"John Oates-Co-Creator the iconic pop duo Hall and Oates-Encore Musician Interview"

Summary

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Podcast Summary: Takin' A Walk – Music History with Buzz Knight

Episode: John Oates – Co-Creator of the Iconic Pop Duo Hall & Oates (Encore Musician Interview)
Release Date: February 10, 2026
Host: Buzz Knight
Guest: John Oates

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Overview

This special Valentine's Week episode of "Takin’ A Walk" features an in-depth conversation with John Oates, legendary songwriter, guitarist, and half of Hall & Oates. Host Buzz Knight explores the emotional roots of love songs, the creative process behind Oates’s new solo project "Reunion," and Oates’ journey through music history. The episode blends stories of iconic hits, deep dives into musical influences, and personal reflections, offering listeners a fresh lens on Oates’ artistry beyond romantic music.

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Key Discussions & Insights

1. The Creative Process Behind "Reunion"

Timestamp: 04:30–06:38

• Oates describes "Reunion" as the culmination of his Nashvillian and Americana influences.
  • “In a way I think this record really kind of crystallizes all those things… kind of an all-star cast.” (John Oates, 05:19)
• The album features Nashville luminaries (Sam Bush, Jerry Douglas, Béla Fleck, Jim Lauderdale, Sierra Hull, Russ Pahl, Tom Bukovac, Guthrie Trapp, more).
• Many tracks originated as unreleased material dating back to the early ’90s, making this a "retrospective" of Oates’s folk/acoustic side.

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2. Tribute to John Prine – Covering "Long Monday"

Timestamp: 06:38–08:34

• Oates details his connection to John Prine and Atlantic Records in the ’70s.
• Covering "Long Monday" was his tribute for Prine’s Ryman birthday celebration.
  • “The only way I can make this my own is in terms of the arrangement… when I played it live, everyone seemed to really like it.” (John Oates, 07:39)
• The rendition was warmly received live, prompting its inclusion on "Reunion."

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3. Collaborating with A.J. Croce & The Inspiration Behind “Reunion”

Timestamp: 08:38–10:15

• Oates met A.J. Croce (son of Jim Croce) backstage at the Prine tribute.
• The pair wrote "Reunion" in a few hours, resonating on the theme of understanding one’s essence and connecting over their fathers’ legacies.
  • “We talked about it. I told him about my 100-year-old father who gave me the inspiration for this song.” (John Oates, 09:20)

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4. Albums & Artists That Shaped Oates

Timestamp: 11:02–14:13

• Influences include:
  • Ray Charles Greatest Hits (first LP he ever heard)
  • Dave Van Ronk ("gritty" folk)
  • Doc Watson (“virtuosic acoustic guitar playing”)
  • The Temptations (live record)
  • James Brown Live at the Apollo (“most kinetic and exciting recording”)
  • The Band
  • Joni Mitchell’s Blue (“the perfect album”)
  • “Her singing, her playing, the production, the engineering, the songs themselves, even down to the album cover. ... It’s the perfect combination of sensitivity, sensibility, music, lyrics, creativity— all wrapped into one perfect album.” (John Oates, 13:50)

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5. First Concert & Early Music Memories

Timestamp: 15:40–16:45

• At age 4, saw Bill Haley & The Comets—his first live music experience.
  • “I remember standing right in front of the upright bass player. ... He put it on its side and rode it like a horse while he was playing, and, of course, to a four-year-old, that was the apogee of show business right there.” (John Oates, 16:10)
• Oates’ earliest recordings: “Here Comes Peter Cottontail” (age 3–4), “All Shook Up” by Elvis.

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6. Mentors and Early Songwriting

Timestamp: 17:36–21:17

• Seventh-grade English teacher encouraged him to set a poem (written during the Cuban Missile Crisis) to music.
• Guitar mentor Jerry Ricks:
  • Helped Oates develop authentic fingerpicking blues/folk styles.
  • Led to connection with prominent blues musicians and access to Mississippi John Hurt’s guitar:
  • “The guitar I’m playing on the first two Hall and Oates albums is Mississippi John Hurt’s acoustic guitar, which I now own.” (John Oates, 21:12)

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7. Working with New Talent: Supporting Annalée

Timestamp: 25:44–28:14

• Oates’s niece, Annalée, is forging her own path in Nashville and beyond.
  • “She really worked hard. ... I didn’t help her very much, to be honest with you, but I did help her when she needed it. … I’m so proud of her for really doing it herself.” (John Oates, 27:15)

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8. The Nashville Community’s Impact

Timestamp: 28:30–29:48

• Oates praises Nashville’s musical caliber and how it pushed him to “up [his] game.”
  • “I couldn’t make it on my reputation; I had to up my game … it’s been an incredible incentive to really realize my full potential.” (John Oates, 29:30)

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9. Reflections on Live Aid & We Are The World

Timestamp: 29:48–33:34

• Hall & Oates were asked to close the U.S. Live Aid show in Philadelphia; invited Eddie Kendrick, David Ruffin, and backed Mick Jagger (with surprise Tina Turner).
  • “I didn’t expect [Mick Jagger] to literally jump on stage… doing his full routine in rehearsal with nobody in the room except us.” (John Oates, 30:55)
• “We Are The World” session: Oates stood next to Dylan and Ray Charles, whom he admired; he collected autographs on his sheet music, now one of his prized possessions.

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10. The Enduring Legacy of Hall & Oates

Timestamp: 33:34–34:49

• Believes their songs are “timeless” and have stood the test of generations.
  • “I think it's pretty timeless. ... I’m proud of it, and at the same time, I feel like I’ve moved beyond it now.” (John Oates, 33:41)

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11. Stories from Colorado & Hunter S. Thompson

Timestamp: 34:49–38:14

• Oates recounts moving to Woody Creek, Colorado, and being neighbors with Hunter S. Thompson.
  • Anecdotes include stray shotgun blasts, moving Hunter’s famous car, and Thompson’s singular lifestyle.
  • Attended Thompson’s funeral, played with Lyle Lovett, Johnny Depp:
    “He loved being Hunter Thompson. He loved the image of himself.” (John Oates, 37:38)

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12. Track-by-Track Insights from "Reunion"

Timestamp: 38:14–42:08

• “Sunny Terry and Brownie McGhee”:
  • Inspired by their complex relationship—story used as a broader metaphor for mutual support.
  • “As their career went on, they began to really dislike each other ... but they needed each other to get on stage.” (John Oates, 39:15)
• “All I Am” (with Adam Ezra):
  • Oates’s favorite collaboration with Ezra: “It just worked. And I love that song.” (40:37)
• “This Field is Mine” (with Sam Bush & Jeff Black):
  • Inspired by his wife's family farm and the idea of land stewardship. Written with Sam Bush and Jeff Black.

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13. Continuing Curiosity & New Directions

Timestamp: 42:26–43:35

• Oates isn’t tied to one sound, continues to write with new artists like Devon Gilfillian (vintage soul vibe).
• Also recently collaborated with Robert Jon & the Wreck; “just open to interesting ideas.”

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Notable Quotes & Moments

• On the longevity of the Hall & Oates catalog:
  • “Great songs endure and I’m very proud… to know I was part of something that will endure.” (33:41)
• On Joni Mitchell’s Blue:
  • “It’s the perfect album … I’ve never heard anything better.” (13:50)
• On mentoring:
  • “That was the incentive to try it. So I would have to out that English teacher as an early mentor. But my real mentor was a guy named Jerry Ricks…” (17:36)
• On Live Aid:
  • “He did it as if he was playing Madison Square Garden… that was an amazing night.” (31:13)
• On creative growth:
  • “I couldn’t make it on my reputation; I really had to up my game.” (29:21)

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Timestamps for Key Segments

• 04:30 – Oates on the "Reunion" project & Nashville
• 06:38 – Tribute to John Prine; covering "Long Monday"
• 08:38 – Collaborating & writing "Reunion" with A.J. Croce
• 11:02 – Five quintessential albums/artists that shaped Oates
• 15:40 – First concert: Bill Haley & The Comets
• 17:36 – Early mentors: Jerry Ricks and his impact
• 25:44 – On working with his niece Annalée
• 28:30 – On the Nashville music community
• 29:48 – Live Aid & We Are The World reflections
• 33:34 – The legacy of Hall & Oates
• 34:49 – Stories of Hunter S. Thompson
• 38:14 – Song inspirations on "Reunion"
• 42:26 – Exploring new influences and collaborations

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Tone & Language

The episode maintains a conversational, reflective, and warm tone. Oates is genuine, often self-effacing, and deeply respectful of his mentors, collaborators, and musical influences. The stories blend humility with a clear sense of gratitude for a long and storied career.

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In Summary

This episode is a treat for fans of Hall & Oates, songwriters, or music history aficionados. John Oates reveals not only the personal and creative roots behind his newest work, but also a lifetime of musical influences, relationships, and stories from the heart of American musical culture. The conversation is informal yet emotionally resonant, offering both nostalgia and insight into creative longevity.

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Transcript

[John Oates]

Taking a walk.

[Podcast Host]

Welcome to Taking a Walk on Buzz Night. Now, this week, we're going to be celebrating Valentine's Week with a special theme we call Love Songs and Heartbreak Stories. All week long, we're revisiting some of our most memorable episodes that explore the romantic side of music. The songs that make us fall in love, the ones that help us heal broken hearts, and the stories behind the melodies that have soundtracked our most intimate moments. And what better way to kick off this celebration than with a legend who's written some of the most unforgettable love songs in pop music history? John Oates. As one half of the iconic duo hall and Oates, John helped create the soundtrack to countless relationships. Sarah Smile. I can't go for that. You make my dreams come true. Those weren't just hits. They're the songs that people have fallen in love to, danced to at weddings, and, yes, nursed broken hearts with for decades. Now, in this conversation, we're talking to John Oates about his solo work. John opens up about the personal experiences and emotions behind a song called Reunion off of that solo album, a heartfelt song that's a tribute to his late father that reminds us that love songs aren't only about romance, but about the connections that shape our lives. So whether you're celebrating love this Valentine's week or remembering a romance or just appreciating great songwriting, settle in for this special episode. We're going to take a walk with the incomparable John Oates next.

[John Oates]

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[John Oates]

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[Podcast Host]

Taking a Walk well, John Oates, it is a terrific honor to have you on this virtual edition of Taking a Walk. We're going to take a walk down memory lane a bit. We're going to talk about your new project, Reunion, but I'm grateful to have you on.

[John Oates]

Thanks. Thanks. Nice to be here.

[Podcast Host]

So Reunion is the new project the Singles Out. We want to get into a lot about that project, but can you just talk about how the creative process worked for you for this new Reunion project and any differences in the creative project to the way you've done it in the past?

[John Oates]

Well, this particular project I think is in a sense a culmination of my Nashville experience moving here, being embraced and participating in a lot of the Americana music communities, not only in terms of musical relationship or friendships and all sorts of things like that. So in a way I think this record really Kind of crystallizes all those things. There's many, many of my amaz musicians who have become my good friends over the years who we've recorded and toured together with. You know, people like Sam Bush, Jerry Douglas, Bayla Fleck, Jim Lauderdale, you know, some great, amazing also players like Guthrie Trapp, Tom Bukavac. So it's really chock full of this kind of all star cast. Sierra hall on mandolin, just more recently, Russ Paul, you know, people like that. I could go on and on, but it's really. And a lot of. I think what makes this record, record unique too is there's songs on this record that are, that were written a long, long time ago. Some, some as early as the early 90s and, and on up to songs that I knew that someday would see the light of day, but I didn't have a project that they seemed to fit. And finally I had this body of work that seemed to embrace some of these other songs that have just been sitting around in the, in the archives. So really it's, it's, I think in a way it's a little bit of a retrospective on my, on songwriter side, on my folk acoustic side, all of which are very important to, in my, in my background and my musical DNA.

[Podcast Host]

In back here, you can't quite see it, but there's a photo of the great John Prine back there from an album cover and you do an absolutely beautiful, beautiful rendition of the song Long Monday. Congratulations on that. Tell me about what John Prine, that song and his music means to you.

[John Oates]

Well, I think there's a, you know, probably a, you know, a fact, a hidden, unknown fact that John, John was doing, if not his first album, one of his first albums at Atlantic Records, Atlantic Recording Studios in New York City in the early 70s with the producer Arif Martin, at the exact same time that Daryl and I were doing our first albums in the same studio with the same producer. So there's a, a lot of synergy there in terms of, you know, we'd be passing each other in hallways as, you know, him going to his session or coming out and vice versa. So, you know, even though I wasn't super close with John in the later years, we did play together once or twice, just casually. And I've just been a huge fan, you know, one of the great American songwriters. And when I was asked to celebrate his birthday at the Ryman Auditorium in Nashville a few months ago, they asked me if I would participate and I said of course. And you know, I picked Long Monday and then I thought about it, you know, and I thought, well, here's a challenge, you know, because I have a great respect for songwriters, so I wouldn't want to mess with the beauty of his lyrics and his melody, for that matter. So I thought, well, the only way I can make this my own is by. In terms of the arrangement. So I dug into the arrangement and I tried to make the arrangement a little bit more personal and a little bit more comfortable for me. And then when I played it live on stage, everyone seemed to really like it. Then I said, well, I guess I should record it. So I did. And of course, I included it on the album.

[Podcast Host]

It really is beautiful.

[John Oates]

Thanks. Yeah.

[Podcast Host]

Tell me about collaborating with AJ Croce.

[John Oates]

Well, it's a perfect segue because I met AJ Croce at that exact John Prine event at the Reinman Auditorium. We were put into the same. We were assigned the same dressing room. And of course I knew, I knew of him, but I had never. We had never met. And we hit it off immediately. He's just got a very, very. He's a warm, engaging guy. And. And I could tell from immediately that we. There was. There was something going on. We had a real, you know, it was very compatible. And I could just. I sensed that we could do something together. I didn't know what that was going to be. But we did talk about, you know, getting together to write. And when we did, I had this idea for reunion. I had the concept, I had the part of the chorus and I had a key line. The lights at the party burn bright But I'm leaving early tonight. And to me, that kind of symbolizes the spirit of the whole song. We talked about it. I told him about my 100-year-old father who gave me the inspiration for this song. We start discussing what it's like to really find the essence of yourself. And of course he related, I think in a lot of ways, due to the fact that his father was such a famous and well known songwriter and he was in the midst of doing a tour. CROCE SINGS CROCE There was a lot going on that really, we were both able to relate to the ide of the song on in our own personal way. And it, it really, it was beautiful. It flowed really quickly. I think we wrote the song in a few hours.

[Podcast Host]

Had you encountered his father through your career?

[John Oates]

No, not personally, no. But of course I was a fan.

[Podcast Host]

What a legacy, right? My God, Yeah. I think really, in a way, it's sad, but many times people's legacy is more Appreciated after they pass away. And it feels like that was the case with his father.

[John Oates]

Well, you know, I think he was also appreciated, you know, in his own time. This, you know, he had big hits. He had big hits with a very kind of acoustic, folky kind of recording style, and which was unusual for the time, which was great. It made him stand out for sure.

[Podcast Host]

So I'll put you on the spot here and ask you maybe five quintessential albums that have really mattered to you and had an influence on you.

[John Oates]

Oh, I don't know where to begin. Okay, sure. I would say, you know, going back, the first, the first long playing album LP that I ever heard, other than early rock and roll single 45s was Ray Charles, Ray Charles Greatest Hits. And I, I did not have a long playing a record player at home. I only had a little 45 recording record player. And this was probably late 50s. And I remember a friend of mine's parents had a console record player and they had this Ray Charles record. And I just absorbed it. You know, it had what I say and it had, you know, you know, all some of his early classics. And it was just, it just grabbed me immediately. So I would definitely say Ray Charles was a huge influence on me. And then, you know, when the folk movement, the folk revolved revival hit in the early 60s, I. I was exposed to music that I had never heard from, be never heard before. Roots music that was being rediscovered and, and spread around the college campuses in the early 60s. So I would say Dave Van Ronck was a big, big influence on me because I loved his voice. It was so gritty and he had this powerful personality. Also the, the first Doc Watson record on Vanguard was a. Was a. A real touchstone for me because it was the first time I heard virtuosic acoustic guitar playing. So I absorbed that record and I try to learn, as, you know, eventually over the years I learned all the songs on the record. But, you know, that was a challenge and a real inspiration for me. And then, you know, you know, there's so many more. The Temptations, they had a particular live album that was incredible that they recorded at a club somewhere, which was amazing. And then of course, the classic James Brown Live at the Apollo, which was probably the most kinetic and exciting recording that I'd ever heard. The tempos were all jacked up. It was just a. It's just James Brown at his best at the Apollo Theater and. And then moving on later on in the 60s, you know, the band, the band was a big influence on Me and I, you know, and I, I just thought that it was music that I'd never heard before. It was a style of music, but I understood the roots of it. I understood where the influences were, but their, their unique take on it and their. With not only the songwriting, but their playing and singing was so unique. There was no one had ever sounded like them. So that was highly influential to me. And then the record that I consider the classic of all time is Blue by Joni Mitchell. I think that's the perfect album. I think every, on every level, there's nothing I've never heard anything better. Her singing, her playing, the production, the engineering, the songs themselves, even down to the album cover. It. It's the perfect. The perfect combination of sensitivity, sensibility, music, lyrics, creativity, all wrapped into one perfect album.

[Podcast Host]

It's a brilliant list. Brilliant list. How did you feel watching Joni at that Newport Folk Festival event? Wasn't it beautiful?

[John Oates]

You mean most recently?

[Podcast Host]

Yes.

[John Oates]

Yeah. Well, you know, congrats to her. Kudos to her. I'm really, you know, I'm just glad that she, she left her house and decided to. To make that. That step. You know, A very good friend of mine who was my guitar tech during the 80s and also who's currently the guitar tech for the Edge and you two, he was asked to go to her house and help her with her acoustic guitars and help her kind of prepare for that show. So he gave me a lot of inside scoop on what, what she was like. And the, and the, you know, I'm sure the, the, you know, she was concerned and, and I'm sure trepidation about what she was going to do and how she was going to do it. As you age, you have certain limitations to your, to your skill set, whether that be vocally or instrumentally. And I think, you know, she was concerned and, but she had an amazing group of people to support her and it was great to see her honored and appreciated by a newer generation.

[Podcast Host]

Yeah, it was a magical moment, for sure. Speaking of magical moments, first concert that you experienced as a fan. What was.

[John Oates]

Was when I was four years old, it was Bill Haley and the Comets. I saw them play at Willow Grove Amusement park in Pennsylvania in a band shell. And I had just, my family had just moved us from New York City to Pennsylvania, and it was one of my first memories of Pennsylvania to go to the amusement park and hear this country band. I had never heard live music before. Well, of course, I was four years old, four or five, maybe four and a half. And I remember running down to the band shell, down to the stage. And the stage was probably only, you know, two feet high. So I was, even as a little kid, I was able to stand there. And I remember standing right in front of the upright bass player. And then when, at a certain point in the show, which was a kind of a rockabilly tradition, which of course I didn't know at the time, you know, he put it on its side and rode it like a horse while he was playing. And of course, to a four year old that was big. That was, that was the, the apogee of show business there, right there.

[Podcast Host]

Did that cement you for life that you'd be a musician?

[John Oates]

I was already a musician, believe it or not. I have recordings of me at 4 years old singing songs that we did at the Coney island amusement park in the little booth, in the record booth where you put a coin in and you'd go in and sing. So for some reason I just had this ability to. And my, my parents, my mother in particular was, you know, she really pushed me and supported me about that.

[Podcast Host]

So do those recordings still exist?

[John Oates]

I've got them, yep.

[Podcast Host]

Wow, that's amazing.

[John Oates]

First one, first, the first one was Here Comes Peter Cottontail when I was about three or four. And then the second one was later, a few years later, it was all shook up by Elvis.

[Podcast Host]

Tremendous. Who are some of the mentors in your career that have really mattered to you?

[John Oates]

Well, a few. I had an English teacher in seventh grade who gave us an assignment to write a poem. And it was at the time of the Cuban Missile Crisis. And I, I was kind of aware of the kind of the early days of the protest song movement with Phil Oaks, people like that, Bob Dylan, Phil Oaks. So I wrote this poem about the Cuban Missile Crisis and the teacher knew that I played guitar and said, you know, you should put this to music. And I never thought of the idea that I could write a song. And that was kind of an, you know, that was an incentive to try it. So I would have to out that English teacher as, as an early mentor. But my real mentor was a guy named Jerry Ricks who I met in Philadelphia in 1967. He. Or 66. I can't. It's probably 66. I had my first year of college. I was, I needed a job. I needed a part time job. Of course I was too lazy to work. So I, I went to a place called Esther Halpern's Folk School in Philadelphia and I applied for a job as a guitar teacher. And she auditioned me And I played her a few things and she said, okay, you'll be okay. You'll be good to teach like the beginners and the intermediates. And I said, okay, fine. I just needed a job. The guy who's teaching the advanced lessons was a guy named Jerry Ricks. And he, he was unbelievable. And he also had been involved with helping a guy named Dick Waterman. Dick Waterman was the manager to a lot of the early blues men. People like Sunhouse sonny Terry, Brownie McGee, Robert Pete Williams, Mississippi John Hurt, Doc Watson. People like that kind of helping them. Because when a lot of these, these performers, rural performers came to the big cities and were performing for the first time at these folk festivals and things, they had no clue on what to do. They had no money. They couldn't stay in a. So they would stay at Jerry's house because Jerry lived right across the street from Dick Waterman. And a little fun fact. Sidebar. Bonnie Raitt was Dick Waterman's girlfriend. So if anyone ever wonders why Bonnie Raitt is so good and why she's so authentic, it's because she sat in the living room with some of these great authentic performers and learned directly from them. But anyway, and actually one day Bonnie and I had to drag Robert Pete Williams out of a bar in South Philly and bring him back because no one could find him. Do these guys didn't know they they, they did tend to like to drink. But anyway, Jerry became my initially, when I realized how good he was, I asked him if he could teach me some things. So I became his guitar student and eventually we played together. In fact, Jerry is playing. Jerry Ricks is playing on the first two hall and Oats albums with me on acoustic guitar on some of those songs. And interestingly enough, here's another. Sidebar. After Mississippi John her died, his guitar that he played at folk Festival in 63 was given to Jerry. And when I asked Jerry to come to New York in the early 70s and play on the whole notes albums, he asked me, he said, do you want me to bring Mississippi John's guitar so you can play it? And I said, absolutely. So the guitar I'm playing on the first two whole notes albums is Mississippi John Hertz acoustic guitar, which I now own, by the way.

[Podcast Host]

Wow.

[John Oates]

I know, it's crazy. And is on display at the Phoenix Musical Instrument Museum as we speak, and I'm playing there as well in a week or so. But so Jerry was incredible. And not only, you know, he became a good friend, a teacher, a mentor, and I really learned so much from him. Not only about actually how to play some of these songs and how to authentically finger the finger picking and the styles, but also just some basic, just basic learning about musicianship and listening and a more sophisticated way of of he made me a more sophisticated musician in a way. So, so I would say they're, they're my real mentors.

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We'll be right back with more of.

[John Oates]

The Taking a Walk podcast.

[Sponsor/Announcer]

Support for the show comes from Public, the investing platform for those who take it seriously. On Public, you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors, llc SEC Registered Advisor. Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete disclosures available at public.com disclosures living on a Prayer that song gets everyone singing. And now singing it could get you on a flyaway trip for two to see Bon Jovi live this summer.

[John Oates]

Enter the iHeartRadio give it a Shot.

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[John Oates]

Best rendition of the song and possibly.

[Sponsor/Announcer]

Have it featured on air or on social enter now at iheartradio.com GiveItAShot sweeps no purchase necessary. Open illegal US residents of the 50 United States and DC 18/ void we're prohibited. Sweepstakes ends on 223 26. For official rules, visit iheartradio.com GiveItAshot sweeps.

[Podcast Host]

Welcome to the A Building. I'm Hans Charles.

[John Oates]

I'm Menelik Lumumba.

[Podcast Host]

It's 1969. Malcolm X and Martin Luther King Jr.

[John Oates]

Have both been assassinated and Black America was at a breaking point. Rioting and protest broke out on an.

[Podcast Host]

Unprecedented scale in Atlanta, Georgia at Martin's Alma mater, Morehouse College. The students had their own protest. It featured two prominent figures in black history, Martin Luther King Sr. And a young student, Samuel L. Jackson. To be in what we really thought.

[John Oates]

Was a revolution, I mean, people were dying.

[Podcast Host]

19, 1968, the murder of Dr. King, which traumatized everyone.

[John Oates]

The FBI had a role in the murder of a Black Panther leader in Chicago.

[Podcast Host]

This story is about protest. It echoes in today's world far more.

[John Oates]

Than it should, and it will blow your mind.

[Podcast Host]

Listen to the A building on the.

[Sponsor/Announcer]

Iheartradio app, Apple Podcasts, or wherever you get your podcasts.

[John Oates]

Segregation in the day, integration at night. When segregation was the law, one mysterious black club owner had his own rules. We didn't worry about what went on outside. It was like stepping in another world. Inside Charlie's Place, black and white people danced together. But not everyone was happy about it. You saw the kkk. Yeah, they was dressed up in their uniforms. The KKK set out to raid Charlie, take him away from here. Charlie was an example of power. They had to crush him. From Atlas Obscura, Rococo Punch, and visit Myrtle beach comes Charlie's Place, a story that was nearly lost to time until now. Listen to Charlie's place on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. Podcast.

[Sponsor/Announcer]

Welcome back to the Taking a Walk podcast.

[Podcast Host]

Well, throughout your career, you've always had an eye on, you know, rising talent and how to help them and work with them. We had one of those talents on this podcast named Annalee, who was a delightful person for us to encounter and very talented. Tell us about how that collaboration came about with Annalee.

[John Oates]

Well, she's my niece.

[Podcast Host]

All right.

[John Oates]

Yes. She's my wife's brother's daughter. And she was always a very, you know, I watched her grow up from the time she was a baby, and she's always very outgoing. She had always had a real big personality. And she, she. She began to sing. And I. When I first heard her sing, I, you know, I knew that she could really sing. And I remember she came. She came to Nashville quite a while ago when she was just out, maybe in high school or just in college, and she really wanted to come to Nashville, and she said she wanted to make it and all this stuff. And I remember we went to a restaurant with her parents, and we were sitting there, and I said to her, look, I said, you see all these waitresses? They're all trying to do exactly what you're trying to do. I said, so if you're going to come Here, you better be prepared, because the bar is set very high and it is not easy. And I thought maybe she would get scared off or maybe just lose the vibe, but she came and she worked her butt off. She went down on lower Broadway. She sang in the bars. She did all the COVID songs. She really, really worked hard. I didn't help her very much, to be honest with you, but I did help her when she needed it. And we wrote a song together. I put her with the great Nathan Chapman, who produced Taylor Swift, and. And she, Nathan, myself, and Anna Lee, we wrote a song together, and I think that was the first time she got a chance to write with professional songwriters. And we wrote a really cool song called hey There, Walls, which I believe she recorded. So, I mean, I didn't. You know, I just. I've always there for her, but didn't really want to be, you know, like, kind of pushy and. And it was really her career, and. And I just. I'm so proud of her for really doing it herself and really finding her way. She's making some new music now out in California. She. Some producers who she's working with, and she runs things by me. I give her my two cents, but she knows what she's doing, and she's amazing.

[Podcast Host]

She has a good soul. Could tell. Yeah, could tell. Tell me about the Nashville community. You've been there a while, and it is a unique and, I think, special community. Talk about what it means being part of that community in the way that you are.

[John Oates]

Well, in the 90s, when Daryl and I weren't doing very much, I. I started going to Nashville and meeting some people.

[Sponsor/Announcer]

People.

[John Oates]

I did a few demo sessions and things like that, and immediately the first thing that struck me was the. The. The. The caliber and quality of the. Of the players, the musicians. I realized that they were really, really good. And, you know, I had spent my whole. Basically my hope, you know, I was in bands and playing. Playing by myself prior to meeting Daryl. But once Daryl and I started, you know, it was all hauling oats all the time, 24, seven for, you know, for 15, 20 years, whatever. So I was used to playing with a certain. In a certain style with a certain band, with a certain ensemble. So all of a sudden, I was playing with different people in different settings, and I was really impressed. And I also realized that. That I couldn't kind of. Kind of skate and. And kind of. I couldn't make it on my reputation. I really had to up my game. So to be honest with you, I started practicing really Hard in the. You know, in the late 90s, early 2000s, I. I realized that I up my game and if I wanted to be in that caliber of player. So it's really been an incredible incentive to me to get better and to. To really realize my full potential.

[Podcast Host]

You know, there's a couple of historic moments in your career that I wanted to get. Your memory of Live Aid and the We Are the World sessions, those two in particular. Any reflections you could share with us about those two historic events?

[John Oates]

I don't think you have enough time, but. Okay. Well, you want to start with Live Aid? I guess we can start there. Yeah. Well, the, you know, the American version was going to be in Philadelphia, of course. Daryl and I being from Philadelphia and being, of course, at almost, you know, at the top of our. Our commercial. You know, we were at the top of the pop pyramid at the time.

[Podcast Host]

So.

[John Oates]

We were asked to basically close the show, and we wanted to do something really special and something, you know, above and beyond. We had just played the Apollo Theater with Eddie Kendrick and David Ruffin, who were the lead singers of the Temptations. And we did a Temptations, you know, kind of retrospective of songs medley, and it was great. So we thought, well, why not bring Eddie and David and we'll do some Temptation songs in addition to our own set, of course. And then Mick Jagger reached out, and he was doing a solo album at the time, and he didn't have a band, so he asked if we. If our band would back him. So, of course, you know, we said, yeah, of course. And I remember, you know, one anecdote is really amazing to me is we were rehearsing at sir, which was studio instrument rentals in New York City, so, you know, where they have a sound stage and you could rehearse and all the that. And we had rehearsed the songs that Mick wanted to play, and so we knew the songs, we had learned them. And then Mick was going to come in and just go over them with us. And I thought, you know, well, he'll just come in and, you know, we'll go through the motions and we'll play the songs, and he'll say yes or no or change, whatever. But what I didn't expect was for him to literally jump on stage, grab the mic and count the song off and go into his full Mick Jagger routine in rehearsal with nobody in the room except us. I mean, I'm talking about the full thing, the chicken wings, you know, the jumping around, doing. He did. He did it as if he was playing you know, Madison Square Garden. It was unbelievable. And you know, and it was incredible. It was exciting. And I immediately said, okay, well this is why, this is why this guy is who he is. And then of course, he didn't tell us. We didn't know that he was going to bring Tina Turner out on stage. And that was a surprise. And literally he didn't, we didn't know. And when he brought her out on stage and then of course he ripped her leather skirt off, which was kind of cool too. I guess they had it all planned, but, you know, but it just made it so exciting because it was like it was happening all, you know, at the, for the first time. So that was, that, that was an amazing night. And I believe that was the biggest rock concert to ever be simulcast around the world, you know, at the time. And then, you know, on We Are the World that was, that was scheduled to be done after the American Music Awards. And back in those days, you know, there was really only the American Music Awards and the Grammys. So everybody who was anybody in pop was pretty much at that show. And they, they carted us all over to the studio and put us, you know, in those things. And there I was standing next to Bob Dylan and Ray Charles, two of my heroes. So I thought, hey, this is pretty good, pretty good spot to be. And yeah, and then I went around and everyone to sign my manuscript, my music, the music, the lead sheet, the sheet music which they handed us. I got everyone to sign it and I have that frame now. So it's a, it's a definitely one of my prized possessions.

[Podcast Host]

Love it. How do you think the music of Hall Notes will be viewed for years to come?

[John Oates]

I think, I think it would be, I think it's pretty timeless. Some of those songs are, have, they've already, you know, withstood the test of generations. So I don't see that they going to go away. Great songs endure and I'm very proud and, and happy to, to, to know that I was part of something that will endure and you know, which is, is fabulous. And you know, it's a, it's a blessing. It's something that people, you know, people would, you know, most musicians and songwriters would hope that they would have one, much less than, you know, multiple songs that fit that description. So I'm proud of it. And at the same time I, I feel like I, I, I, I think those songs should be respected and heard in, in the, in the context of, of the records that were made in the 70s and 80s. And I really don't. I feel like I've moved beyond it now. I'd rather hear those songs the way they should sound as opposed to kind of a, you know, a live reproduction of them. At this point in my life, I've kind of moved away from that.

[Podcast Host]

You moved to Colorado to just sort of change the pace of your life a bit and sort of mode. And as part of that move, I think you did encounter the great Hunter Thompson while you were out there. Can you share anything about an experience with Hunter?

[John Oates]

Many, many. Some of which I can't tell you, but. Well, you know, I had been going to Colorado since the late 60s when I was in college, and I finally. Finally moved there in the late 80s, in the early 90s, I met my future wife, and we were looking for a place to live. She. She found a little piece of land in place called Woody Creek outside of Aspen, Colorado. And it was like a little. Little farm, a little ranch. And I remember the first time we went to see it with the real estate agent. We're standing there on this kind of. There was only a horse barn and a little log cabin. And we're standing there, and all of a sudden we heard, you know, boom, boom. And then we heard shotgun pellets all on the metal ro. This little barn, like, you know, And I was like, whoa, what's that? And he goes. And the real estate agent was like, oh, that's your neighbor. That's. That's. That's Hunter. That's your neighbor. And I said, well, is this something we should be concerned about? And he said, no, no, he's. He's fine. He's fine. He's just sending a warning shot, you know. So I thought to myself, well, this is either really good or really terrible. As it turned out, it was really good because he slept during day and worked at night. I did. I worked during the day and slept at night. So that worked out pretty well. The interesting thing that I noticed immediately in the little log cabin there was the big. There was a big red convertible, which was that land shark that he used in fear and loathing his car because no one had been on the property for years. So even though he didn't own the property, he just put his car in the cabin and put a padlock on the door. And I said, what are we going to do with this guy's car? Because we wanted to turn the cabin into a loose little apartment where we could live while we built the rest of our house. So I would go and knock on his door and he never answered. Then I'd go again. I knock and I'd leave a note because I. Because they. We wanted to, you know, re. We wanted to have the Carpenters come in and start rebuilding this cabin. So the keys were in it. I jump started it, I backed it out. I drove it up on his lawn. I put it directly in front of his door and I just left it there. And I knew him for 25 years and he never said a word to me about it. I guess he just thought the car just appeared one day, you know. So we went to his funeral that Johnny Depp organized, and it was amazing. We played at his funeral with Lyle Lovett and Johnny Depp, and it was just absolutely amazing. He was an amazing guy and one of the great, you know, a classic journalist, you know, who invented a style of journalism really, you know. You know, he loved being Hunter Thompson. He loved the image of himself. And I think what happened when he broke his hip and his leg and he couldn't really be that guy anymore. I don't. I think that's when he decided to. To pack it all in. But he. We used to go up there and watch Monday Night Football with the sheriff and we like. It's just kind of crazy.

[Podcast Host]

Let's come back to reunion here. I want to get you your. Your take on a couple of the specific songs here. We've already touched on Long Monday and Reunion. I want to talk about Sunny Terry and Brownie McGee who you mentioned earlier in the conversation. So talk about them and that song.

[John Oates]

That song was written during the pandemic when I was out in Colorado spending more time in Colorado during the pandemic just to get out of the city, breathe some fresh air and all that. And I ran into a guy who was a. Whose neighbor, who I knew for years and years, but we never did anything together.

[Podcast Host]

He.

[John Oates]

This guy named Joe Henry who has written lyrics, he's an author, he's written books. And we were just shooting the breeze and he said, you know, we. We should write a song one of these days. I said, yeah, we should. And so he came up to my little cabin and the cabin where that car was, by the way, and we. He. We'd start talking about, you know, ideas for songs. And he told me, he related this story about Sunny Terry and Brownie McGee, how as time went on in their career, they were together for over 40 years, they began to really dislike each other and they didn't want to play together anymore. So obviously there was something going on that resonated with Me. And. But he said the interesting part was that one of them lost his ability to see and the other one lost his ability to walk. Walk. And it brought them together in a way, and they needed each other to get on stage. And when. When I thought about it, I said, well, you know, we could write about them specifically or we could use their story and. And their experience as a metaphor for kindness and lending a helping hand and helping your fellow man, so to speak. And I thought that was a more broad subject. So in the end, Sonny Terry and Brownie McGee became more of a metaphor for the meaning of the story. Song.

[Podcast Host]

How about the song All I Am that you. You co wrote with Adam Ezra?

[John Oates]

Yeah, Adam's great. He and I just did a song that we just played together in New York just a couple weeks ago. He's. He's great. He's from the Boston area, a really good, soul, talented guy. And we played. We've done shows together over the years. We've written a few songs together. And All I Am is probably my favorite of the ones we've written. It's just a song. He came to Nashville, we sat down and we wrote it. It was. It just worked. And I love that song. We play it all the time.

[Podcast Host]

And how about the song this Field Is Mine, which is just wonderful to talk about that one.

[John Oates]

Thank you. That. That song was supposed to be included on the Arkansas album, which came out in 2018, but it just didn't. There was something about it that I. I didn't think it was right for that album, so I held it, but I knew that I was going to release it someday. That song was inspired by my wife's family, who's. They own a farm in Southern Illinois, and they're very, very passionate about keeping the farm as the. As the surrounding area gets developed by suburbs and housing developments. And when I know the passion that they have for their land because it's a gen. You know, it's been in their farm family for generations. So I thought about it and I thought about what that really means. I thought about what owning a piece of land. Do you really, really own it or you're just the caretaker for a while, you know. And so that was the impetus for it. And I ran the idea by Sam Bush and the great Jeff Black, who's an incredible Nashville songwriter. And we wanted to try to write something together. So the three of us got together and we wrote that song together. Yeah. So that was really great to be able to. I had never written anything with Sam and I first time and I think we we did pretty good.

[Podcast Host]

Did awesome. In closing, you've always explored diverse influences in in your career and you continue to do that. Are there some influences that you have not explored that you'd still like to explore?

[John Oates]

I wouldn't say there's any particular influence like style I I but I still have a lot of interest. You know, I I just wrote a song with a young artist named Devin Gil Fillian who's fantastic. He's a R and B singer from Philadelphia and once saw him live and he's great and I introduced myself and we hit it off and wrote a song. It sounds like a vintage soul song and so I'm not going to be stuck in any particular style. I'm just going to, you know, do whatever feels right at the time. That's a song that I want to release this coming fall and it's a really co song so and then, you know, I just Recently I was on the Joe Bonamasa Blues Cruise and I got a chance to sit in with a band called Robert John and the Wreck. They're a California based rock band and they're really, really good and I really like them and got together and wrote a song just a few days ago with them and Dave Cobb is producing them. Hopefully it'll make it onto the album and so, you know, I'm just, I'm just open to interesting ideas.

[Podcast Host]

Congratulations on re. I'm so grateful that you took the time to be on Taking a Walk. I've been a fan forever and thank you for the music that you continue to give us.

[John Oates]

John thanks. That was a good interview. I like talking about that stuff. So thanks. Thanks for listening to this episode of.

[Sponsor/Announcer]

The Taking a Walk podcast. Share this and other episodes with your.

[John Oates]

Friends and follow us so you never miss an episode.

[Sponsor/Announcer]

Taking a Walk is available on the iHeartrade radio app, Apple Podcasts, and wherever you get your podcasts. If you're a maintenance supervisor for a commercial property, you've had to deal with everything from leaky faucets to flickering light bulbs. But nothing's worse than that ancient boiler that's lived in the building since the day it was built 50 years ago. It's enough to make anyone lose their cool. That's where Grainger comes in. With industrial grade products and dependable, fast delivery, Granger can help with any challenge, from worn out components to everyday necessities. Call click granger.com or just stop by Granger for the ones who get it done.

[John Oates]

Thirty years ago, Scream changed horror forever. Now it's all led to this. In Scream 7, Sidney Prescott thought she'd finally escaped the nightmare of Ghostface, raising her family in a quiet town far away from the horrors of Woodsboro. She was wrong, and this time the target isn't just her. It's her teenage daughter, Tatum, who's the same age Sidney was when the terror began. Neve Campbell returns in her iconic final girl role as Sidney Prescott, facing the most brutal and psychological Ghostface yet, joined by franchise favorites Courteney Cox, Jasmine, Savoy Brown and Mason Gooding, alongside terrifying new blood including Isabel May McKennie, Grace, Asa Gurman and more. Directed by Fernando franchise creator Kevin Williamson in his directorial debut, Scream 7 is packed with edge of your seat scares and shocks for everyone, with references and callbacks for screen fans everywhere, Ghostface is the terrifying horror icon alongside Freddy, Jason and Michael Myers. And after 30 years, the mask still means one no one is safe. See Scream 7 in theaters February 27, because screams are always better when you hear them together. Together over the last couple years, didn't.

[Sponsor/Announcer]

We learn that the folding chair was.

[John Oates]

Invented by black people because of what happened in Alabama? Montgomery Brawl this Black History Month, the podcast Selective Ignorance with Mandy B. Unpacks black history and culture with comedy, clarity and conversations that shake the status quo. The Crown act in New York was signed in July of 2019, and that is a bill that was passed to prohibit discrimination based on hairstyles associated with with race. To hear this and more, listen to Selective Ignorance with Mandy B. From the Black Effect Podcast Network on the iHeartRadio app, Apple Podcast, or wherever you get your podcast. 1969 Malcolm and Martin are gone, America is in crisis, and at Morehouse College.

[Podcast Host]

The students make their move. These students, including a young Samuel L. Jackson, locked up the members of the Board of trustees, including Martin Luther King Senior. It's the true story of protest and rebellion in Black American history that you'll never, never forget. I'm Hans Charles, our Meneluma. Listen to the A building on the.

[Sponsor/Announcer]

Iheartradio app, Apple Podcasts, or wherever you get your podcasts.

[John Oates]

This is an iHeart podcast, Guaranteed Human.