Daryl Franklin Hohl Quotes
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My house is actually two houses that were deconstructed. They were Connecticut Valley houses built in 1771 and 1781. I took them down piece by piece and reconstructed them about 50 miles to the west on the New York/Connecticut border.
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I'm very enthused about everything. I have a lot to say and a lot of things I'm interested in.
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The difference between me and other people in my generation is instead of saying the Internet's killing the record business, I say, 'Who cares about the record business, the Internet is enhancing music.'
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To me, there's two kinds of music these days. There's ephemeral music, and there's music that has lasting power and depth.
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This illness made it impossible for me to give my best effort to our audience, but now that it's been identified, I'm looking forward to a complete, quick recovery and to get back out there with John as soon as possible.
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To write a good song, an artist has to drawn from reality. There has to be some spark from realism that communicates a real feeling to someone else. You have to be real. Or you have to be a really good storyteller.
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I was just like a 21st century person waiting to be born, and this is the medium that I thrive in. And I feel stronger now than I did any time since I've been a teenager - I mean, musically, creatively.
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I hear a lot of people singing in funny voices and singing like they're stupid. Singing in a deliberately fey and dumb and childish way. And I find it to be a disturbing trend.
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Smokey Robinson is one of my heroes as a singer and songwriter; a major influence on my own music from the very start.
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I'm just about the best singer I know, and it's time for everybody to say that. I have total facility with my voice. And for some weird reason, critics don't talk about it.
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I've watched the world crash and burn in every sense. I've watched the record industry crash and burn; politically I've watched it crash and burn, financially crash and burn.
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When you're playing in front of people, everything is external. It's all going from you out to an audience. When you're in a studio, it's very internalised, it's going from the air through you into this meticulously crafted, layered piece of work.
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When I was a kid, I always looked up to people like B.B. King and Ray Charles.
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Reject what you don't want. Get rid of dead wood.
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Everybody who I ever cared about has told me that they like my music: Bob Dylan, Paul McCartney, Al Green, The Spinners, Smokey Robinson. Everybody that matters.
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I'm in the trenches; I do the best work I can always do. Having said that, the way that what I do converges with the outside world is fascinating to me. Because it ebbs and flows. People's interest and understanding, it changes all the time.
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As a singer, I float around. I'm kind of scatty, bouncing around a lot. I try to adapt to what's going on around me in the song and the arrangement.
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Traditionally, duos get accused of lots of things.
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The younger generation gives me more respect than I could ever hope for.
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The Philadelphia/New York world of the music business is a tough place to be.
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Having a solo career is a funny thing.
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I've got a sense of humor. I'm a funny guy.
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The biggest honor of my career was when I won R&B Artist of the Year back in the 1970s. I look at that as a major honor.
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I grew up in a very racially integrated place called Pottstown. It was an agricultural / industrial town which has since become a suburb of Philadelphia. I grew up basically in a black neighborhood.