John Oates

30:53Eddie was singing Holiday Inns down in Alabama. David was in Detroit somewhere. I don't know what he was doing. Nothing. Yeah. And we asked them to come and reprise the Temptations medley. And we did that on the Apollo show. Unbelievable. After we did that, I remember after that show, Daryl and I, you know, it was a big hubbub backstage, a lot of press and a lot of friends. And I remember us sitting quietly in a corner. And it was almost like we realized that it was done. that we had completed the circle. Got you. You know, and there wasn't much to be said, but I know we both knew it. And I was, you know, you have to remember, we made our first album in 72.

31:38So now go to 86. We made an album every year from 72 to 86 and sometimes more than one because of greatest hits albums and live albums and things like that. and we toured in between every album and never ever stopped yeah so you're talking about you know what 15 years straight of touring without ever stopping not once yeah and it was like i i knew there was something missing in my life person and i'm just talking my own point of view um and i i just wanted to stop and so that's what we did in the in the end end of the 80s which was commercially from a career point of view probably the worst thing you could possibly have done when we were riding on top of the world you guys are like killing it i mean we were on top of the pop world right um but we basically just stopped and um it was then i began to rethink certain things like personal life and stuff like that so we ended up making another record um made a record called in like 88 i want to say it wasn't much it had like a semi-hit single my heart wasn't in it um And then we made an album called Change a Season.

32:47And that album, just the title alone, can tell you about the kind of where, at least from my point of view, where I was coming from. And I was ready for something else. I didn't have a life, you know. I had a great professional life, but I had burned a lot of bridges, you know, in the process. And I got divorced. Our manager left, Tommy Mottola, who was our manager, went to Sony Music or to CBS at the time, became the president of CBS. He took off on other, other, other paths, Mariah, et cetera. And, um, there was, it was like a rudderless ship. And so I just checked out, I sold everything I had, um, left New York city, moved into my little condo in Aspen, Colorado.

33:35And I met my future wife, built a house, had a kid. And so for the entire decade of the 90s, I went skiing. And I went bike riding and hiking and backcountry skiing. And I lived a different life. And I realized that music could be part of my life, not just the only thing in my life. So it was probably the most important thing I ever did. And Colorado saved me. Because I don't know what would have happened if I would have stayed in New York. I think bad things would have happened. Really? I would have gone down some dark paths. was there a part of you when you're in colorado five years into this self-imposed sabbatical exile from the industry that that feels like no done it no no not it's wonderful best thing ever happened to me that's great i didn't even make any music we made one album in 96 our son had just been born i wasn't into it i threw in a couple songs and yeah yeah we did a short tour it was nothing uh and then nothing happened until the 2000s and that's what i made my first solo album it's also uh when daryl and i made it made an album another album that did did fairly well but at that point now i i had realized that something needed to change yeah and so the first solo album um feng shui feng shui f-u-n-k hey listen listen let me tell you about that real quick i got i remember getting a review on that album the review was like It's a pretty good record with an unfortunate title.

35:02You know how the title was so stupid, okay? I had a good friend of mine, Jed Lieber, who's actually who I borrowed this guitar from. He runs a studio at the Sunset Marquee, and he's a fantastic musician, and he and I were doing that album together. And we were on a plane going to New York to finish it, mix it, and we had no title for it. And Jed was sitting, he happened to be sitting next to this Asian gal, and I was sitting, you know, a few rows away and I guess he was talking to her and she said, well, what are you, you know, what are you doing? He goes, oh, we made a record. And he goes, and she said, what kind of record?

35:37He goes, well, it's kind of, got some funk in it. And she went, oh, like feng shui? And I swear to God, and he comes running up the aisle and he taps you on the shoulder. He goes, I got the title. I went, really? And I was stupid enough to believe him, you know, to do it, but I thought it was funny, so. It's kind of cool in a way. I mean, it is, it is. saying it's not it's not a super self-series you know it's great anyway so that album was and here again that album was just a way of getting started because yeah it was just a collection of stuff i had it wasn't coherent uh it really wasn't until i made the next album thousand miles of life in nashville that i began to really hone in on what i was going to be as a solo artist it had you moved to nashville at that point no i was spending a lot of time there i started going to nashville in the late 90s.

36:20Okay, tell me about that. Well, I had, I produced an album for a guy named Jerry Lynn Williams, an amazing artist who lived in Tulsa, Oklahoma, but he had his business and his publishing and based in Nashville. Through working with him, I met some Nashville folks. And the, the, somebody, you know, said, Hey, you gotta come, you gotta come to music city. You gotta, I think you're going to like it. You're going to like it. And when I went there for the first time in the late 90s, I did a couple demo sessions and the players were just so good. And it was a whole different thing. Cause you know, up to that time, early seventies, I had never played in any other band.

36:59I was in the whole notes band. So all I did was that and it was great, but, and with great musicians, of course, but all of a sudden I was walked into a completely new environment. And all of a sudden I realized that the players I was playing with had a lot of the same roots and influences as my early folk stuff so it kind of it took that that side of me that i had set aside for all those years yeah and i started bringing it out and because then i would sit down you know with some of these guys and i play like a doc watson they go i didn't know you could do that i said well yeah i can i have i kind of forgot about it but i want to remember so it was a shock to everyone else too in some ways yeah yeah and uh so but one of the first things i realized in Nashville was my name and reputation might get me in the door, but in order to stay at the party, I better, I better be able to bring it because you're talking about a level of musicianship on a whole other level.

37:55And, um, I was complacent. I, I could play the whole note show in my sleep, wasn't doing anything but that. And I needed a challenge. And I was all of a sudden, I was thrust into rooms with superlative players, Jerry Douglas, Sam Bush, Bela Fleck, you know, people, you know, and the great studio musicians, you know, Guthrie Trapp, people who could really play. And so I started woodshedding, I started practicing again, and I started bringing back that folk stuff, the early influences. And I realized, wait a minute, the key, that was the key that unlocked who I could be as a solo artist, because I didn't know who I could be.

38:35because my entire musical personality was wrapped up in my collaboration with Jack. Hits, probably, right? Yeah, yeah. Did that then affect the way that you approached going back and playing on Hall & Oates tours? Yeah, I didn't want to do it. Okay. I did it because, you know, the money was great and there was a demand for it. People like people. And people, of course. I took my daughter to see you guys. Hey, listen. Her first show, Aspen Jazz Fest, like in 2017. Yeah, I remember we played that. Yeah. Yeah, well, you know what? It was great, but I really felt like I was treading water. I mean, we had the most unbelievable problem.

39:13We had too many hits. How was that a problem? Because that's all people wanted to hear. They didn't want to hear anything else. So even though we had a tremendously deep catalog, and I'll speak for Daryl on this too, he had unbelievable songs that he was dying to play. We couldn't play them. Every show we'd shoehorn one song in. And one song, you know, some obscure Oates song. And then we'd do one of his, like, obscure, you know, solo songs or whatever. And I'm sure it was just as frustrating for him as it was for me. But as time went on and I began to be excited about what I could do in Nashville with the players and, you know, the opportunity that might started presenting themselves, I just couldn't do it anymore.

39:59After this last break, we'll be back with Jon Oates. The Chase Inc. Business Premier card is made for business owners who make things happen. Designed for high spend and limitless cash back, Inc. Business Premier is a pay-in-full card with built-in flexibility. Get the buying power you need to make large purchases, cover unexpected expenses, and help your business grow. Earn a total of 2.5 % cash back on every purchase of$5 ,000 or more. Plus, earn unlimited 2 % cash back on every other purchase, giving you unlimited earned potential to invest cash back into your business from innovation and technology to everyday expenses.

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41:54And with seamless coverage from the world's largest satellite to mobile constellation, your whole team can text and stay updated even when they're off the grid. That's your business, Supercharged. Learn more at supermobile.com. Seamless coverage with compatible devices in most outdoor areas in the U.S. where you can see the sky. Best business plan based on a combination of advanced network performance coverage layers and security features. Best network based on analysis by Ukla of Speedtest Intelligence Data 1H 2025. Do you think there's a world, if the audience, the Hall & Oates audience had been more accepting of what you guys wanted to present, do you think it would have...

42:42Interesting question. You know, the hardcore Hall & Oates fans would have been. Yeah. but we weren't playing only to hardcore we were playing to the general public and a lot of them when you're playing an arena a big giant show yeah 15 18 000 people they're not all hardcore fans yeah there's a hardcore group and they would have been open to anything i always found the whole the true hall notes fans were very open-minded yeah but we we were more than that we yeah you know bigger than both of us yes there's the title of an album there's a great great album and it and it says a lot what's opening track on that's a great song too and that was that was a um bigger than both of us was it was a single wasn't the first track was uh yeah back together of course back together yeah back together oh you want to hear a story about that please everybody thinks back together again back together again probably talking about me and daryl or something like that uh-uh not even close i was on a flight i was sitting in first class coming back from new orleans from a festival, I think.

43:44And, uh, I was sitting next to Frankie Valley. Amazing. And he and I talked the whole way on the flight and he told me the whole story, you know, the Jersey boy story about, you know, the problem with his, you know, his daughter and the band and this and that, and, and how he, you know, he wanted to step away and anyone. And that's what it's about. It's about back together again, singing the same old story. Back together again, the old songs never end, but it'll give you something to believe in. And I wrote the whole song about him, about what he told me on that flight. That's wild. Yeah. I mean, is that a song you guys would play live?

44:24We actually used to open the show with it, especially in the mid-70s. Yeah. Yeah, and we played it even as early as maybe three, four years ago, or late as three, four years ago. Is there a world, naively? No. No. Not even doing the deep? No. As Daryl Hall so aptly said on an interview, that ship has sailed. In fact, he said, and I quote, not only has that ship has sailed, it's sunk to the bottom of the ocean. Look it up. I didn't say it. He did. And do you feel, you hear that, you think, yeah, same? I'm free. Yeah. I'm very optimistic. Look, anyone's creative life has a timestamp. That's the way I look at it.

45:10I see our contemporaries, my contemporaries falling by the wayside, whether it's through passing away or just not being able to do it anymore for any number of reasons, sickness, bad luck, misfortune, whatever. I can still play I can still sing I can travel I'm still healthy I don't want to lose this opportunity to do as much as I can because there but for fortune go you or I right yeah and it could change could change right now I could walk out this door and fall down the elevator shaft and see you later bye so I I don't have much time left I want to make the most of it it's amazing in a way it's like you're back in Colorado but you're able to do it with your own music on it So you're doing music on your own terms, and it's beautiful.

45:55Can you play something from your new album, Oats? Sure. I'm curious what your favorite might be. Oh, okay. Yeah, I do have a favorite. I've got a lot of favorites because I'm really proud of this record. I'm going to play a song that I co-wrote with a really great, talented guy named Jed Hughes. Jed is one of the go-to, top Nashville Session guitarists. He plays on tons of people's records. He's from Australia, but he plays predominantly on country music. But he's also a great songwriter on his own. He and I, I was really impressed with him. And I, you know, we talked about getting together. And his schedule and my schedule were so busy, we couldn't find a time to get together.

46:38And we kept picking a date. And he'd say, oh, I can't do that one. And I said, well, no, I'm out of town and blah, blah, blah. So eventually we just said, look, we're never going to be able to get together unless we pick some date that's a ways away from, you know. And I went, a ways away? And I said to him on the phone, I said, that's a freaking great title. And he went, yeah, that's cool. I said, so when we finally do get together, that's the song we're going to write. I don't know what it's going to be. That's the song. You earmarked it and you came back to it. Yeah. Hell yeah. All right, this goes a little, I'm going to try.

47:12This is a tough song to sing, but I'm going to do my best here.

47:27You say it's hard to stay close enough to me Talk, talk, talk, talk, talking about the way things used to be Those heavy mornings just keep coming, coming, coming We'll cross the finish line Yeah, we'll just keep running Hear the words going flying by And I can't hear everything you're saying If you and I ain't winning, baby Why do we keep on playing? Cause it's not black or white It's just a million shades of gray Who weighs away Oh yeah We're a ways away Just a ways away Just a ways away We're a ways away

48:32We're a ways away Just a ways away Just a ways away Let's bring it back into the room

48:46Let's break it down and put us back in two Those sweet memories keep coming, coming, coming We'll cross the finish line, yeah, we'll just keep running, running Maybe time will tell, oh, what the big will be Can't imagine there could be an end to you and me Cause it's never black or white It's just green and shades of grey We're a ways away

49:31We're a ways away Just a ways away Just a ways away Just a ways away We're a ways away

49:43We're always away, just a ways away Just a ways away

50:03We're always away

50:29Yeah, yeah, yeah, yeah

50:46I love the way you play, man. Oh, thanks. I really do. Thank you. Those kinds of chords. Yeah. People don't really, I don't, not a lot of people play like that anymore. Where do you get those, where do you get those kinds of chords? Well, you know what? I got to give Daryl Hall some, some props here because when I, you know, here I was a folky player, you know, I'm doing all these cowboy chords, you know.

51:09And, you know, he was a great piano player, is a great piano player. And he played some unusual inversions. He would always do substitutions and stuff. And I had to figure that out on the guitar and adapt to my guitar playing style. In fact, when I first got to Nashville, a lot of people said, oh, well, you kind of play like a piano player. And I was like, well, yeah, that's kind of reason for that. So, yeah, full props there. But, and over the time, I've adapted and, you know, changed my style. uh and i just um i do a lot of more sophisticated voicings and stuff like that even back so would you say your your style's changed from even well it's gotten it's definitely gotten more sophisticated now um yeah yeah uh also as i said i began to woodshed when i got to nashville playing practice like a madman just to keep up with those cats yeah uh and yeah so what does woodshedding look like for you uh practicing playing every day pretty much and what are you just listening to records and playing or no just you know just exercises for the fingers you know you know all kinds of weird exercises

52:16you know stuff like that just stuff that keeps you know as i said you know i'm getting older you know i want to make sure my fingers still work and so you know i do that and really my practicing really is more songwriting okay you know i'm i'm i start writing stuff you know um like uh there's a song that i collaborated uh on the record with lawrence the band i don't know if you know lawrence they're so great um and i challenged myself to write a song that sounded like them because i was inspired by their music i was listening to their albums and really digging the fact that they had so much energy and joy and and i really and i said so i'm sitting around i'm going see if i can write a song that sounds just and then when i wrote the song it sounded so much like them i actually took some of their lyrics from one of their songs put it in my song and sent it to them.

53:02And, um, and I said, Hey, just want to let you know, I'm not trying to rip you off. I want to, I want to collaborate with you. And they liked the idea and we did it together. So it was great. That's so cool. That's great feedback. It can be kind of dicey. Yeah. Well, I took a chance, you know, I took a shot. I figured they'd send me an email saying, yeah, you know, yeah, it's a pretty good song, but we don't really feel like doing a song with someone as old as our grandfather. So listen, man, what's your John Oates? Come on. Clyde and Gracie Lawrence are they are fantastic they're fantastic people and amazing artists that's so cool man I want to get back to Nashville but I kind of previewed earlier I mean you guys have you let's say you got to experience some really unique scenes throughout over the years one of them being um a really changing New York scene you guys made war babies yeah in New York when CBGB was with Todd Rungerun with Todd Rungerun like when like you know television's playing every night and I used to go to all those places and you would see that you'd see all those groups right sure what I mean did you have a favorite was were you turned off by the music what was I was excited by new wave and that kind of proto-punk movement only because it was new not because I related to it on a musical level okay I thought it was you know fairly simplistic and kind of like, although I always like television.

54:24I like the guitar parts. They were really interesting. But, you know, Patti Smith and all that stuff that was going on, it was, you know, it was like non-melodic, but exciting because it was new and fresh. So that was the cool part. I mean, I try to use the, here again, the inspiration from the energy of what they were doing, but not try to ape what they were actually doing. Because I didn't want to try to be something I wasn't. I wrote a song, I was a big fan of the Psychedelic Furs, and I still am. Good friends with Richard Butler, and I love them. And I try to write a song that sounded like him.

55:12I wrote a song called Friday Let Me Down Tonight. Well, to me, it sounds like Psychedelic First. Richard Butler probably doesn't think so. But, you know, that was just one of those things where I, you know, try to capture that kind of spirit. But, no, I think you've got to stay true to your school. You know what I mean? Yeah. You know, it's one thing to try things, but at the same time, you've got to know where your sweet spots are. Yeah. So energetically, that scene was... Energetically a fan, yes. Yeah, a fan. You go like right from there to your point earlier where you come to L.A. to record the Silver album.

55:48You go like to almost like the diametrically opposing vibe in a sense. And it's like, but then you're hanging out with weird people like, or not weird people, but like people you might not expect where it's like Frank Zappa. You know, you're like, like what in the world? You know, it's really funny. Frank Zappa, we were sitting at the Roxy with Frank Zappa. And John Mayall, right? or something yeah john mayon all those people you know it's the 70s you know i remember we sat at a booth me and daryl were sitting at a booth with frank zappa after a show and frank zappa said i remember never forget he said he said you know you guys you guys should should stop making records and and have a television show that's what he said interestingly enough daryl listened to him Daryl's got his life decades later that actually would have been a great idea by the way well I think he's probably right you guys had had like a but we didn't do too bad on the recording side no you didn't no no Frank you know Frank Zappa was a real futurist I mean he really I mean I see some of these interviews and stuff that he did back in the day talking about I mean he really was like what was going on with the internet and what the artist writes and just different brilliant yeah his music Like, that must have been a...

57:04That didn't mean anything to me. Didn't resonate. No. Yeah. Very, very, very, yeah. Although I did like Captain Beefheart. What? Really? That's even more out there, to be honest. Yeah. Like, L.A. in the 70s. Oh, unbelievable. Yeah. What was that? So good. What was that like? I can't tell you. I can't tell you. I get arrested. Do you miss it? I thought LA in the 70s was like going to Nirvana. The roads were empty. You could drive to freaking Mexico in an hour and 45 minutes. You could just do whatever you wanted to. And everybody was loose and cool. And it was just, yeah, it was fun. I mean, we did three albums out here.

57:56And we didn't live here, but we spent months, you know, renting houses and things like that while we were recording. And at the time, there was a guy named Christopher Bond who was in our band in the early 70s. He had moved to L.A. to make his way as a producer. Very talented guy. And after the War Babies thing with Todd Rundgren, when that didn't connect, you know, he said, you guys need to come out here. He goes, I've got the studios. I've got the great players. I've got it all wired. Come on out here. We'll make a great record. And we listened to him and we did. And we had the cream of the crop of the LA session players on the Silver Album and the Bigger Than Both of Us.

58:38And it was amazing to be in the studio with these great, you know, Jeff Percaro, Lee Scalar. We had them all. I mean, every Jim Gordon, you know, all these amazing musicians. And Sarah Smile and Rich Girl and that, they came from those sessions. And so it was great. It was really great to do that. But at the same time, I think what it was pointing at was that we needed to really take control of our own music and get out of that paradigm where the artist is over here and the record company appoints a producer and the producer is responsible for the artist. It was an old-fashioned paradigm. So by time, we were working with David Foster in the late 70s.

59:22Right, right. And I remember one session we were doing in the late 70s. David said, I don't know what I'm doing here. You guys are making this record yourself. And we're like, yeah, I guess we are. That's what we're going to do. And that led to the 80s and, of course, the commercial success. Yeah. Is there a similarity between what was going on with that sort of, those studio guys here in L.A. in the 70s with the Nashville scene? Yeah, well, just in terms of quality. Yeah, right. In terms of the musicianship and quality. Yeah, they were pros. The number of just super. They just came in and played, you know.

59:54And, you know, and it's not just the playing. It's not just the skill of the technique or their playing. It's the way they listen. It's their equipment. When you do a session in Nashville, you know, Vince Gill told me when I first moved there, he said, if you're going to be producing songs, you know, in Nashville, he says, you've got to think of yourself as like a director of a movie. it's not who you choose it's not the best guitar player to choose or the best bass player or drummer because they're all good it's who's the exact right player for that moment for that song to serve that song and it takes time to learn who they are and experience them and kind of pull together your rolodex so to speak you know um and yeah and that's what you do you just you Now I can handpick.

1:00:45If I need a pedal steel player, there's two guys that I'm always going to go to. It depends on which one's available and which one's right. And keyboards and drums. It's almost a crazy way to work that. You can craft the music you want to make and know that they're going to deliver it for you. Wow. And they have all the guitars and the pedal boards and the sounds. And, you know, it's a real pleasure to walk into a room and just have the support knowing that these guys are going to deliver. Yeah. I don't know if it's a tour you're on now, but you do do a tour where it's you and three. Yeah, acoustic tour.

1:01:24An acoustic quartet tour. Yes, which I've been doing for the last two and a half years. Is that what you're doing tomorrow? No, no, it's full electric band tomorrow. Full electric band. Yeah, we're kicking ass tomorrow. Can't wait. What tunes do you do with the acoustic quartet? Oh, well, do Sonny Terry and Brownie McGee. Do all kinds of stuff. I do some folky stuff. I do a John Prine song. It's a much more loose, and it's much more a storyteller show where I tell these really long, involved stories about... I do some Mississippi John Hurt. I do some Doc Watson. So, yeah, it's a much more laid back.

1:02:00I'm sitting down. I got an acoustic guitar. I got a cello, pedal steel, percussion. and then it was time to put the acoustic away, grab my Strat, plug it into an amp and crank it up a little bit. So yeah, this new band is much more of a kind of R &B soul band. Any of the same guys or totally different? Only the drummer. That's awesome, man. We've only done about five shows, six shows. That's, I mean, the experience you have like over the years, like I imagine when you go to play like a troubadour now, it's like, it's gotta be so much fun to play. Oh, I love playing small venues. I love playing small venues.

1:02:38It's musical. The people are right there. The energy's there, you know. Yeah, I mean, I've really, especially on the acoustic tour, playing small theaters was the sweet spot because it's, you know, people are sitting, they're coming, they're sitting, they're listening to stories and they wanna be comfortable and the sound is great because it's a theater, it's made from music. I really don't like playing arenas and things like that. It just feels disjointed and feel removed from the crowd. And it feels more like a spectacle where it's not as musical. Man, well, are you open to ending with another tune?

1:03:16I could do a Pushin' a Rock. Yeah, great. The new version? Yeah. But, damn, I wish I could sing better. I'm really kind of, this cold is bothering me.

1:03:43Keep on pushing, pushing, pushing around with you Keep on pushing, pushing, pushing around with you I said, hey there, brother, can you lend a hand? Feels like I'm hurting, can you understand? I want to play because it kills my pride When I get out of here lying My life's unlucky, gone from bad to good Made some mistakes, I've been misunderstanding I'm up and down, trying to turn it around Just to get back on solid ground Keep on pushing, pushing, pushing right dam both hands Roll back down, roll with it, roll with it, roll with it Ooh, keep on pushing, pushin, right dam both hands Roll back down, roll with it, roll with it, roll with it Keep your head held high Keep trying and trying Keep your eyes on the prize Hope on the horizon Got a hole in your pocket But you keep on searching for Harder gold When the world gets rough And you have enough Life hits you hard But you keep standing tight And I try to help a brother Reach out to each other Keep on pushing Oh, does it rock down?

1:05:27Go with it, with it, go with it, go with it Keep on pushing Because you're on a rock, don't you ever give up? Go with it, with it, go with it, go with it

1:05:48Sun's coming up Sun's coming down If I keep on pushing I can't turn this whole thing now One step ahead Two steps behind If I just face every day I'll get back on my feet in time I hate it, oh yeah

1:06:27Ooh, yeah, I can't get down The simple suggestion Pigeon on a rock that you haven't given up Done with it, done with it Oh, keep on pushing in a rock. Don't you ever give up. Baby, just roll with it, baby, yeah.

1:07:04Said, baby, baby, just roll.

1:07:14that's sweet man thanks yeah when you hit that um keep on pushing in that falsetto i remember that's my curtis mayfield yeah i was gonna say i remember you do a version of gypsy woman too i do it live oh my god it's one of my favorite songs so cool

1:07:31Alone there Through a caravan Round the campfire light Lovely woman in motion As dark as night Rise The lights out of Canada to die

1:07:59they hypnotized me with love baby she she wasn't gypsy woman did you ever get to meet Curtis or impressions or anything well I was a huge fan though yeah yeah did you ever see him or anything yeah you did I saw him live at the Uptown Theater in Philadelphia a solo gig in the 60s with the impressions with the impressions oh man That's amazing. So good. One of the best. And man, thank you so much. It's so great to have you. That was a great interview. I appreciate it, man. Oh, no, thank you. I had a chance to really go some places. Thank you. Really looking forward to this. Thanks for having me.

1:08:35And I'm sorry I wasn't at my best because I'm honestly, I just feel like I can't sing very well. No, man. We're two guys not at our best right now. Okay. We did it, man. Thank you so much. It's a secret. Don't tell anybody. See if we fooled them again, right? I think we did. All right. I think we did. No, that was a real, real pleasure, man. Don't miss the episode description where you'll find a playlist of our favorite John Oates songs plus his new album. And remember, subscribe to youtube.com slash brokenrecordpodcast for all of our video interviews. And be sure to follow us on Instagram at thebrokenrecordpod.

1:09:09You can follow us on Twitter at brokenrecord. Broken Record is produced and edited by Leah Rose with marketing help from Eric Sandler and Jordan McMillan. Our engineer is Ben Talliday. Broken Record is a production of Pushkin Industries. If you love this show and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription that offers bonus content and ad-free listening for$4.99 a month. Look for Pushkin Plus on Apple Podcast subscriptions. And if you like this show, please remember to share, rate, and review us on your podcast app. Our theme music's by Kenny Beats.

1:09:40I'm Justin Richmond.

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1:10:22Cards issued by JPMorgan Chase Bank and a member FDIC. Subject to credit approval, terms apply. The more you learn about your favorite artists, the more you want to know. Claude helps you keep digging, finding new threads and rabbit holes to explore. Whether it's discovering deeper meaning behind a detail in an interview or figuring out the influence behind an artist's particular era, Claude thinks with you to find the next clue. If you can't get enough of the stories behind your favorite music and artists, Claude will help you discover new layers you didn't know existed. Try Claude for free at claude.ai slash brokenrecord.

1:10:57This is an iHeart podcast.