I returned to upstate NY where I just laid in bed for days with a fever that just wouldn't go away. After more of this, I grew increasingly sure that this was not simply the flu!

I returned to upstate NY where I just laid in bed for days with a fever that just wouldn't go away. After more of this, I grew increasingly sure that this was not simply the flu!

If you take a bunch of superstars and put them in a room where they don't have their assistants and entourage, it's funny to see what happens.

Chronic Lyme causes arthritis, heart problems, stroke - even death.

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.

All artists have insecurity.

Americans think that if you're popular, there must be something wrong with you.

Art is a continuum.

As I got older, my voice got better.

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.

Being at college, I think that's the time when you really start searching for things outside yourself.

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.

For years and years, I was beset with snide remarks by certain members of the press, where they would turn John Oates into a joke, or they would trivialize what I do, which never really bothered me all that much.

I always say the same thing - believe in what you do, do it, and don't veer away from the truth of it.

I definitely dislike pomposity and artifice. I hope that I'm not that. Once I write a song, it belongs to the world, and the way people perceive it, it's cool.

I do a project, and then I move on.

I don't like showboating. I was never a fan of showing off.

I don't really strain my voice.

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.

I had the idea of 'Live From Daryl's House' way before I contracted Lyme disease.

I have an English family and I've lived in England for years.

I have gone from one relationship to a marriage and stepchildren.

I have to say I have never been comfortable with somebody else telling me what to do - in any way.

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.

I love antique architecture, so if I have any indulgences, I have owned and renovated and reconstructed a lot of old houses.

I never felt entitled to anything. I'm the hardest worker I know.

I think Philadelphia has been underrated over the years as a musical region.

I think an artist's true worth comes through an inter-generational thing - when you go beyond your own time, and start influencing people in a greater way than just what surrounds you.

I wanted to show the world, and myself too, what I can do. I came up in the world of Philadelphia soul, but I'm fluent in a lot of languages musically and I like working with different people from different generations.

I was a pioneer in MTV and I was there from the very beginning. So I saw how that developed and how loose it was and how much fun it was in its looseness. And I was influenced a lot by that.

I was always an introvert as a kid. Then, when I first kind of came out as a human being, I used to be one of those guys who'd go nuts on the dance floor, and people would gather around.

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.

I was very inspired by my mother. She was a vocal teacher and sang in a band, and my first memories of her were going out with her on the local circuit.

I'd like to see more crossover between white and black music. That's something I've been advocating for years.

I'm a born collaborator. This is what I was born to do, really.

I'm always interested in what fans think.

I'm constantly on my toes and re-examining my own music.

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.

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.

I'm not a big fan of any video, especially my own. In a word, I hated the Hall & Oates videos.

I'm quite an eclectic musician.

I'm used to the egos in the 1960s, '70s and '80s where people just expected massive success and thought it was their birth right to be successful.

I'm very enthused about everything. I have a lot to say and a lot of things I'm interested in.

I've always been a spontaneous singer. And all the stuff that you hear on the end of the songs, what they call the ad libs - that just comes out of my head. That's not thought out at all. I have the verses and the choruses, and then after that it's total improvisation.

I've been traveling around the world forever.

I've been watching RFD-TV for a few years. As a person who lives mostly in the country, I appreciate a network that shows the many facets of rural life.

I've got a sense of humor. I'm a funny guy.

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.

If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?