Chords for The Today Show w/ Bryant Gumbel - Hall & Oates interview - 1985
Tempo:
117.85 bpm
Chords used:
E
F#
A
Am
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Alright, Willard, thanks.
With hits topping almost all the charts, Daryl Hall and John Oates have become pop music's most dynamic duo.
Their track record's better than such notables as Jan and Dean, Loggins and Messina, Simon and Garfunkel, any other twosome you want to name.
In the first [B] half of this decade alone, Hall and Oates already have 15 of the top 40 singles.
Recently I had a chance to talk with the two of them, and I asked them to tell me a little bit more about how they met by [N] chance some 16 years ago in their hometown of Philadelphia.
We were both playing, I had a band and John had a band, we were
We both had singles out.
Yeah, and we [E] had singles out, we were playing in a place called the Adelphi Ballroom in West Philadelphia.
The Masters and the Temptones.
Temptones.
Right.
And it was a street corner group, that's [N] basically four guys in suits, you know.
And I forget who was on, somebody was on, I think it was the Five Stairsteps.
Yeah.
One of us was slated to go on next, and somebody
They had in West Philadelphia, they had high school fraternities, which were really just gangs with Greek letters on their backs, you know.
[F#] So somebody pulled out a dog chain and somebody pulled out a gun and it was shots and people screaming.
So we decided to [G#] leave quickly, and [C]
that's how we met.
Both of you.
[A] We landed in the [G] elevator together.
Was that a [A] relationship based on cowardice or something like that?
Based on good sense.
There you go.
And one [C] bound to survive.
You had a couple of quick hits, right?
You had She's Gone, you had Sarah Smile.
She's Gone and Rich [F#] Girl.
Yeah, and Rich Girl.
Then things went like this.
[C] What happened?
[N] Well, we were stuck in California.
Actually, the whole world was stuck in California in the late 70s, if you remember what the charts were like.
You know, Linda Ronstadt and the Eagles and all those people, and it was a very non-urban kind of sound.
And we were trying to keep our heads above water, and so part of doing that was to go where the musicians were,
which was California, you know, the producers were in California.
And we felt very uncomfortable with that, and I think it showed in the music.
So we said at one point, after a [G#] particularly dismal album experience, [N] why don't we just step out for a while and reform, regroup.
So we went back to playing clubs.
Did you think back in those days that this day would never come?
[F#] We took it one day at a time.
We had a lot of faith.
[E] We were pretty much more concerned with not being known [B] for a sound that we didn't feel comfortable with and didn't feel, you know, it [G#] wasn't real.
You know, it just wasn't the music that was [D#] in our heads.
When people want you to be Logans and Messina?
Yeah.
Well, [E] you know, [A] around that era, that was sort of the sound that was happening.
[F#] And we just couldn't, you know, even though we had hits, as you said, you know, it wasn't, we didn't want to stand behind that and, you know, live with it for the rest of our careers or whatever.
You have to just make [A] music that you like and that pleases you and that you feel good about.
No, [D]
no, [Bm] [E]
no, [A] [D]
[Bm] [E]
[A] [Am] no, no.
The whole idea of commercial, [E] you know, success [N] and pop music having a sort of a negative stigma when it, you know, as it refers to art.
I think it's sort of a 60s kind of concept.
I don't think it's quite as valid anymore.
I don't think people are thinking about it.
They occasionally touch on it.
But I think that I think there's great music being made in [F#] pop, you know, pop music.
And the songs that are at the top of the charts, they're just they're [N] turning people on.
Don't you think most of the public generally puts in this corner, Barbra Streisand and Tony Bennett and Frank Sinatra.
And then over here they put Hall & Oates and Duran Duran and Motley Crue and they just kind of stick them all together.
To label things and put things in categories, it's impossible to deal with the giant amount of input that people, you know, that's around.
And there's so much music that if you didn't have categories, [F#] people would be totally confused.
And the whole thing would fall apart.
There's [N] enough music for everyone now.
Do you wish the market was more critical?
Would it be to your benefit if it was?
I wish the market was the market.
I wish this, you know, I hope and wish that the fans become more musically discerning.
Not so [C] much critical, but we have our own taste.
And, [Dm] you know, I don't know.
I think that the [G#] fans that we have seem to seem to be in sync with us.
And I guess that's all you can hope for.
[C]
[Dm]
[G#] As you as you become more [Cm] successful [N] commercially, do you gain greater freedom or you become more restricted?
You gain the freedom of being able to go with something because you already have people's ears.
And that's that's a great feeling.
You know, we don't have to constantly keep proving ourselves to people.
Everybody knows who we are, what we do.
And it's easier to take leaps that way.
But then at the same time, you become restricted by your history.
Let me change gears a little bit and move to your relationship.
How many people still think you're lovers?
Probably a [F#] lot of people.
Who knows?
That's the old story.
Who knows?
Who cares?
I don't know.
[N] It's a buggy.
It bugs me because it won't die.
You know, everyone everyone always assumes [F#] that if two guys are working together [D] for a long period of time and intense kind of working relationship, friendship, and they have an album cover with makeup [A] and they're in drag.
Yeah.
[D] Wait a minute.
Why did you do the album cover?
Oh, I don't know.
We [F#] were just a wild kind of guy.
You know, it was the times.
Yeah.
It was that mid 70s thing.
We were we were led astray by by the mind.
The fact that you've been together 16 years says something.
I think so.
Why do you think it's lasted so long?
Because it's not hard to do [F] for us.
[A#] It's I mean, for us to work together.
It's never [A] been any kind of hassle for us to work.
We've never had a real [E] fight.
And the upside is so good because we we get so [D#] much out of the relationship creatively.
So there would be no reason.
There's never been a reason for us to split [F] up. It's music.
It can go on [D] forever.
Yeah.
[Am]
[G] [Am] [E]
[F] [G]
[Am] [Em]
[F] [Dm] Oh, [G]
[Am] [G] [Am] [E] this Thursday, the 4th of July Hall of Notes will have a grand finale to their concert tour.
They're going to play a benefit concert for the Statue of Liberty at Liberty State Park.
Tickets are only $5 and all the proceeds go to restore the statue.
And Hall of Notes will also present at that time a fireworks display at their own expense.
[N] There's also going to be involved in the live AIDS concert that's set for July 13th in Philadelphia.
Moving up on 844 now on this Tuesday morning.
When we come back, Jane
With hits topping almost all the charts, Daryl Hall and John Oates have become pop music's most dynamic duo.
Their track record's better than such notables as Jan and Dean, Loggins and Messina, Simon and Garfunkel, any other twosome you want to name.
In the first [B] half of this decade alone, Hall and Oates already have 15 of the top 40 singles.
Recently I had a chance to talk with the two of them, and I asked them to tell me a little bit more about how they met by [N] chance some 16 years ago in their hometown of Philadelphia.
We were both playing, I had a band and John had a band, we were
We both had singles out.
Yeah, and we [E] had singles out, we were playing in a place called the Adelphi Ballroom in West Philadelphia.
The Masters and the Temptones.
Temptones.
Right.
And it was a street corner group, that's [N] basically four guys in suits, you know.
And I forget who was on, somebody was on, I think it was the Five Stairsteps.
Yeah.
One of us was slated to go on next, and somebody
They had in West Philadelphia, they had high school fraternities, which were really just gangs with Greek letters on their backs, you know.
[F#] So somebody pulled out a dog chain and somebody pulled out a gun and it was shots and people screaming.
So we decided to [G#] leave quickly, and [C]
that's how we met.
Both of you.
[A] We landed in the [G] elevator together.
Was that a [A] relationship based on cowardice or something like that?
Based on good sense.
There you go.
And one [C] bound to survive.
You had a couple of quick hits, right?
You had She's Gone, you had Sarah Smile.
She's Gone and Rich [F#] Girl.
Yeah, and Rich Girl.
Then things went like this.
[C] What happened?
[N] Well, we were stuck in California.
Actually, the whole world was stuck in California in the late 70s, if you remember what the charts were like.
You know, Linda Ronstadt and the Eagles and all those people, and it was a very non-urban kind of sound.
And we were trying to keep our heads above water, and so part of doing that was to go where the musicians were,
which was California, you know, the producers were in California.
And we felt very uncomfortable with that, and I think it showed in the music.
So we said at one point, after a [G#] particularly dismal album experience, [N] why don't we just step out for a while and reform, regroup.
So we went back to playing clubs.
Did you think back in those days that this day would never come?
[F#] We took it one day at a time.
We had a lot of faith.
[E] We were pretty much more concerned with not being known [B] for a sound that we didn't feel comfortable with and didn't feel, you know, it [G#] wasn't real.
You know, it just wasn't the music that was [D#] in our heads.
When people want you to be Logans and Messina?
Yeah.
Well, [E] you know, [A] around that era, that was sort of the sound that was happening.
[F#] And we just couldn't, you know, even though we had hits, as you said, you know, it wasn't, we didn't want to stand behind that and, you know, live with it for the rest of our careers or whatever.
You have to just make [A] music that you like and that pleases you and that you feel good about.
No, [D]
no, [Bm] [E]
no, [A] [D]
[Bm] [E]
[A] [Am] no, no.
The whole idea of commercial, [E] you know, success [N] and pop music having a sort of a negative stigma when it, you know, as it refers to art.
I think it's sort of a 60s kind of concept.
I don't think it's quite as valid anymore.
I don't think people are thinking about it.
They occasionally touch on it.
But I think that I think there's great music being made in [F#] pop, you know, pop music.
And the songs that are at the top of the charts, they're just they're [N] turning people on.
Don't you think most of the public generally puts in this corner, Barbra Streisand and Tony Bennett and Frank Sinatra.
And then over here they put Hall & Oates and Duran Duran and Motley Crue and they just kind of stick them all together.
To label things and put things in categories, it's impossible to deal with the giant amount of input that people, you know, that's around.
And there's so much music that if you didn't have categories, [F#] people would be totally confused.
And the whole thing would fall apart.
There's [N] enough music for everyone now.
Do you wish the market was more critical?
Would it be to your benefit if it was?
I wish the market was the market.
I wish this, you know, I hope and wish that the fans become more musically discerning.
Not so [C] much critical, but we have our own taste.
And, [Dm] you know, I don't know.
I think that the [G#] fans that we have seem to seem to be in sync with us.
And I guess that's all you can hope for.
[C]
[Dm]
[G#] As you as you become more [Cm] successful [N] commercially, do you gain greater freedom or you become more restricted?
You gain the freedom of being able to go with something because you already have people's ears.
And that's that's a great feeling.
You know, we don't have to constantly keep proving ourselves to people.
Everybody knows who we are, what we do.
And it's easier to take leaps that way.
But then at the same time, you become restricted by your history.
Let me change gears a little bit and move to your relationship.
How many people still think you're lovers?
Probably a [F#] lot of people.
Who knows?
That's the old story.
Who knows?
Who cares?
I don't know.
[N] It's a buggy.
It bugs me because it won't die.
You know, everyone everyone always assumes [F#] that if two guys are working together [D] for a long period of time and intense kind of working relationship, friendship, and they have an album cover with makeup [A] and they're in drag.
Yeah.
[D] Wait a minute.
Why did you do the album cover?
Oh, I don't know.
We [F#] were just a wild kind of guy.
You know, it was the times.
Yeah.
It was that mid 70s thing.
We were we were led astray by by the mind.
The fact that you've been together 16 years says something.
I think so.
Why do you think it's lasted so long?
Because it's not hard to do [F] for us.
[A#] It's I mean, for us to work together.
It's never [A] been any kind of hassle for us to work.
We've never had a real [E] fight.
And the upside is so good because we we get so [D#] much out of the relationship creatively.
So there would be no reason.
There's never been a reason for us to split [F] up. It's music.
It can go on [D] forever.
Yeah.
[Am]
[G] [Am] [E]
[F] [G]
[Am] [Em]
[F] [Dm] Oh, [G]
[Am] [G] [Am] [E] this Thursday, the 4th of July Hall of Notes will have a grand finale to their concert tour.
They're going to play a benefit concert for the Statue of Liberty at Liberty State Park.
Tickets are only $5 and all the proceeds go to restore the statue.
And Hall of Notes will also present at that time a fireworks display at their own expense.
[N] There's also going to be involved in the live AIDS concert that's set for July 13th in Philadelphia.
Moving up on 844 now on this Tuesday morning.
When we come back, Jane
Key:
E
F#
A
Am
G#
E
F#
A
_ _ Alright, Willard, thanks.
With hits topping almost all the charts, Daryl Hall and John Oates have become pop music's most dynamic duo.
Their track record's better than such notables as Jan and Dean, Loggins and Messina, Simon and Garfunkel, any other twosome you want to name.
In the first [B] half of this decade alone, Hall and Oates already have 15 of the top 40 singles.
Recently I had a chance to talk with the two of them, and I asked them to tell me a little bit more about how they met by [N] chance some 16 years ago in their hometown of Philadelphia.
We were both playing, I had a band and John had a band, we were_
We both had singles out.
Yeah, and we [E] had singles out, we were playing in a place called the Adelphi Ballroom in West Philadelphia.
The Masters and the_ Temptones.
Temptones.
Right.
And it was a street corner group, that's [N] basically four guys in suits, you know.
And _ I _ forget who was on, somebody was on, I think it was the Five Stairsteps.
Yeah.
One of us was slated to go on next, and somebody_
They had in West Philadelphia, they had high school fraternities, which were really just gangs with Greek letters on their backs, you know.
[F#] So somebody pulled out a dog chain and somebody pulled out a gun and it was shots and people screaming.
So we decided to [G#] leave quickly, and _ [C]
that's how we met.
Both of you.
_ [A] We landed in the [G] elevator together.
Was that a [A] relationship based on cowardice or something like that?
Based on good sense.
There you go.
And one [C] bound to survive.
You had a couple of quick hits, right?
You had She's Gone, you had Sarah Smile.
She's Gone and Rich [F#] Girl.
Yeah, and Rich Girl.
Then things went like this.
[C] What happened?
[N] Well, we were stuck in California.
Actually, the whole world was stuck in California in the late 70s, if you remember what the charts were like.
You know, Linda Ronstadt and the Eagles and all those people, and it was a very non-urban kind of sound.
And we were trying to keep our heads above water, and so part of doing that was to go where the musicians were,
which was California, you know, the producers were in California.
And we felt very uncomfortable with that, and I think it showed in the music.
So we said at one point, after a [G#] particularly dismal album experience, [N] why don't we just step out for a while and reform, regroup.
So we went back to playing clubs.
Did you think back in those days that this day would never come? _ _
[F#] We took it one day at a time.
We had a lot of faith.
[E] We were pretty much more concerned with not being known [B] for a sound that we didn't feel comfortable with and didn't feel, you know, it [G#] wasn't real.
You know, it just wasn't the music that was [D#] in our heads.
When people want you to be Logans and Messina?
Yeah.
Well, [E] you know, [A] around that era, that was sort of the sound that was happening.
[F#] And we just couldn't, you know, even though we had hits, as you said, you know, it wasn't, we didn't want to stand behind that and, you know, live with it for the rest of our careers or whatever.
You have to just make [A] music that you like and that pleases you and that you feel good about.
No, [D] _ _
_ no, [Bm] _ _ _ [E] _ _
_ no, [A] _ _ _ [D] _ _
_ _ _ [Bm] _ _ _ _ [E] _
_ _ _ _ [A] _ [Am] no, _ no.
The whole idea of commercial, [E] you know, success [N] and pop music having a sort of a negative stigma when it, you know, as it refers to art.
I think it's sort of a 60s kind of concept.
I don't think it's quite as valid anymore.
I don't think people are thinking about it.
They occasionally touch on it.
But I think that I think there's great music being made in [F#] pop, you know, pop music.
And the songs that are at the top of the charts, they're just they're [N] turning people on.
Don't you think most of the public generally puts in this corner, Barbra Streisand and Tony Bennett and Frank Sinatra.
And then over here they put Hall & Oates and Duran Duran and Motley Crue and they just kind of stick them all together.
To label things and put things in categories, it's impossible to deal with the giant amount of input that people, you know, that's around.
And there's so much music that if you didn't have categories, [F#] people would be totally confused.
And the whole thing would fall apart.
There's [N] enough music for everyone now.
Do you wish the market was more critical?
Would it be to your benefit if it was?
I wish the market was the market.
I wish this, you know, I hope and wish that the fans become more musically discerning.
Not so [C] much critical, but we have our own taste.
And, [Dm] you know, I don't know.
I think that the _ [G#] fans that we have seem to seem to be in sync with us.
And I guess that's all you can hope for.
[C] _
_ _ _ _ [Dm] _ _ _ _
_ [G#] _ _ _ _ As you as you become more [Cm] successful [N] commercially, _ do you gain greater freedom or you become more restricted?
You gain the freedom of being able to go with something because you already have people's ears.
And that's that's a great feeling.
You know, we don't have to constantly keep proving ourselves to people.
Everybody knows who we are, what we do.
And it's easier to take leaps that way.
But then at the same time, you become restricted by your history.
Let me change gears a little bit and move to your relationship. _
How many people still think you're lovers? _ _ _ _
Probably a [F#] lot of people.
Who knows?
That's the old story.
Who knows?
Who cares?
I don't know.
[N] It's a buggy.
_ It bugs me because it won't die.
You know, everyone everyone always assumes [F#] that if two guys are working together [D] for a long period of time and intense kind of working relationship, friendship, and they have an album cover with makeup [A] and they're in drag.
Yeah.
[D] Wait a minute.
Why did you do the album cover?
Oh, I don't know.
We [F#] were just a wild kind of guy.
You know, it was the times.
Yeah.
It was that mid 70s thing.
We were we were led astray by by the mind.
_ _ The fact that you've been together 16 years says something.
I think so.
_ Why do you think it's lasted so long?
Because it's not hard to do [F] for us.
[A#] It's I mean, for us to work together.
It's never [A] been any kind of hassle for us to work.
We've never had a real [E] fight.
And the upside is so good because we we get so [D#] much out of the relationship creatively.
So there would be no reason.
There's never been a reason for us to split [F] up. It's music.
_ It can go on [D] forever.
Yeah.
_ _ [Am] _
_ _ [G] _ _ [Am] _ _ [E] _ _
[F] _ _ _ _ _ [G] _ _ _
[Am] _ _ _ _ _ _ [Em] _ _
[F] _ _ [Dm] Oh, _ [G] _ _ _
[Am] _ _ [G] _ _ [Am] _ _ [E] this Thursday, the 4th of July Hall of Notes will have a grand finale to their concert tour.
They're going to play a benefit concert for the Statue of Liberty at Liberty State Park.
Tickets are only $5 and all the proceeds go to restore the statue.
And Hall of Notes will also present at that time a fireworks display at their own expense.
[N] There's also going to be involved in the live AIDS concert that's set for July 13th in Philadelphia.
_ Moving up on 844 now on this Tuesday morning.
When we come back, Jane
With hits topping almost all the charts, Daryl Hall and John Oates have become pop music's most dynamic duo.
Their track record's better than such notables as Jan and Dean, Loggins and Messina, Simon and Garfunkel, any other twosome you want to name.
In the first [B] half of this decade alone, Hall and Oates already have 15 of the top 40 singles.
Recently I had a chance to talk with the two of them, and I asked them to tell me a little bit more about how they met by [N] chance some 16 years ago in their hometown of Philadelphia.
We were both playing, I had a band and John had a band, we were_
We both had singles out.
Yeah, and we [E] had singles out, we were playing in a place called the Adelphi Ballroom in West Philadelphia.
The Masters and the_ Temptones.
Temptones.
Right.
And it was a street corner group, that's [N] basically four guys in suits, you know.
And _ I _ forget who was on, somebody was on, I think it was the Five Stairsteps.
Yeah.
One of us was slated to go on next, and somebody_
They had in West Philadelphia, they had high school fraternities, which were really just gangs with Greek letters on their backs, you know.
[F#] So somebody pulled out a dog chain and somebody pulled out a gun and it was shots and people screaming.
So we decided to [G#] leave quickly, and _ [C]
that's how we met.
Both of you.
_ [A] We landed in the [G] elevator together.
Was that a [A] relationship based on cowardice or something like that?
Based on good sense.
There you go.
And one [C] bound to survive.
You had a couple of quick hits, right?
You had She's Gone, you had Sarah Smile.
She's Gone and Rich [F#] Girl.
Yeah, and Rich Girl.
Then things went like this.
[C] What happened?
[N] Well, we were stuck in California.
Actually, the whole world was stuck in California in the late 70s, if you remember what the charts were like.
You know, Linda Ronstadt and the Eagles and all those people, and it was a very non-urban kind of sound.
And we were trying to keep our heads above water, and so part of doing that was to go where the musicians were,
which was California, you know, the producers were in California.
And we felt very uncomfortable with that, and I think it showed in the music.
So we said at one point, after a [G#] particularly dismal album experience, [N] why don't we just step out for a while and reform, regroup.
So we went back to playing clubs.
Did you think back in those days that this day would never come? _ _
[F#] We took it one day at a time.
We had a lot of faith.
[E] We were pretty much more concerned with not being known [B] for a sound that we didn't feel comfortable with and didn't feel, you know, it [G#] wasn't real.
You know, it just wasn't the music that was [D#] in our heads.
When people want you to be Logans and Messina?
Yeah.
Well, [E] you know, [A] around that era, that was sort of the sound that was happening.
[F#] And we just couldn't, you know, even though we had hits, as you said, you know, it wasn't, we didn't want to stand behind that and, you know, live with it for the rest of our careers or whatever.
You have to just make [A] music that you like and that pleases you and that you feel good about.
No, [D] _ _
_ no, [Bm] _ _ _ [E] _ _
_ no, [A] _ _ _ [D] _ _
_ _ _ [Bm] _ _ _ _ [E] _
_ _ _ _ [A] _ [Am] no, _ no.
The whole idea of commercial, [E] you know, success [N] and pop music having a sort of a negative stigma when it, you know, as it refers to art.
I think it's sort of a 60s kind of concept.
I don't think it's quite as valid anymore.
I don't think people are thinking about it.
They occasionally touch on it.
But I think that I think there's great music being made in [F#] pop, you know, pop music.
And the songs that are at the top of the charts, they're just they're [N] turning people on.
Don't you think most of the public generally puts in this corner, Barbra Streisand and Tony Bennett and Frank Sinatra.
And then over here they put Hall & Oates and Duran Duran and Motley Crue and they just kind of stick them all together.
To label things and put things in categories, it's impossible to deal with the giant amount of input that people, you know, that's around.
And there's so much music that if you didn't have categories, [F#] people would be totally confused.
And the whole thing would fall apart.
There's [N] enough music for everyone now.
Do you wish the market was more critical?
Would it be to your benefit if it was?
I wish the market was the market.
I wish this, you know, I hope and wish that the fans become more musically discerning.
Not so [C] much critical, but we have our own taste.
And, [Dm] you know, I don't know.
I think that the _ [G#] fans that we have seem to seem to be in sync with us.
And I guess that's all you can hope for.
[C] _
_ _ _ _ [Dm] _ _ _ _
_ [G#] _ _ _ _ As you as you become more [Cm] successful [N] commercially, _ do you gain greater freedom or you become more restricted?
You gain the freedom of being able to go with something because you already have people's ears.
And that's that's a great feeling.
You know, we don't have to constantly keep proving ourselves to people.
Everybody knows who we are, what we do.
And it's easier to take leaps that way.
But then at the same time, you become restricted by your history.
Let me change gears a little bit and move to your relationship. _
How many people still think you're lovers? _ _ _ _
Probably a [F#] lot of people.
Who knows?
That's the old story.
Who knows?
Who cares?
I don't know.
[N] It's a buggy.
_ It bugs me because it won't die.
You know, everyone everyone always assumes [F#] that if two guys are working together [D] for a long period of time and intense kind of working relationship, friendship, and they have an album cover with makeup [A] and they're in drag.
Yeah.
[D] Wait a minute.
Why did you do the album cover?
Oh, I don't know.
We [F#] were just a wild kind of guy.
You know, it was the times.
Yeah.
It was that mid 70s thing.
We were we were led astray by by the mind.
_ _ The fact that you've been together 16 years says something.
I think so.
_ Why do you think it's lasted so long?
Because it's not hard to do [F] for us.
[A#] It's I mean, for us to work together.
It's never [A] been any kind of hassle for us to work.
We've never had a real [E] fight.
And the upside is so good because we we get so [D#] much out of the relationship creatively.
So there would be no reason.
There's never been a reason for us to split [F] up. It's music.
_ It can go on [D] forever.
Yeah.
_ _ [Am] _
_ _ [G] _ _ [Am] _ _ [E] _ _
[F] _ _ _ _ _ [G] _ _ _
[Am] _ _ _ _ _ _ [Em] _ _
[F] _ _ [Dm] Oh, _ [G] _ _ _
[Am] _ _ [G] _ _ [Am] _ _ [E] this Thursday, the 4th of July Hall of Notes will have a grand finale to their concert tour.
They're going to play a benefit concert for the Statue of Liberty at Liberty State Park.
Tickets are only $5 and all the proceeds go to restore the statue.
And Hall of Notes will also present at that time a fireworks display at their own expense.
[N] There's also going to be involved in the live AIDS concert that's set for July 13th in Philadelphia.
_ Moving up on 844 now on this Tuesday morning.
When we come back, Jane