was the Average White Band. So having read his name on you know, on Average White Band and Wreatha Franklin and Donnie Hathaway, can you talk about working with Reef Martin as far as his production style and what was it like for you?

He was he was the greatest producer man. I mean, in my opinion, a Reef and Quincy are the two great producers of all the of the era. And he allowed a Reef allowed the artist to do. He was so flexible. I can't even describe it. It was he allowed you to shine. He had this uncanny ability to figure out what it is that you were good at doing, and where where where the spark was, and developing that spark. And he could add all kinds of He had no

Was he uh hands on in terms of soup the nuts, as far as far as picking the songs, picking the mix, the mixer, staying there for the mix, Yeah, sequencing your album, suggesting singles. Like when he takes on a project, is he literally watching every iota of it or is it like, okay, guys, I won't be here next week, but that like Jerry's going to sit in for me.

I got to work with the RIFA for this thing.

And or is it like once he's on your project, it's just you and you alone, or are you scheduled in between other stuff?

No, it was he.

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

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

Or well, I don't think it was, because he's he had the ability to do that.

He would just switch projects. But he didn't.

He you mentioned before, he didn't have nothing to do with picking singles.

Or he would an r it. He would.

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

Like how 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?

He that that particular one that was just what can I say? That was just inspiration from me. I just did that, you know, I just opened my mouth.

And that's okay. I can't even don't know what anymore about.

But and he lets you, and he lets you suggest things and let it happen.

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

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

Yeah, it was a weird thing. It was.

I was boy, you know, it's a long time ago. But our enthusiasm right over over rode our frustration, if you know what I mean.

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

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

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 can say. You know.

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

I just I.

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

And were you an immense fan of his early records and 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 it was really okay.

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

Well, I was.

I was into that headspace, so he didn't have to push me.

I was.

I was right there with him. I said, how far can we go?

That was the whole idea, And how how receptive was at the time.

Not that perceptive? Receptive?

Okay, Hence.

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 Allan, me and John were sharing an apartment, a two bedroom apartment in Yorkville, and I had I had, I had a keyboard and I just played the song. You know, I was writing the song. It just came out of real life. I mean, I can't say more than that. I just wrote the song about what was going on around me.

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

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

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

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

Oh, I don't know, you know.

After saying and I split up, man, she says she couldn't go to the supermarket for bet.

Yeah, that's what I'm saying. How is it, how.

Like I'll never sing that song again if you guys break up and you know.

Yeah, but you know that song, that song transcends relationships and all that. It's you know, it's it's a bigger than that, you know.

And every Sarah in the world, and it's just about her. So it's great.

True, that's true.

So the time period between.

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

That five year period where.

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

And eighty.

Well, we had rich Girl first, Well yeah, I mean yeah.

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

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

And we changed.

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

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 seventies to the mid eighties, it's rather controversial. But you know, as far as his work with Earth, Wind and Fire Denise Williams, Chicago, Like whenever there's a documentary, it's always like and then David Foster came in, it's like that, and he always drastically changes the sound. So one, why did you guys

Well, actually Tommy Mattola chose him.

So okay, well livingly ask you well at the time, I mean, he wasn't the time of Watola. I grew up knowing like the established CBS, you know, executive.

How did you guys discover Timmy went.

I've known Tommy since he was twenty twenty years old? He uh, he.

Was working at Chapel Music. He was our first manager. We were a trio. It was Mattola, me and John and and and and that's I mean, he was our manager.

True.

I can't imagine Tom Rattola is 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 that as a teenager?

Yeah? What did he show? Y'all?

Yeah, he's one of those people just acts like a manager, even if 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 Mey and Tommy and it was that way all the way up till he discovered Mariah Man and then he don't mean.

Wow sound by for Yeah, it's okay.

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

So can you tell us what was the.

Impetus for releasing a solo prod pict a that in that year and what was the story it took like three years for to come out.

Yeah.

Yeah, Well one of the reasons we're talking right now is because I have a whole project. I'm releasing all my solo records. You know, I've done all you know, I have a whole like parallel universe of music that

And have you ever wanted to keep a song for yourself or is it are you basically just saying that, Well, I write for projects.

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

You know.

One of the very first sounds of a drum machcene that I've ever heard was, I mean, at the time that I was a of it was I can't go for that. As far as like technology is concerned and all those things, like for you Can you just explain how you know, how intricate or how involved you were with like finding new sounds and whatnot. I don't know if it's like you purposely wanted to find a new sound,

Yeah, it's it's a funny thing. It happened by accident. There was no plan. I sat down and I turned on a roll in copy rhythm, which is the simplest drum machine that you could ever imagine, and it was, and I pushed rock and roll on, which is that beat, and I started playing. I had this cork organ and I started playing the bassline to it, and then I started playing the right hand to it, and that's.

Where the song came from.

I mean, it all just happened spontaneously and there was no 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, did you are there any stories or experiences from that. How surreal was that night doing USA for Africa? Well, I know that you were part of the We Are the World recording.

It was.

It was one of the weirdest things that I've ever done in my life.

Talk about it, well, first, first of all, I mean, I'm the whole idea is that you're not allowed to You're not allowed.

To bring anybody in with you into the room.

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

It was nobody knew how to act because it was awkward. It was awkward, So everybody reverted to being like.

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

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 others as they as they we all were that night, and it went on too.

It went on well into the night. You know, some some.

People were still there at like four o'clock in the morning, and it was 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.

I mean, so that pressure is good for you, Yeah, that's.

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

But it was differ, you know, I get it.

I would also like to ask you about the Apollo Record with Eddie and UH and David. Well, okay, you told me that Timptones were more based on Temple. I always were from the Temptations. But could you describe your fandom for the Temptations, like and how was that a special moment or was it just like okay, that was.

Cool and no, no, no, it was it was. It was one of the special moments. I mean, you're you're hitting on all the things that actually matter.

Yeah. Yeah, with the Temptones were Temple University.

But I idolized the Temptations and I and I got to know them back in those days.

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

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 and Overbrook Park and I was I was the celebrity of the Evening Man because I put him into this fucking diner.

Oh yeah, yeah, you.

Brought Paul Williams because you know, everybody was a Temptations fan, and I brought him into the place.

Man, And I really like Paul.

I had a lot of heart to heart talks with Paul Man and he used to listen to the records and listen to my songs and stuff.

I was just about to ask you, what did some of the guys think of your voice and what you did? Like, what did the Temptations say about that?

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

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.

I guess they saw what or heard what they heard, you know. I mean that's all I can say.

Yea, the fact they let you come into room that says.

That one of the double bets, you know, and sing sing ship 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 that is special. I'm glad that was a good experience for you. Any memories of the Three Hearts, uh and a happy Ending Machine record. I know that by that point, even though you two will have made like one or your your final, at least of that hall

What was that for you? What was that process?

Like?

Well, Dave and I again, we I tend to work with people that I get friendly with.

First. David and I got friendly and we.

Started writing songs together right away. I mean we're still really close friends. And uh, it was 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 uh doing a good part of that album in Paris. But uh, t Bone was sort of the in the middle of it all. He was the voice of reason because David, David is very he and I are very similar. You know, we just go for it, you know, and it's all over the place and and and we.

It's it's very loose and spontaneous, and T Bone.

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

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 of t Bone, I knew of.

Your guitarist, Like, how did how did you guys assemble that particular band?

Were they just like New York's finist? And do you arty?

Let me let me think, Uh, g was worked with Dan Hartman. Okay, now don't ask me how.

That, Oh instant you played Dan Hartman?

Okay, yeah, yeah, that that Dan Harmon and and then and Dan wasn't working so somehow ge.

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

It was a John Siegler.

He went back to Todd or something that because he was working with Todd and uh and t Bone auditioned and and yeah, there he is.

Man. I said, well, this guy's a monster.

And so I forgot to mention on on on John's episode, but well I mentioned that when you guys were coming on the tonight show and unfortunately you had to cancel because t boneet passed away two days before I got to also mentioned, at least for our fans that that's t Boom, that's the bass player on Curtis blows the breaks. So you know, legendary, legendary cat.

Yeah did that before he even before he joined us. That was that was his first thing he did. He did.

Really yeah, oh shit, that I did not know.

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

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

Uh, well, I know you did it, but it's always built as like a comeback record or like a reunion album, which other.

People's perceptions than ours. Uh, But Okay, we sort.

Of morphed into just this, uh, into a touring band, and that's that's really what we are now now you know we we're a performance band. We don't we don't really you know, we have this outrageous body of work that we can that we can draw from, and uh, and that's that's really where we come together at this point. And that's sort of it just turned into that and we decided to be more individuals, which is what I think tends to happen as you go on in life.

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.

Just if I want to make a record, I'd rather make a record with me. And he feels the same way.

You know, I get it. I completely get it.

Fante's kind of in that situation himself.

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

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

Yes? Sure?

Or make sure that you're.

Clear what does conflict resolution look like for you? Guys?

We don't really fight. It's a funny thing again.

You know, we've known each other since we're kids. I think we sublimated. I think there's a lot of you know, maybe maybe uh, maybe there's resentment and and and shipped under the surface.

That doesn't but we don't. We don't. We never fight. That's the best way I could put it. We just don't fight. We we either let it go or or Bury it.

I see.

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

It was the time, it was There's something about that period of time I got that place.

I was. I was married to.

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

Oats birthplace, really right, Okay, that's all I say about it. I love that house. I renovated it actually. Yeah.

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

And that was the O G teny disc.

Is it streaming or what?

Because it's not right now, I'm waiting to restart it again.

I'm I'm waiting for my invitation.

I think I actually did give you an invitation and we were.

Yes, you're right, I forgot, Yes, we were. I forgot. We were to forgive me my own face.

Sorry, in some form for sure.

But Darryl's House is operational all year round.

Right, Well you mean the club Darryl's House. Yea, yeah, that's 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, Daryl, can you see old episodes anywhere? I was literally literally just thinking about that today because it was on an interesting network in the first place.

What can you see the episodes?

Can you see the old episodes?

Yeah? Can you see the old archival?

Ye? Not all of them. Not. My plan is to make them all available.

Okay, okay, cool, we 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.

I I this 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. And I knew it was going to be different from me, and I had a lot of reevaluation, and just I've been traveling my whole life, you know, I've been on the road my whole life, and to be in one place in lockdown, I just I just sort of embraced it. That's the best way I could put it. I just said, Okay, here I am. I'm not seeing anybody with my sister

And this was the longest that you've ever taken a break from not music now 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 reevaluation.

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

Yeah, it's it's therapeutic. It's it's I love history. I love all that stuff. You can tell by this room that I'm in, But I uh, it's it's sort of

It's the same thing.

Is there an HGTV show I don't know about?

Or I did a TV show about work restoring an old house? You said you did?

It's not a familiar restoration overhaul that sounds familiar.

You're before after project.

Could you tell us like the inspiration behind it and the creative process to create it?

Well, I wanted to.

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

Put them all together. I didn't.

I didn't do them in chronological order I had, you know, I didn't. I treated him the way I would treat any kind of album, and just put the songs together as I felt, as I felt the flow would. I just felt the flow. And that's that's the best way I could put it. I just was showing the world that side of my music and the people that I worked with and all these different projects I've been doing for for.

Many, many years.

The ultimate mixtape for you, like the automate retrospective of your your favorite songs, your personal favorites from your from your solo catalog.

Yeah, all the all the ones that are my first the ones I think are the great, the good, the best.

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

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

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

Because they I have to approve number one. So yeah, I hear.

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 change the way Philly music is looked at. What do you think about after you left and some of the other Philadelphia artists that came after you. Have you noticed anybody that that locked in your ear?

I don't know anybody I'm trying to think of.

It's like the you know, so many errors.

It was the core.

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

I mean they're all great. I mean carrying them on the tradition.

Then before I go, I definitely want to ask you about these tour dates, Like for you, do you like touring still or is it is the grass always greener on the other side, Like for you at the stage in your life when you see because you're you're about to do like a three month or two to three month run for your solo tour, Like for you, is it like like getting up at like the idea of lobby call and early stuff and sound check and a routine is that you know, is it still exciting to

Well, it's you know, when you're out there, you go like, oh fuck, yeah, you know, it's it becomes hurry up and wait. It's you know, it's it's routine. It's constant, you know, moving around.

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 uh, it's a spiritual experience.

And I know you're hitting Carnegie Hall. Is this the first time that you're playing Carnegie Hall as this?

He will act?

First time I'm playing Cardiig Hall with anybody act? Yeah?

Oh wow, that's what's up man?

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

So what's wrong with.

What's wrong with releasing another edition of that part two with just deeper cuts from from your immense catalog with John.

I think it's a good idea. Maybe I'll do it.

I have a question in closing, and I guess I should have asked it earlier. I mean when people mention you, of course, uh, you know, the term blue eyed soul always gets tagged with you. When you think of blue eyed sold at least if you're kind of my age, the first thing you think of is hall of notes. Did you guys mind miss tag at the time or was it? I think every artist sort of rolls that collectively rolls their eyes of whatever like is pegged of them.

Like I hate that term?

Well, the first duo that ever got it was the Righteous Brothers.

That's that I did not know.

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

Whatever you know.

I don't.

I don't like to.

I don't like to break people break categories down, especially those kind of categories.

Mhm, I see.

Do you feel the honor in existing, thriving and being an example and soul music in that way though.

I'm I'm happy to be respected in in in you know, in a world that I care about.

Uh.

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

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

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 you're you're the soundtrack of you know, my life as just as a music fan and in general. And I'm really pleased and happy that we did this episode. And I thank you very much, uh Daryl for for doing this with us and making us a special episode of Daryl Hall, Ladies and Gentlemen, Legendary Philadelphia. And you know, wait a minute,

Yeah, is this true?

Yeah, that's true.

Wow, I've heard the rumor of it, but never I'll tell you the story. This is the encore, and I promise it's over.

Right, because nobody ever asked about that. We the first time that me and John went to Australia, right we were We were in Melbourne, Melbourne, Australia, and it was after a show and we went to this restaurant and nobody was there except for it was after hours and nobody was there except these two guys and their wives were sitting at a table next to us and my bass player, his girlfriend John and one of our minders. Was he just some guy that was with us and

Oh shotgun.

Here was this?

This was nineteen yeah, eighty one, I'll say something like that.

He's Jesus Christ, this private eye time.

Yeah. Yeah.

So the guy he starts waving the gun around and he says, you know, he give you your money, give me your money. And I remember the bass play. The bass players name was Kenny. He pulled out a credit card and handed a credit card. Okay, we're all sitting there and it's it's an unreal situation.

I mean, anybody ask anybody in a situation like that, it's all very unreal.

The guy had a ski mask and a shotgun, right, and he goes over to the next table, which was right next to us, and he starts pointing the gun at one of the women and says, give me your you know, give you your money out of your purse. Right, And he put put the gun down just enough that one of the guys grabbed the barrel of the gun and pulled it and the other guy jumped on him.

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 grabbed this guy at the same time. We we basically broke the shotgun up, took the took the shells out, and then then then okay, he was disarmed, so then we held him and by then the matre d or whatever it was, the guy that was there had called the cops. The cops come charged up the stairs because on the second floor and grabbed the guy and uh basically threw him down the

Oh wow, rusting gun rusting gentlemen.

That sounds like you, Jackson.

Yeah, Robin.

I was like, this is Three Hills cop and coming to America.

Okay, yeah, Daryl Hall, legendary crime Stopperlease gentlemen.

Yeah, that's how you end the show.

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

Thank you okay, thank you much.

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