I became aware of Hall & Oates in the mid Seventies when a close friend, Dave "Smith" Seaton, got into them and bought their early albums. I wasn't entirely convinced by this soft soul stuff as I was mostly into heavier stuff such as Zeppelin, Hawkwind, Zappa, Beefheart, etc. But I did fall in love with Bigger Than Both of Us (1976), and that album became a part of my collection, and I did buy it as a gift for others, so convinced was I that anyone would fall in love with it. I got Beauty on a Back Street (1977), but was very disappointed, and I'm not sure if I explored other albums, especially as I didn't like the singles I was hearing, especially as they got into their commercial phase in the Eighties.
Both of them write and sing lead vocals. They mostly, like the Beatles, sing lead on their own songs. Hall, the blond haired one, writes fractionally more than Oates, and consequently is the main singer.
As of Dec 2023, the boys are in a legal dispute as Oates wishes to sell his share of their partnership, which Hall disagrees with.
Hall & Oates are an American pop rock duo formed in 1970 in Philadelphia. Daryl Hall is generally the lead vocalist; John Oates primarily plays electric guitar and provides backing vocals. The two write most of the songs they perform, separately or in collaboration. They achieved their greatest fame from the mid-1970s to the mid-1980s with a fusion of rock and roll and rhythm and blues.[1]
Credited as Daryl Hall & John Oates (or Daryl Hall John Oates) on all of their US releases, the duo reached the US Top 40 with 29 of their 33 singles charting on Billboard's Hot 100 between 1974 and 1991. Six of these peaked at number one: "Rich Girl" (1977), "Kiss on My List" (1980), the two 1981 releases "Private Eyes", and "I Can't Go for That (No Can Do)" (also a Hot Soul no. 1), "Maneater" (1982) and "Out of Touch" (1984). Their overall 16 US Top Tens also include "She's Gone", "Sara Smile", "You Make My Dreams", "Family Man", "Say It Isn't So", and "Method of Modern Love". Seven of their albums have been RIAA-certified platinum and six of them gold.[2] In the United Kingdom, they have achieved success with two Top Ten albums and six Top 40 singles, two of which – "I Can't Go for That (No Can Do)" and "Maneater" – reached the Top Ten. The duo have spent 120 weeks in the UK Top 75 albums chart and 84 weeks in the UK Top 75 singles chart.[3]
While employing a wide variety of session musicians on their recordings, they did have a long working relationship with several musicians who appeared on many of their works and have toured with them. They include guitarist G.E. Smith, bassist Tom "T-Bone" Wolk, and multi-instrumentalist Charles DeChant. In addition, they collaborated with sisters Sara Allen and Janna Allen on songwriting and composing.
In 2003, Hall & Oates were inducted into the Songwriters Hall of Fame. In August 2018, in a 60th-anniversary celebration of Billboard's Hot 100, the duo ranked 18 in a list of the top Hot 100 artists of all time and six in a list of the Hot 100's top duos/groups. They remain the most successful duo, ahead of the Carpenters, the Everly Brothers, and Simon & Garfunkel.[4] In September 2010, VH1 placed the duo at no. 99 in their list of the 100 greatest artists of all time. In April 2014, they were inducted into the Rock and Roll Hall of Fame,[5] and on September 2, 2016 they received a star on the Hollywood Walk of Fame.[6]
From their first hit in 1974 through their heyday in the '80s, Daryl Hall and John Oates' smooth, catchy take on Philly soul brought them enormous commercial success -- including six number one singles and six platinum albums. Hall & Oates' music was remarkably well constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them, incorporating elements of new wave and hard rock.
Recordings
 |
| Past Times Behind (1976) |
A compilation of demo tracks recorded in 1971 and 1972 by Hall, and by Hall & Oates. Released in 1976 when the band were starting to get some traction after the success of "Sara Smile". The songs and production are whimsical and weak, leaning mostly on a mainstream folk/country pop style. Its release in 1976 might have hurt their reputation if people had bought it, but there's no record of it being successful. It's a curiosity rather than anything interesting or worth listening to. There are signs here of what they would become, but other than that, despite it being harmless and listenable, its one to give a miss.
Daryl Hall With Gulliver – A Lot Of Changes Comin' 3:16
Daryl Hall & John Oates– In Honor Of A Lady 2:22
Daryl Hall & John Oates– Deep River Blues 2:39
Daryl Hall With Gulliver – The Reason Why 3:07
Daryl Hall & John Oates– If That's What Makes You Happy 2:50
Daryl Hall– The Provider 2:42
Daryl Hall & John Oates– They Need Each Other 3:40
Daryl Hall– Angelina 2:41
Daryl Hall & John Oates– I'll Be By 3:04
Daryl Hall & John Oates– Perkiomen 2:37
Daryl Hall & John Oates– Past Times Behind 3:06
Wikipedia
AllMusic:
Score: 3
The debut album. It didn't sell, and the boys regard their next album, Abandoned Luncheonette, as their first proper album. It's actually a decent album, with the boys trademark Seventies combination of folk and soul.
Wikipedia
AllMusic: 6
This is a beautiful album. Side one is pretty perfect pop soul - smooth, melodic, professional, and with lyrics that touch the emotions. Side two has a different, somewhat harsher, naked, sound. Less smooth and sweet, but more musically ambitious and interesting. Side one can be played and enjoyed as beautiful pop soul that simply works in a seemingly effortless manner; while Side two is less immediately engaging, certainly not smooth, not easy melodic pop or soul, but is more interesting and perhaps more thoughtful. Though a beautiful album, it didn't sell well until after the boys changed labels and started to have some success with the singles "Sara Smile" and "Rich Girl", and Atlantic rereleased "She's Gone" so people came to the album fresh in 1976.
American Songwriter on 40 year anniversary; UltimateClassicRock article; HuffPost article on the cover; DinerHotLine article on the diner;
Changing producers to Todd Rundgren, who also plays on the album, this sounds curiously more like a Todd Rundgren album than a Hall & Oates one. Additionally "Is It A Star" sounds a little bit like Fleetwood Mac's minor hit "Hypnotised" which had been released the year before. There's also elements similar to Bat Out Of Hell, which would be produced by Rundgren over the next two years.
Working again with Chris Bond who had been a session musician and uncredited production assistant on Abandoned Luncheonette, and on a new label (RCA), and with a ludicrous album cover that they were talked into doing as glam rock androgyny was "in", the boys at last make their breakthrough via the hit single "Sara Smile". This is not one of my favourite Hall & Oates albums - it sounds a little dry, flat and workman like, as though they are going through the motions rather than really getting into the groove. I'd say it was like Side two of Abandoned Luncheonette, except that it isn't quite as interesting or ambitious as that. This feels way too empty. "Nothing At All" is pleasant enough, and approaches what they were doing on Abandoned Luncheonette, but - other than the "Sara Smile" hit, this is a weak album, and only sold due to the success of "Sara Smile". I like "Sara Smile", but it's too leaden and obvious to me compared the warmth, lightness and spirit of the songs recorded on Abandoned Luncheonette.
For me, the boys are back again at their strength with this album. It's nowhere near as perfect as Abandoned Luncheonette, but it's in the same area, and the opening words "Back together again" seems more than appropriate. "Rich Girl" is as good as anything on Luncheonette, and "Do Want You Want..." is not far behind. Essentially this is a handful of decent songs, and a bunch of acceptable filler. Overall, more appealing and accessible than War Babies, though more uneven and less interesting.
A bland commercial American MOR rock album without the ambition of the War Babies songs, or the skills of Rundgren as a producer and lead guitarist. An otherwise attractive song like "Why Do Lovers..." is reduced to bland commercialism by the lack of ambition and production skill.
Wikipedia
AllMusic: 4
Score: 4
This has got a surprising 80s feel for a 1978 album. It plods along in an easy-listening FM radio style. "It's A Laugh" was a single, reached No 20. Pop rock with some soul. They are moving toward their commercial niche. Not my thing - it feels all too smooth, bland, artificial, commercial. I should imagine that the artists involved were all somewhat satisfied with the songs they made, but not excited or proud. "It's a Laugh" is the only song they continued to play live, and even that, not much. It's a harmless album rather than a decent album.
Opens with a Supertramp sound, then goes into a Buggles sound. "Wait For Me" was the hit, and became a staple of live performances. Only three other songs from the album were played live, and very briefly. A kind of synthesized album, so far divorced from their soul/folk beginnings that they sound a different band. Very 80s. There are elements of Hi-NRG sound, so at times the album sounds like a Stock Aitken Waterman offcut - indeed, a bit of Kylie now and again wouldn't go amiss; might even be a pleasure.
There's an oddly 90s-era Bruce Springsteen sound here, but anyway, right from the start this album feels more assured than their previous three studio albums, and more like what Hall & Oates could be with its blend of heartland rock, American folk, and modern soul with a touch of 80s synthpop. It's a little superficial for my taste, but it is done with verve and some professionalism. "Kiss On My Lips" was a No1 hit, and was one of four top 30 hits from the album. "Kiss..." and "You Make My Dreams" are popular live numbers. The covers on Side two sound weird to me - indeed, the whole of Side two sounds weird - hard to believe this is Hall & Oates.
I know "Everytime..." from the Paul Young cover, so even though this is the original, it sounds like a cover! This was the start of a commercial peak for the boys; but, on the whole, not my thing. I suspect that most people will be divided between the Abandoned Luncheonette style Hall & Oates, and the Voices style Hall & Oates. I doubt if many people would love both equally.
The big album. Very assured. Very smooth. Balancing the boy's instinctive music feel with smooth commercialism. This takes us back to Abandoned Luncheonette with the well crafted songs, and the soulful feel and the pop harmonies. Sara Allen, the Sara in three of the boy's best songs, contributes writing duties in 7 of the album's 11 tracks.
Solid, big 80s style production. The best songs are highly likeable. Pure top level pop. "Looking For a Good Sign" is not up to the strength of the boy's best, however it's quite acceptable and listenable. Sadly, "Mano a Mano" is a piece of irritating filler. Side two is not quite as strong as Side one (and all the songs remain largely unplayed live), though it is largely acceptable, with "Unguarded Minute" standing out. On the whole the bulk of the album does not really match the craftsmanship, soul, and sophistication of the two No 1 singles - "Private Eyes" and "I Can't Go For That", but is solid enough.
Contains their biggest hit, "Maneater", as well as the top ten hits "One on One" and "Family Man". "Maneater" is one of those songs which shows the influence of Motown on the boys - this time the influence is "You Can't Hurry Love" by Holland-Dozier-Holland, first made a hit by The Supremes. The album, though, is more filler than killer, and underlines the reality that, other than their albums from 1973 to 1976, they are a singles band.
Another of the boys' big selling 80s albums. Not quite as big as H2O, but still a platinum seller. As with the other big selling 80s album, sales were driven by chart hitting singles - in this case "Out of Touch" was the international No 1, with (somewhat inexplicably) "Method of Modern Love" and "Some Things Are Better Left Unsaid" also reaching the Top 20 in several countries. This is not for me. Big empty 80s production with thumping drums forward in the mix, meaningless slick electric guitar bursts, and a full production sound with every space filled with noise. It'll play away harmlessly in the background and never touch your soul or your imagination or your admiration. There's a lack of genuine ideas here, and for certain a lack of human touch and those beautiful melodies the boys are so capable of. "Going Thru the Motions" seems to be an unconscious summary of what is happening.
The 12inch remixes are crude and instead of enhancing or enriching, tend to heavily layer with sound effects rather than melodies, and confuse and distort what was pleasant about the originals into something somewhat trivial and tedious.
The first side is a series of soul covers done with genuine affection, and is very likeable in a modest tribute act way. It would have been good to have been there. It feels warm. And the warmth and intimacy remains when the boys move on to their own songs.
This is a likeable album, and a decent record of what appears to have been a warm and intimate evening.
A noisy pop-rock album. Going through the motions without any real feel. This could be anybody.
Wooden and dated in places- crude 80s style empty production: simple plodding drums up front, empty, echoing sound, waves of synths, a lack of touch and melody. Having several guest producers adds to the disconnected feel. When the songs are produced by the boys themselves (assisted by bassist Wolk) there is a warm, intimate feel. Patchy album, but likeable in parts. Hmm, the more I play this, the more I like it. And I even like the Dave Stewart (Euthymics) produced track, "Heavy Rain". There's warm, soul, gentle melodies, gentle lyrics, soul and romance in this album. Not so much as in their creative peak at the start of their career, but more than was present during most of the brash, commercial 80s. I think this album has been sadly ignored - it deserves more respect. It ends with a sparser version of the opening song, "So Close", without the crude production and interference from Jon Fucking Bon Jovi (FFS). This version is beautiful, and is a reminder of what the boys can do if they followed their instincts.
Their first album together for seven years. It was released under their own, short-lived, record label Push Records and sold poorly. It was unavailable for some years until the boys re-released it in 2022. It's a quiet, understated album, though opens with some painful electric guitar screaming. It passes by pleasantly though doesn't hold the attention.
Six years since their previous album indicates that the boys are not brimming with ideas, energy or enthusiasm. However, it's a decent sounding album more in line with their classic blue-eyed soul period than the commercial pop period.
The Do It For Love "comeback" album was a modest critical and commercial success, so the boys quickly followed up with this clear cash in. Only three original tracks, the rest are so-so covers of various soul songs. Not quite the album that it could be, it's a quiet, throwaway album of clean, almost insipid Sunday afternoon soul that few people are really going to engage with. The best song is the live version of "Me and Mrs Jones" which appears as the last track on some releases.
This is the last album the boys have released. It's not good.
Wikipedia
Whole Oats (1972)
Abandoned Luncheonette (1973)
War Babies (1974)
Daryl Hall & John Oates (1975)
Bigger Than Both of Us (1976)
Beauty on a Back Street (1977)
Along the Red Ledge (1978)
X-Static (1979)
Voices (1980)
Private Eyes (1981)
H2O (1982)
Big Bam Boom (1984)
Ooh Yeah! (1988)
Change of Season (1990)
Marigold Sky (1997)
Do It for Love (2003)
Our Kind of Soul (2004)
Home for Christmas (2006)
Abandoned Luncheonette (1973)
H2O (1982)
Private Eyes (1981)
Voices (1980)
Rock 'N' Soul Part One (1983)
Big Bag Boom (1984)
"Las Vegas Turnaround (The Stewardess Song)"
"She's Gone"
"I Can't Go for That (No Can Do)"
"Goodnight And Goodmorning"
"Angelina"
"Abandoned Luncheonette"
"Maneater"
"When The Morning Comes"
"Past Times Behind"
"Kiss On My List"
"Had I Known You Better Then"
"Out of Touch"
"Sara Smile"
"Private Eyes"
"Rich Girl"
"One on One"
"Method of Modern Love"
"Do What You Want, Be What You Are"
"Did It in a Minute"
"Say It Isn't So"
 |
| Whole Oats (1972) |
The debut album. It didn't sell, and the boys regard their next album, Abandoned Luncheonette, as their first proper album. It's actually a decent album, with the boys trademark Seventies combination of folk and soul.
| Released | November 12, 1972 |
|---|---|
| Recorded | 1972 |
| Studio | Atlantic Recording Studios, New York, New York |
| Genre | Soft rock, Philadelphia soul |
| Length | 38:08 |
| Label | Atlantic |
| Producer | Arif Mardin |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "I'm Sorry" | Daryl Hall, John Oates | 3:06 |
| 2. | "All Our Love" | Hall, Oates | 2:41 |
| 3. | "Georgie" | Hall | 2:42 |
| 4. | "Fall in Philadelphia" | Hall | 3:58 |
| 5. | "Waterwheel" | Hall | 3:52 |
| 6. | "Lazyman" | Hall | 3:15 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 7. | "Goodnight and Goodmorning" | Hall, Oates | 3:18 |
| 8. | "They Needed Each Other" | Hall | 3:59 |
| 9. | "Southeast City Window" | Oates | 2:31 |
| 10. | "Thank You For..." | Oates | 4:36 |
| 11. | "Lilly (Are You Happy)" | Hall, Oates | 4:10 |
- Daryl Hall – vocals, keyboards, synthesizer, guitar, mandolin, vibraphone, arrangements, cello and arrangements on "Southeast City Window"
- John Oates – guitars, vocals, arrangements
- Bill Keith – pedal steel on "All Our Love" and "Southeast City Window"
- Jim Helmer – drums, percussion
- Arif Mardin – horn and string arrangements
- Mike McCarthy – bass
- Jerry Ricks – guitar on "Southeast City Window"
Wikipedia
AllMusic: 6
Score: 5
 |
| Abandoned Luncheonette (1973) |
This is a beautiful album. Side one is pretty perfect pop soul - smooth, melodic, professional, and with lyrics that touch the emotions. Side two has a different, somewhat harsher, naked, sound. Less smooth and sweet, but more musically ambitious and interesting. Side one can be played and enjoyed as beautiful pop soul that simply works in a seemingly effortless manner; while Side two is less immediately engaging, certainly not smooth, not easy melodic pop or soul, but is more interesting and perhaps more thoughtful. Though a beautiful album, it didn't sell well until after the boys changed labels and started to have some success with the singles "Sara Smile" and "Rich Girl", and Atlantic rereleased "She's Gone" so people came to the album fresh in 1976.
American Songwriter on 40 year anniversary; UltimateClassicRock article; HuffPost article on the cover; DinerHotLine article on the diner;
| Released | November 3, 1973 |
|---|---|
| Recorded | 1973 |
| Genre | Soft rock, blue-eyed soul, folk rock |
| Length | 36:54 |
| Label | Atlantic |
| Producer | Arif Mardin |
| No. | Title | Writer(s) | Lead vocals | Length |
|---|---|---|---|---|
| 1. | "When the Morning Comes" (26) | Daryl Hall | Hall | 3:12 |
| 2. | "Had I Known You Better Then" (5) | John Oates | Oates | 3:22 |
| 3. | "Las Vegas Turnaround (The Stewardess Song)" (220) | Oates | Hall and Oates | 2:58 |
| 4. | "She’s Gone" (644) | Hall, Oates | Hall and Oates | 5:12 |
| 5. | "I'm Just a Kid (Don't Make Me Feel Like a Man)" (34) | Oates | Oates | 3:20 |
| No. | Title | Writer(s) | Lead vocals | Length |
|---|---|---|---|---|
| 6. | "Abandoned Luncheonette" (47) | Hall | Hall | 3:55 |
| 7. | "Lady Rain" (20) | Hall, Oates | Hall and Oates | 4:26 |
| 8. | "Laughing Boy" (15) | Hall | Hall | 3:30 |
| 9. | "Everytime I Look At You" (3) | Hall | Hall | 7:02 |
- Daryl Hall – lead vocals (1, 3, 4, 6-9), backing vocals (all tracks), mandolin (1, 7), electric piano (2-5), acoustic piano (6, 8), keyboards (9)
- John Oates – acoustic guitar (1-3, 5, 7, 9), backing vocals (all but 8), lead vocals (2-5, 7), electric guitar (4, 9)
- Chris Bond - Mellotron (1, 4, 9), electric guitar (2, 4, 5, 9), acoustic guitar (3), synthesizer (4, 9), backing vocals (6)
- Various session musicians
AllMusic: 10
Score: 9
 |
| War Babies (1974) |
Changing producers to Todd Rundgren, who also plays on the album, this sounds curiously more like a Todd Rundgren album than a Hall & Oates one. Additionally "Is It A Star" sounds a little bit like Fleetwood Mac's minor hit "Hypnotised" which had been released the year before. There's also elements similar to Bat Out Of Hell, which would be produced by Rundgren over the next two years.
It's an energetic, rocky album, full of Rundgren's screaming electric guitar. I like Rundgren and I like Hall & Oates, so I like this, but for me it's not the best Rundgren nor the best Hall & Oates, and I don't think they work well together. An interesting, worthy album, but not a favourite.
| Released | October 1974 |
|---|---|
| Recorded | June – July 1974 |
| Studio | Secret Sound Studios, New York |
| Genre | Rock, hard rock |
| Length | 43:25 |
| Label | Atlantic |
| Producer | Todd Rundgren |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Can't Stop the Music (He Played It Much Too Long)" (15) | John Oates | 2:50 |
| 2. | "Is It a Star" (162) | Daryl Hall, Oates | 4:41 |
| 3. | "Beanie G and the Rose Tattoo" (10) | Hall | 3:01 |
| 4. | "You're Much Too Soon" (16) | Hall | 4:08 |
| 5. | "70's Scenario" (0) | Hall | 4:00 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "War Baby Son of Zorro" (1) | Hall | 4:10 |
| 7. | "I'm Watching You (A Mutant Romance)" (0) | Hall | 4:27 |
| 8. | "Better Watch Your Back" (10) | Hall | 4:15 |
| 9. | "Screaming Through December" (0) | Hall | 6:35 |
| 10. | "Johnny Gore and the "C" Eaters" (9) | Hall, Oates | 5:18 |
- Daryl Hall – lead vocals (3-10), backing vocals, keyboards, synthesizers, guitars, mandolin, vibraphone
- John Oates – backing vocals, lead vocals (1, 2), keyboards, synthesizers, guitars
- Todd Rundgren – lead guitar, backing vocals
- Various musicians
 |
| Daryl Hall & John Oates (1975) |
Working again with Chris Bond who had been a session musician and uncredited production assistant on Abandoned Luncheonette, and on a new label (RCA), and with a ludicrous album cover that they were talked into doing as glam rock androgyny was "in", the boys at last make their breakthrough via the hit single "Sara Smile". This is not one of my favourite Hall & Oates albums - it sounds a little dry, flat and workman like, as though they are going through the motions rather than really getting into the groove. I'd say it was like Side two of Abandoned Luncheonette, except that it isn't quite as interesting or ambitious as that. This feels way too empty. "Nothing At All" is pleasant enough, and approaches what they were doing on Abandoned Luncheonette, but - other than the "Sara Smile" hit, this is a weak album, and only sold due to the success of "Sara Smile". I like "Sara Smile", but it's too leaden and obvious to me compared the warmth, lightness and spirit of the songs recorded on Abandoned Luncheonette.
| Released | August 18, 1975 |
|---|---|
| Recorded | 1975 |
| Studio | Larrabee (West Hollywood), Western Recorders (Hollywood) |
| Genre | Pop rock, blue-eyed soul |
| Length | 35:20, 42:03 (reissue) |
| Label | RCA |
| Producer | Daryl Hall, John Oates, Christopher Bond |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Camellia" (25) | John Oates | 2:48 |
| 2. | "Sara Smile" (671) | Daryl Hall, Oates | 3:07 |
| 3. | "Alone Too Long" (25) | Oates | 3:21 |
| 4. | "Out of Me, Out of You" (0) | Hall, Oates | 3:28 |
| 5. | "Nothing at All" (0) | Hall, Sara Allen | 4:24 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Gino (The Manager)" (25) | Hall, Oates | 4:10 |
| 7. | "(You Know) It Doesn't Matter Anymore" (4) | Hall, Sara Allen | 3:07 |
| 8. | "Ennui on the Mountain" (20) | Hall, Oates | 3:15 |
| 9. | "Grounds for Separation" (2) | Hall | 4:12 |
| 10. | "Soldering" (0) | Ewart Beckford, Alvin Ranglin | 3:24 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 11. | "What's Important to Me (Demo)" (0) | Hall | 3:46 |
| 12. | "Ice (Demo)" (0) | Oates | 2:57 |
(times played live in brackets)
- Daryl Hall – lead vocals (2, 4-10, 11), backing vocals, electric piano
- John Oates – backing vocals, lead vocals (1, 3, 10, 12), guitars
- Christopher Bond – synthesizers, Hammond organ, guitars, horn and string arrangements, backing vocals
- Various session musicians
 |
| Bigger Than Both of Us (1976) |
For me, the boys are back again at their strength with this album. It's nowhere near as perfect as Abandoned Luncheonette, but it's in the same area, and the opening words "Back together again" seems more than appropriate. "Rich Girl" is as good as anything on Luncheonette, and "Do Want You Want..." is not far behind. Essentially this is a handful of decent songs, and a bunch of acceptable filler. Overall, more appealing and accessible than War Babies, though more uneven and less interesting.
| Released | September 8, 1976 |
|---|---|
| Genre | |
| Length | 34:51 |
| Label | RCA Victor |
| Producer | Christopher Bond |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Back Together Again" (104) | John Oates | 3:25 |
| 2. | "Rich Girl" (627) | Daryl Hall | 2:24 |
| 3. | "Crazy Eyes" (5) | Oates | 3:03 |
| 4. | "Do What You Want, Be What You Are" (173) | Hall, Oates | 4:33 |
| 5. | "Kerry" (0) | Stephen Dees, Hall | 3:50 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "London Luck & Love" (3) | Sara Allen, Hall, Oates | 3:01 |
| 7. | "Room to Breathe" (52) | Allen, Hall | 4:13 |
| 8. | "You'll Never Learn" (0) | Hall, Oates | 4:14 |
| 9. | "Falling" (10) | Hall | 6:12 |
- Daryl Hall – lead vocals (except tracks 1, 3 and 8), backing vocals, keyboards, mandola, synthesizer, arrangements
- John Oates – lead vocals on tracks 1, 3 and 8, backing vocals, rhythm guitars, harmonica, arrangements
- Christopher Bond – lead guitars, keyboards, synthesizer, arrangements, string and horn arrangements
- Various session musicians
AllMusic: 5 (reviews of Hall & Oates on AllMusic are sparse, and the scores are all over the place)
Score: 5 1/2
 |
| Beauty on a Back Street (1977) |
A bland commercial American MOR rock album without the ambition of the War Babies songs, or the skills of Rundgren as a producer and lead guitarist. An otherwise attractive song like "Why Do Lovers..." is reduced to bland commercialism by the lack of ambition and production skill.
The boys have hardly played any of the songs in concert.
| Released | September 1977 |
|---|---|
| Recorded | April 1977 |
| Genre | Pop, rock |
| Length | 36:34 |
| Label | RCA |
| Producer | Christopher Bond |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Don't Change" (11) | Daryl Hall, John Oates, Sara Allen | 3:37 |
| 2. | "Why Do Lovers Break Each Other's Heart?" (3) | Hall, Allen | 3:16 |
| 3. | "You Must Be Good for Something" (10) | Hall, Oates | 3:32 |
| 4. | "The Emptyness" (17) | Oates | 3:35 |
| 5. | "Love Hurts (Love Heals)" (1) | Oates | 3:11 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Bigger Than Both of Us" (0) | Hall, Oates | 4:31 |
| 7. | "Bad Habits and Infections" (13) | Hall | 6:03 |
| 8. | "Winged Bull" (9) | Hall | 4:39 |
| 9. | "The Girl Who Used to Be" (0) | Oates | 4:10 |
- Daryl Hall – lead vocals (1, 2, 3, 6, 7, 8), backing vocals, keyboards, Polymoog synthesizer, guitars, mandolins
- John Oates – lead vocals (4, 5, 9), backing vocals, rhythm guitars, mando-guitar, electric piano (4), dulcimer (4)
- Christopher Bond – backing vocals (2, 3, 4, 8, 9); keyboards, synthesizers, tonalities, lead 6-string and 12-string guitars (8, 9); arrangements, string arrangements and conductor
- Various session musicians
 |
| Livetime (1978) |
A workmanlike live album, no better or worse than any other band's live album. It sounds pretty much like the rest of their late 70s studio work, and is some distance from the quality feel of Abandoned Luncheonette. Essentially, if you like the studio albums before and after this, then you'll like this. Indeed, some may even like it more, as the band and the boys seem looser, more relaxed, and having more fun here than they do in the studio.
| Released | May 16, 1978 |
|---|---|
| Recorded | December 8, 1977 |
| Venue | Hersheypark Arena, Hershey, PA, U.S.A[1] |
| Genre | Pop, rock |
| Length | 38:50 |
| Label | RCA Records |
| Producer | Mark Pines, Bernard Yervanian |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Rich Girl" (Bigger...) | Hall | 3:36 |
| 2. | "The Emptyness" (Beauty...) | Oates | 3:47 |
| 3. | "Do What You Want, Be What You Are" (Bigger...) | Hall, Oates | 6:56 |
| 4. | "I'm Just a Kid (Don't Make Me Feel Like a Man)" (Lunch..) | Oates | 5:29 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 5. | "Sara Smile" (Hall...) | Hall, Oates | 8:01 |
| 6. | "Abandoned Luncheonette" (Lunch...) | Hall | 6:08 |
| 7. | "Room to Breathe" (Bigger...) | Sara Allen, Hall | 4:47 |
- Daryl Hall – vocals, keyboards
- John Oates – vocals, guitar
- Caleb Quaye – lead guitar
- Kenny Passarelli – bass
- Roger Pope – drums
- Charles DeChant – saxophone, keyboards, percussion, background vocals
- David Kent – keyboards, background vocals
Wikipedia
AllMusic: 4
Score: 4
 |
| Along the Red Ledge (1978) |
This has got a surprising 80s feel for a 1978 album. It plods along in an easy-listening FM radio style. "It's A Laugh" was a single, reached No 20. Pop rock with some soul. They are moving toward their commercial niche. Not my thing - it feels all too smooth, bland, artificial, commercial. I should imagine that the artists involved were all somewhat satisfied with the songs they made, but not excited or proud. "It's a Laugh" is the only song they continued to play live, and even that, not much. It's a harmless album rather than a decent album.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "It's a Laugh" (85) | Daryl Hall | 3:50 |
| 2. | "Melody for a Memory" (5) | John Oates | 4:54 |
| 3. | "The Last Time" (1) | Hall | 2:53 |
| 4. | "I Don't Wanna Lose You" (7) | Hall, Oates | 3:49 |
| 5. | "Have I Been Away Too Long" (0) | Hall | 4:24 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Alley Katz" (6) | Hall, Oates | 3:05 |
| 7. | "Don't Blame It on Love" (19) | Hall, Oates | 3:58 |
| 8. | "Serious Music" (18) | George Bitzer, Oates | 4:10 |
| 9. | "Pleasure Beach" (16) | Oates | 3:13 |
| 10. | "August Day" (7) | Sara Allen, Hall | 3:06 |
- Daryl Hall – lead vocals (1-7, 10), backing vocals, keyboards, percussion
- John Oates – rhythm guitars, backing vocals, lead vocals (2, 8, 9)
- David Kent – keyboards, synthesizers, backing vocals
- Caleb Quaye – lead guitars
- Kenny Passarelli – bass
- Roger Pope – drums
- Charles DeChant – saxophone
- Guests include:
- Steve Lukather – guitar
- Rick Nielsen – guitar
- Todd Rundgren – guitar
- Dick Wagner – guitar
- George Harrison – guitar (3)
- Robert Fripp – guitar (7)
 |
| X-Static (1979) |
Opens with a Supertramp sound, then goes into a Buggles sound. "Wait For Me" was the hit, and became a staple of live performances. Only three other songs from the album were played live, and very briefly. A kind of synthesized album, so far divorced from their soul/folk beginnings that they sound a different band. Very 80s. There are elements of Hi-NRG sound, so at times the album sounds like a Stock Aitken Waterman offcut - indeed, a bit of Kylie now and again wouldn't go amiss; might even be a pleasure.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "The Woman Comes and Goes" (13) | Daryl Hall | 3:49 |
| 2. | "Wait for Me" (219) | Hall | 4:08 |
| 3. | "Portable Radio" (0) | Hall, John Oates | 4:46 |
| 4. | "All You Want Is Heaven" (0) | Oates | 4:03 |
| 5. | "Who Said the World Was Fair" (0) | Hall, Sara Allen | 4:10 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Running from Paradise" (0) | Hall, Allen | 6:38 |
| 7. | "Number One" (0) | Hall | 3:46 |
| 8. | "Bebop/Drop" (12) | Oates | 3:57 |
| 9. | "Hallofon" (0) | Hall | 1:21 |
| 10. | "Intravino" (16) | Hall, Oates, Allen | 3:35 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 11. | "Time's Up (Alone Tonight)" (0) | Hall, David Foster | 3:16 |
| 12. | "No Brain, No Pain" (1) | Hall, Allen | 2:53 |
- Daryl Hall – keyboards, synthesizers, vibraphone, mando-guitar, lead vocals (tracks 1-3, 5-7, 9-12), backing vocals
- John Oates – guitar, lead vocals (tracks 3, 4, 8), backing vocals
- G. E. Smith – lead guitar
- John Siegler – bass
- Jerry Marotta – drums
- Charles DeChant – saxophone
- Various session players
 |
Sacred Songs (March 1980) Daryl Hall solo with Robert Fripp |
Interesting album with Hall and Fripp working together. Fripp makes his sonic guitar presence felt on many tracks, such that it would feel more appropriate to call this a Hall & Fripp album rather than a Hall solo album. "Babs and Babs" is good example of a song that starts out Hall but finishes Fripp. They recorded the album in Autumn 1977 around the same time that Fripp was working with Bowie and Eno on "Heroes". But it took until March 1980 before it was released because RCA felt it might alienate fans of Hall & Oates and it was shelfed until RCA were pressured to release it. It's an interesting album, though not one that I feel compelled to listen to again. It opens with an oddly Chas & Dave sounding piece of piano boogie woogie. I assume the idea of opening the album with this song is to perhaps indicate that the album is a bit tongue in cheek, and not to be taken too seriously. The song is about writing songs, as is the next. The "Babs and Babs" starts odd, with a sort of Paul McCartney feel to both lyrics and music. Then enters a mundane guitar phase before going into a dreamy and beautiful piece of Frippery which is worth the price of entry until spoiled by Hall coming back in. The Frippery comes back at the end, but by now the song is so muddled that it is hard to save it. The Frippery then becomes a separate track, which it should always have been.
| Released | March 1980 |
|---|---|
| Recorded | August 1977 |
| Studio | The Hit Factory (New York, NY). |
| Genre | Art rock |
| Length | 46:31 (original) 52:01 (CD issue) |
| Label | RCA |
| Producer | Robert Fripp |
All songs written by Daryl Hall; except as noted.
- "Sacred Songs" – 3:14
- "Something in 4/4 Time" – 4:22
- "Babs and Babs" – 7:41
- "Urban Landscape" (Robert Fripp) – 2:29
- "NYCNY" (Fripp, Hall) – 4:33
- "The Farther Away I Am" – 2:52
- "Why Was It So Easy" – 5:27
- "Don't Leave Me Alone with Her" – 6:22
- "Survive" – 6:37
- "Without Tears" – 2:47
- Daryl Hall – vocals, keyboards, synthesizer
- Robert Fripp – guitar, Frippertronics
- Caleb Quaye – guitar
- Kenny Passarelli – bass guitar
- Roger Pope – drums
AllMusic: 9
Score: 5 1/2
 |
| Voices (1980) |
There's an oddly 90s-era Bruce Springsteen sound here, but anyway, right from the start this album feels more assured than their previous three studio albums, and more like what Hall & Oates could be with its blend of heartland rock, American folk, and modern soul with a touch of 80s synthpop. It's a little superficial for my taste, but it is done with verve and some professionalism. "Kiss On My Lips" was a No1 hit, and was one of four top 30 hits from the album. "Kiss..." and "You Make My Dreams" are popular live numbers. The covers on Side two sound weird to me - indeed, the whole of Side two sounds weird - hard to believe this is Hall & Oates.
I know "Everytime..." from the Paul Young cover, so even though this is the original, it sounds like a cover! This was the start of a commercial peak for the boys; but, on the whole, not my thing. I suspect that most people will be divided between the Abandoned Luncheonette style Hall & Oates, and the Voices style Hall & Oates. I doubt if many people would love both equally.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "How Does It Feel to Be Back" (131) | John Oates | 4:35 |
| 2. | "Big Kids" (4) |
| 3:40 |
| 3. | "United State" (19) |
| 3:08 |
| 4. | "Hard to Be in Love with You" (1) |
| 3:38 |
| 5. | "Kiss on My List" (535) |
| 4:25 |
| 6. | "Gotta Lotta Nerve (Perfect Perfect)" (10) |
| 3:37 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 7. | "You've Lost That Lovin' Feelin'" (2) | 4:37 | |
| 8. | "You Make My Dreams" (507) |
| 3:11 |
| 9. | "Everytime You Go Away" (86) | Hall | 5:23 |
| 10. | "Africa" (0) | Oates | 3:39 |
| 11. | "Diddy Doo Wop (I Hear the Voices)" (51) |
| 3:43 |
- Daryl Hall – lead vocals (2-9, 11), backing vocals, mando-guitar, keyboards, synthesizers (including ARP String Ensemble), vocoder, percussion
- John Oates – lead vocals (1, 4, 7, 10), backing vocals, 6-string and 12-string guitars, percussion, Roland CR-78 drum machine
- G. E. Smith – lead guitars
- John Siegler – bass
- Jerry Marotta – drums
- Chuck Burgi – drums, percussion
- Charles DeChant – saxophone
 |
| Private Eyes (1981) |
The big album. Very assured. Very smooth. Balancing the boy's instinctive music feel with smooth commercialism. This takes us back to Abandoned Luncheonette with the well crafted songs, and the soulful feel and the pop harmonies. Sara Allen, the Sara in three of the boy's best songs, contributes writing duties in 7 of the album's 11 tracks.
Solid, big 80s style production. The best songs are highly likeable. Pure top level pop. "Looking For a Good Sign" is not up to the strength of the boy's best, however it's quite acceptable and listenable. Sadly, "Mano a Mano" is a piece of irritating filler. Side two is not quite as strong as Side one (and all the songs remain largely unplayed live), though it is largely acceptable, with "Unguarded Minute" standing out. On the whole the bulk of the album does not really match the craftsmanship, soul, and sophistication of the two No 1 singles - "Private Eyes" and "I Can't Go For That", but is solid enough.
| Released | September 1, 1981 |
|---|---|
| Recorded | 1980–1981 |
| Studio | Electric Lady (New York City) |
| Genre | |
| Length | 47:47 |
| Label | RCA |
| Producer |
|
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Private Eyes" (460) |
| 3:39 |
| 2. | "Looking for a Good Sign" (0) | Hall | 3:57 |
| 3. | "I Can't Go for That (No Can Do)" (616) |
| 5:09 |
| 4. | "Mano a Mano" (17) | Oates | 3:56 |
| 5. | "Did It in a Minute" (120) |
| 3:39 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Head Above Water" (3) |
| 3:36 |
| 7. | "Tell Me What You Want" (0) |
| 3:51 |
| 8. | "Friday Let Me Down" (0) |
| 3:35 |
| 9. | "Unguarded Minute" (0) |
| 4:10 |
| 10. | "Your Imagination" (8) | Hall | 3:34 |
| 11. | "Some Men" (0) | Hall | 4:15 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 12. | "Your Imagination" (Disco Mix) | Hall | 5:41 |
| 13. | "I Can't Go for That (No Can Do)" (Extended Club Mix) |
| 6:04 |
 |
| H2O (1982) |
Contains their biggest hit, "Maneater", as well as the top ten hits "One on One" and "Family Man". "Maneater" is one of those songs which shows the influence of Motown on the boys - this time the influence is "You Can't Hurry Love" by Holland-Dozier-Holland, first made a hit by The Supremes. The album, though, is more filler than killer, and underlines the reality that, other than their albums from 1973 to 1976, they are a singles band.
| Released | October 4, 1982 |
|---|---|
| Recorded | 1981–1982 |
| Genre | |
| Length | 47:08 |
| Label | RCA |
| Producer |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Maneater" | Daryl Hall, John Oates, Sara Allen | 4:33 |
| 2. | "Crime Pays" | Hall, Oates, S. Allen | 4:31 |
| 3. | "Art of Heartbreak" | Hall, S. Allen, Janna Allen | 3:43 |
| 4. | "One on One" | Hall | 4:17 |
| 5. | "Open All Night" | Hall, S. Allen | 4:35 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Family Man" | Mike Oldfield, Tim Cross, Maggie Reilly, Rick Fenn, Mike Frye, Morris Pert | 3:25 |
| 7. | "Italian Girls" | Oates | 3:17 |
| 8. | "Guessing Games" | Hall, J. Allen | 3:15 |
| 9. | "Delayed Reaction" | Hall, Oates, S. Allen | 3:59 |
| 10. | "At Tension" | Oates | 6:16 |
| 11. | "Go Solo" | Hall | 4:35 |
- Daryl Hall – lead vocals (1-6, 8, 9, 11), backing vocals, keyboards, synthesizers, guitars
- John Oates – backing vocals, lead vocals (7, 10), 6-string and 12-string guitars, electric piano, Roland CR-78, Linn LM-1
- Larry Fast – synthesizer programming
- G.E. Smith – lead guitars
- Tom "T-Bone" Wolk – bass
- Mickey Curry – drums, percussion
- Charlie "Mr. Casual" DeChant – saxophone
 |
| Big Bam Boom (1984) |
Another of the boys' big selling 80s albums. Not quite as big as H2O, but still a platinum seller. As with the other big selling 80s album, sales were driven by chart hitting singles - in this case "Out of Touch" was the international No 1, with (somewhat inexplicably) "Method of Modern Love" and "Some Things Are Better Left Unsaid" also reaching the Top 20 in several countries. This is not for me. Big empty 80s production with thumping drums forward in the mix, meaningless slick electric guitar bursts, and a full production sound with every space filled with noise. It'll play away harmlessly in the background and never touch your soul or your imagination or your admiration. There's a lack of genuine ideas here, and for certain a lack of human touch and those beautiful melodies the boys are so capable of. "Going Thru the Motions" seems to be an unconscious summary of what is happening.
The 12inch remixes are crude and instead of enhancing or enriching, tend to heavily layer with sound effects rather than melodies, and confuse and distort what was pleasant about the originals into something somewhat trivial and tedious.
| Released | October 12, 1984 |
|---|---|
| Recorded | Summer 1984 |
| Studio | Electric Lady Studios[1] |
| Genre | |
| Length | 40:13 |
| Label | RCA |
| Producer |
|
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Dance on Your Knees" (25) | 1:25 | |
| 2. | "Out of Touch" (565) |
| 4:21 |
| 3. | "Method of Modern Love" (151) |
| 5:32 |
| 4. | "Bank on Your Love" (1) |
| 4:17 |
| 5. | "Some Things Are Better Left Unsaid" (21) | Hall | 5:27 |
| 6. | "Going Thru the Motions" (18) |
| 5:39 |
| 7. | "Cold Dark and Yesterday" (0) | Oates | 4:41 |
| 8. | "All American Girl" (0) |
| 4:28 |
| 9. | "Possession Obsession" (46) |
| 4:36 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 10. | "Out of Touch" (12" version) |
| 7:35 |
| 11. | "Method of Modern Love" (12" version) |
| 7:48 |
| 12. | "Possession Obsession" (12" version) |
| 6:28 |
| 13. | "Dance on Your Knees" (12" version) |
| 6:38 |
- Daryl Hall – lead vocals (2–6, 8), backing vocals, synthesizers, guitars, arrangements
- John Oates – lead vocals (7, 9), backing vocals, synthesizers, guitars, synth guitar, arrangements
- Robbie Kilgore – keyboards, synthesizer programming
- Wells Christy – Synclavier programming
- Clive Smith – Fairlight CMI
- Tom "T-Bone" Wolk – synthesizers, guitars, bass, arrangements
- G.E. Smith – lead guitars
- Mickey Curry – drums
- Jimmy Bralower – LinnDrum programming
- Bashiri Johnson – percussion, timbales
- Jay Burnett – additional percussion
- Charles DeChant – saxophone
- Coati Mundi – Spanish vocals
 |
| Live At The Apollo (1985) |
Playing live at the Apollo Theater in Harlem, where James Brown recorded his famous Live At The Apollo album (followed by numerous others before the boys in 1985) and with two of the singers from the Motown act The Temptations, this is the boys underlining their appreciation of soul and funk.
The first side is a series of soul covers done with genuine affection, and is very likeable in a modest tribute act way. It would have been good to have been there. It feels warm. And the warmth and intimacy remains when the boys move on to their own songs.
This is a likeable album, and a decent record of what appears to have been a warm and intimate evening.
| Released | September 1985 |
|---|---|
| Recorded | May 23, 1985 |
| Venue | Apollo Theater, NYC |
| Genre | |
| Length | 51:00 |
| Label | RCA Records |
| Producer |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Apollo Medley" ("Get Ready"/"Ain't Too Proud To Beg"/"The Way You Do the Things You Do"/"My Girl") |
| 12:49 |
| 2. | "When Something Is Wrong with My Baby" | 4:44 | |
| 3. | "Everytime You Go Away" | Daryl Hall | 7:07 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "I Can't Go for That (No Can Do)" |
| 7:58 |
| 2. | "One on One" | Hall | 5:50 |
| 3. | "Possession Obsession" |
| 5:54 |
| 4. | "Adult Education" |
| 6:34 |
- Daryl Hall - vocals, guitar, keyboards
- John Oates - vocals, guitar
- David Ruffin, Eddie Kendricks - vocals
- G.E. Smith - guitar
- Tom "T-Bone" Wolk - bass guitar, background vocals
- Mickey Curry - drums
- Charlie DeChant - saxophone, keyboards, background vocals
- Lenny Pickett - tenor saxophone
- Steve Elson - baritone saxophone
- Mac Gollehon, "Hollywood" Paul Litteral - trumpet
- Ray Anderson - trombone
- Michael Klvana, Robbie Kilgore - keyboards
- Wells Christy - keyboards, Synclavier
- Jimmy Maelen - percussion
AllMusic: 5
Score: 4 1/2
Score: 4 1/2
 |
| Ooh Yeah! (1988) |
A noisy pop-rock album. Going through the motions without any real feel. This could be anybody.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Downtown Life" (14) |
| 4:28 |
| 2. | "Everything Your Heart Desires" (38) | Hall | 5:00 |
| 3. | "I'm In Pieces" (1) |
| 4:50 |
| 4. | "Missed Opportunity" (13) |
| 4:47 |
| 5. | "Talking All Night" (11) |
| 4:34 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Rockability" (12) |
| 4:45 |
| 7. | "Rocket to God" (0) | Hall | 5:49 |
| 8. | "Soul Love" (0) |
| 4:25 |
| 9. | "Realove" (1) |
| 5:24 |
| 10. | "Keep on Pushin' Love" (9) | Oates | 5:18 |
- Daryl Hall – lead vocals, backing vocals, keyboards, electric guitars, synth bass, vibraphone
- John Oates – backing vocals, lead vocals on "Rockability" and "Keep on Pushin' Love", synthesizers, electric guitars, Linn 9000 programming
- Tom "T-Bone" Wolk – keyboards, accordion, guitars, bass guitar, synth bass, vibraphone
- Jeff Bova – synthesizer programming, sequencing
- Pat Buchanan – lead and rhythm guitars
- Tony Beard – drums
- Jimmy Bralower – drum programming, sequencing
- Sammy Merendino – drum programming, sequencing, timbales
- Sammy Figueroa – percussion
- Mark Rivera – saxophone
 |
| Change of Season (1990) |
Wooden and dated in places- crude 80s style empty production: simple plodding drums up front, empty, echoing sound, waves of synths, a lack of touch and melody. Having several guest producers adds to the disconnected feel. When the songs are produced by the boys themselves (assisted by bassist Wolk) there is a warm, intimate feel. Patchy album, but likeable in parts. Hmm, the more I play this, the more I like it. And I even like the Dave Stewart (Euthymics) produced track, "Heavy Rain". There's warm, soul, gentle melodies, gentle lyrics, soul and romance in this album. Not so much as in their creative peak at the start of their career, but more than was present during most of the brash, commercial 80s. I think this album has been sadly ignored - it deserves more respect. It ends with a sparser version of the opening song, "So Close", without the crude production and interference from Jon Fucking Bon Jovi (FFS). This version is beautiful, and is a reminder of what the boys can do if they followed their instincts.
| Released | October 1990 |
|---|---|
| Recorded | Summer 1989 - 1990 |
| Genre | Pop, rock |
| Length | 56:42 |
| Label | Arista |
| Producer | Daryl Hall, John Oates, Danny Kortchmar, Jon Bon Jovi, David Tyson, Dave Stewart, Tom "T-Bone" Wolk, Ric Wake |
Produced by Daryl Hall, John Oates and T-Bone Wolk, except where noted
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "So Close" | Daryl Hall, George Green, Jon Bon Jovi, Danny Kortchmar | Danny Kortchmar and Jon Bon Jovi | 4:40 |
| 2. | "Starting All Over Again" | Phillip Mitchell | 4:06 | |
| 3. | "Sometimes a Mind Changes" | Hall | 4:09 | |
| 4. | "Change of Season" | John Oates, Bobby Mayo | 5:43 | |
| 5. | "I Ain't Gonna Take It This Time" | Hall | 3:55 | |
| 6. | "Everywhere I Look" | Hall | 4:24 |
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 7. | "Give It Up (Old Habits)" | Terry Britten, Graham Lyle | Ric Wake | 4:02 |
| 8. | "Don't Hold Back Your Love" | Richard Page, Gerald O'Brien, David Tyson | David Tyson | 5:14 |
| 9. | "Halfway There" | Hall | 5:31 | |
| 10. | "Only Love" | Oates, Jo Cang | 4:37 | |
| 11. | "Heavy Rain" | David A. Stewart | David A. Stewart and Daryl Hall | 5:26 |
| 12. | "So Close (Unplugged version)" | Hall, Green | 4:54 |
- Daryl Hall – lead vocals (1-9, 11, 12), backing vocals, acoustic piano, synthesizers, electric guitar, acoustic guitar, mandolin, mandola, tambourine
- John Oates – backing vocals, lead vocals (2, 4, 10), electric guitar, acoustic guitar, bongos, clay drum
- Bob Mayo (Aka Bobby Mayo) – keyboards, Hammond B3 organ, backing vocals
- Mike Klvana – additional synthesizer programming
- Pete Moshay – programming, sequencing, tambourine
- Tom "T-Bone" Wolk – Wurlitzer electric piano, electric guitar, acoustic guitar, bass, percussion, tambourine, backing vocals
- Jimmy Rip – electric guitar, acoustic guitar
- Mike Braun – drums, percussion
- Jimmy Bralower – Akai MPC60 drum programming
- Charlie DeChant – saxophone
- Loads of additional musicians
 |
| Marigold Sky (1997) |
Their first album together for seven years. It was released under their own, short-lived, record label Push Records and sold poorly. It was unavailable for some years until the boys re-released it in 2022. It's a quiet, understated album, though opens with some painful electric guitar screaming. It passes by pleasantly though doesn't hold the attention.
| Released | September 17, 1997 |
|---|---|
| Genre | Pop, rock, soul |
| Length | 57:40 |
| Label | Push Records |
| Producer | Daryl Hall (also executive producer), John Oates, David Bellochio, Peter Moshay |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Romeo Is Bleeding" | Alan Gorrie, Daryl Hall | 5:05 |
| 2. | "Marigold Sky" | Hall, John Oates | 4:59 |
| 3. | "The Sky Is Falling" | Sara Allen, Gorrie, Hall | 4:42 |
| 4. | "Out of the Blue" | Hall | 4:22 |
| 5. | "Want To" | Allen, Gorrie, Hall, Tom "T-Bone" Wolk | 4:52 |
| 6. | "Love Out Loud" | S. Allen, Gorrie, Hall | 3:56 |
| 7. | "Throw the Roses Away" | Gorrie, Hall | 5:40 |
| 8. | "I Don't Think So" | S. Allen, David Bellochio, Gorrie, Hall | 4:05 |
| 9. | "Promise Ain't Enough" | Hall, Porter Howell, Dwayne O'Brien, Oates | 5:48 |
| 10. | "Time Won't Pass Me By" | Bellochio, Hall, Oates | 5:12 |
| 11. | "Hold on to Yourself" | Bellochio, Gorrie, Hall | 4:20 |
| 12. | "War of Words" | Joe Cang, Hall, Oates | 4:39 |
- Bonus tracks (2022 reissue)
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 13. | "Romeo Is Bleeding" (radio edit) | Gorrie, Hall | 3:25 |
| 14. | "Hold on to Yourself" (remix) | Bellochio, Gorrie, Hall | 4:19 |
| 15. | "The Sky Is Falling" (Hot Mix) | Allen, Gorrie, Hall | 4:11 |
- Daryl Hall – vocals, keyboards, acoustic guitar (1, 2, 5, 6, 8, 10, 11), electric guitar (4, 8, 10, 11), percussion programming (11)
- John Oates – vocals, electric guitar, acoustic guitar (2, 12)
- David Bellochio – keyboards, percussion programming, acoustic guitar (3, 4)
- Ken Sebesky – acoustic guitar (1), electric guitar (1, 3, 4, 9)
- David A. Stewart – electric guitar (1, 6)
- Paul Pesco – electric guitar (2, 5, 7, 10, 11, 12)
- Tom "T-Bone" Wolk – bass (2-4, 6-9, 12), electric guitar (3, 6, 8), acoustic guitar (5)
- Shawn Pelton – drums (1-10, 12), percussion (10)
 |
| Do It for Love (2003) |
Six years since their previous album indicates that the boys are not brimming with ideas, energy or enthusiasm. However, it's a decent sounding album more in line with their classic blue-eyed soul period than the commercial pop period.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Man on a Mission" | Daryl Hall, John Oates, Paul Barry, Steve Torch | 3:44 |
| 2. | "Do It for Love" | Hall, Oates, Billy Mann, Paul Pesco | 3:58 |
| 3. | "Someday We'll Know" (featuring Todd Rundgren) | Gregg Alexander, Danielle Brisebois, Debra Holland | 4:28 |
| 4. | "Forever for You" | Oates, Barry, Torch, Mark Taylor | 4:37 |
| 5. | "Life's Too Short" | Hall, Oates, Mann | 3:30 |
| 6. | "Getaway Car" | Gary Haase, Billy Mann | 3:49 |
| 7. | "Make You Stay" | Hall, Mann, Greg Fitzgerald, Tom Nichols | 3:41 |
| 8. | "Miss DJ" | Hall, Mann, Greg Fitzgerald, Tom Nichols | 3:49 |
| 9. | "(She) Got Me Bad" | Fitzgerald, Nichols | 3:16 |
| 10. | "Breath of Your Life" | Hall, Fitzgerald, Nichols | 3:55 |
| 11. | "Intuition" | Barry, Mann, Taylor | 4:10 |
| 12. | "Heartbreak Time" | Oates, Barry, Taylor, Torch | 4:06 |
| 13. | "Something About You" | Hall, Sara Allen, David Bellochio | 4:02 |
| 14. | "Love in a Dangerous Time" | Oates, Arthur Baker, Tom Farragher | 4:56 |
Various musicians help out, including Todd Rundgren
 |
| Our Kind of Soul (2004) |
The Do It For Love "comeback" album was a modest critical and commercial success, so the boys quickly followed up with this clear cash in. Only three original tracks, the rest are so-so covers of various soul songs. Not quite the album that it could be, it's a quiet, throwaway album of clean, almost insipid Sunday afternoon soul that few people are really going to engage with. The best song is the live version of "Me and Mrs Jones" which appears as the last track on some releases.
- "Let Love Take Control" (Hall, Oates, Billy Mann) - 3:29
- "Standing in the Shadows of Love" (Lamont Dozier, Eddie Holland, Jr., Brian Holland) - 3:59
- "I'll Be Around" (Thom Bell, Phil Hurtt) - 4:02
- "Used to Be My Girl" (Kenny Gamble, Leon Huff) - 4:00
- "Soul Violins" (Hall, Greg Bieck) - 4:05
- "I Can Dream About You" (Dan Hartman) - 3:16
- "Don't Turn Your Back on Me" (Hall) - 4:50
- "Fading Away" (Warren "Pete" Moore, Smokey Robinson, Robert Rodgers) - 3:39
- "Neither One of Us" (Jim Weatherly) - 4:19
- "After the Dance" (Marvin Gaye, Leon Ware) - 4:11
- "Rock Steady" (Aretha Franklin) - 4:04
- "Love TKO" (Gip Noble, Cecil Womack, Linda Womack) - 5:20
- "What You See Is What You Get" (Anthony Hester) - 4:30
- "Can't Get Enough of Your Love" (Barry White) - 3:48
- "You Are Everything" (Thom Bell, Linda Creed) - 3:55
- "I'm Still in Love with You" (Al Green, Al Jackson, Jr., Willie Mitchell) - 4:06
- "Ooh Child" (Stan Vincent) - 3:51
- "Me and Mrs Jones"
 |
| Home for Christmas (2006) |
This is the last album the boys have released. It's not good.
- "Overture/The First Noel" - 6:50 (Rob Mathes/Traditional)
- "It Came Upon a Midnight Clear" - 4:16 (Edmund Hamilton Sears, Richard Storrs Willis)
- "No Child Should Ever Cry on Christmas" (new song) - 4:03 (John Oates)
- "Everyday will be Like a Holiday" - 4:38 (William Bell, Booker T. Jones)
- "Home for Christmas" (new song) - 5:09 (Greg Bieck, Daryl Hall, Tom "T-Bone" Wolk)
- "Christmas Must be Tonight" - 4:26 (Robbie Robertson)
- "Children, Go Where I Send Thee" - 4:29 (Traditional)
- "Mary Had a Baby" - 5:03 (Traditional)
- "The Christmas Song" - 4:23 (Mel Tormé, Robert Wells)
- "Jingle Bell Rock" (new recording) - 2:09 (Joe Beal, Jim Boothe)
- "O Holy Night" - 5:27 (Traditional)
- "One On One (Live)" - 6:46 (Daryl Hall) [Japanese Version bonus track]
Wikipedia
AllMusic: 6
Score: 2
Discography
Discography
Whole Oats (1972)
Abandoned Luncheonette (1973)
War Babies (1974)
Daryl Hall & John Oates (1975)
Bigger Than Both of Us (1976)
Beauty on a Back Street (1977)
Along the Red Ledge (1978)
X-Static (1979)
Voices (1980)
Private Eyes (1981)
H2O (1982)
Big Bam Boom (1984)
Ooh Yeah! (1988)
Change of Season (1990)
Marigold Sky (1997)
Do It for Love (2003)
Our Kind of Soul (2004)
Home for Christmas (2006)
Best Album Lists
Bigger Than Both of Us (1976)
Voices (1980)
Daryl Hall & John Oates (1975)
H2O (1982)
Private Eyes (1981)
Abandoned Luncheonette (1973)
* ReturnOfRock
H2O (1982)
Private Eyes (1981)
Abandoned Luncheonette (1973)
* ReturnOfRock
Abandoned Luncheonette (1973)
Private Eyes (1981)
Voices (1980)
H2O (1982)
Daryl Hall & John Oates (1975)
Daryl Hall & John Oates (1975)
Big Bag Boom (1984)
*RateYourMusic
Voices (1980)
Voices (1980)
Private Eyes (1981)
H2O (1982)
X-Static (1979)
Greatest Hits Live (2001)
Beauty on a Back Street (1977)
H2O (1982)
Private Eyes (1981)
Voices (1980)
Rock 'N' Soul Part One (1983)
Big Bag Boom (1984)
H2O (1982)
Big Bag Boom (1984)
Daryl Hall & John Oates (1975)
*ChaosSpin
Abandoned Luncheonette (1973)
Abandoned Luncheonette (1973)
Private Eyes (1981)
Voices (1980)
Daryl Hall & John Oates (1975)
Do It for Love (2003)
H2O (1982)
*IfMyRecords
Private Eyes (1981)
Private Eyes (1981)
Abandoned Luncheonette (1973)
Voices (1980)
Daryl Hall & John Oates (1975)
H2O (1982)
H2O (1982)
X-Static (1979)
*Hoffman Forum
Abandoned Luncheonette (1973)
Abandoned Luncheonette (1973)
Private Eyes (1981)
H2O (1982)
Voices (1980)
Big Bag Boom (1984)
Bigger Than Both of Us (1976)
Abandoned Luncheonette (1973) - Score 10
Voices (1980) - Score: 9
Private Eyes (1981) - Score: 9
Daryl Hall & John Oates (1975) - Score: 9
Private Eyes (1981) - Score: 9
Daryl Hall & John Oates (1975) - Score: 9
H2O (1982) - Score: 8
Do It for Love (2003) - Score: 8
War Babies (1974) - Score: 7
*BestSellingAlbums
Rock 'N' Soul Part One (1983) Sales: 3,590,200
Rock 'N' Soul Part One (1983) Sales: 3,590,200
H2O (1982) Sales: 2,669,070
Big Bag Boom (1984) Sales: 2,378,690
Private Eyes (1981) Sales: 1,270,110
Ooh Yeah! (1988) Sales: 1,121,680
Abandoned Luncheonette (1973) Sales: 1,060,000
Voices (1980) Sales: 1,056,200
*My choice
Abandoned Luncheonette (1973) - Score 9
Abandoned Luncheonette (1973) - Score 9
War Babies (1974) - Score: 6
Bigger Than Both of Us (1976) - Score 6
Whole Oats (1972) - Score 5 1/2
Sacred Songs (1980) - Score 5 1/2
Private Eyes (1981) - Score 5 1/2
Do It for Love (2003) - Score: 4 1/2
Live At The Apollo (1985) - Score 4 1/2
Change of Season (1990) - Score: 4 1/2
Lists of Best Songs
You Make My Dreams
Maneater
Out Of Touch
Maneater
Out Of Touch
I Can't Go For That
Sara Smile
Sara Smile
Out Of Touch
You Make My Dreams
I Can't Go For That
Private Eyes
So Close
I Can't Go For That
Private Eyes
So Close
She's Gone
Say It Isn't So
Out Of Touch
Out Of Touch
*Return
I Can't Go For That
I Can't Go For That
She's Gone
Say It Isn't So
Out Of Touch
Kiss On My List
*UCR
She's Gone
Rich Girl
Sara Smile
Wait For Me
Back Together Again
Rich Girl
Sara Smile
Wait For Me
Back Together Again
*RecordHist
I Can't Go For That
I Can't Go For That
You Make My Dreams
Private Eyes
Out Of Touch
Out Of Touch
Say It Isn't So
*ChaosSpin
I Can't Go For That
I Can't Go For That
Maneater
Out Of Touch
Private Eyes
Kiss On My List
Kiss On My List
I Can't Go For That
Kiss On My List
She's Gone
Sara Smile
You Make My Dreams
You Make My Dreams
Rich Girl
She's Gone
Wait For Me
Georgie
I'm Just A Kid
She's Gone
Wait For Me
Georgie
I'm Just A Kid
Rich Girl
She's Gone
Sara Smile
Maneater
She's Gone
Sara Smile
Maneater
Out Of Touch
I Can't Go For That
Maneater
Private Eyes
Out Of Touch
Kiss On My List
Maneater
Private Eyes
Out Of Touch
Kiss On My List
*
Singles
| Year | Title | Peak chart positions | Certifications | Album | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| US [1] | UK [2] | |||||||||||||
| 1972 | "Goodnight and Good Morning" (as Whole Oats) | — | — | Whole Oats | ||||||||||
| 1973 | "I'm Sorry" | — | — | |||||||||||
| "She's Gone" | 60 | — | Abandoned Luncheonette | |||||||||||
| 1974 | "When the Morning Comes" | — | — | |||||||||||
| "Can't Stop the Music (He Played It Much Too Long)" | — | — | War Babies | |||||||||||
| 1975 | "Camellia" | — | — | Daryl Hall & John Oates | ||||||||||
| "Alone Too Long" | — | 98 | — | |||||||||||
| 1976 | "Sara Smile" | 4 | — |
| ||||||||||
| "She's Gone" (re-release) | 7 | 42 | Abandoned Luncheonette | |||||||||||
| "Do What You Want, Be What You Are" | 39 | — | Bigger Than Both of Us | |||||||||||
| 1977 | "Rich Girl" | 1 | — |
| ||||||||||
| "Back Together Again" | 28 | — | ||||||||||||
| "It's Uncanny" | 80 | — | No Goodbyes | |||||||||||
| "Why Do Lovers (Break Each Other's Heart?)" | 73 | — | Beauty on a Back Street | |||||||||||
| "Don't Change" | — | — | ||||||||||||
| 1978 | "It's a Laugh" | 20 | — | Along the Red Ledge | ||||||||||
| "I Don't Wanna Lose You" | 42 | — | ||||||||||||
| 1979 | "Wait for Me" | 18 | — | X-Static | ||||||||||
| "Portable Radio" | — | — | ||||||||||||
| 1980 | "Who Said the World Was Fair" | 110 | — | |||||||||||
| "Running from Paradise" | — | 41 | ||||||||||||
| "How Does It Feel to Be Back" | 30 | — | Voices | |||||||||||
| "You've Lost That Lovin' Feelin'" | 12 | 55 | ||||||||||||
| 1981 | "Kiss on My List" | 1 | 33 |
| ||||||||||
| "You Make My Dreams" | 5 | — |
| |||||||||||
| "Private Eyes" | 1 | 32 |
| Private Eyes | ||||||||||
| "I Can't Go for That (No Can Do)" | 1 | 8 |
| |||||||||||
| 1982 | "Did It in a Minute" | 9 | — | |||||||||||
| "Your Imagination" | 33 | — | ||||||||||||
| "Maneater" | 1 | 6 |
| H2O | ||||||||||
| 1983 | "One on One" | 7 | 63 | |||||||||||
| "Family Man" | 6 | 15 | ||||||||||||
| "Italian Girls" | — | — | ||||||||||||
| "Jingle Bell Rock" | 30 | 80 |
| non-album single | ||||||||||
| "Say It Isn't So" | 2 | 69 | Rock 'n' Soul: Part 1 | |||||||||||
| 1984 | "Adult Education" | 8 | 63 | |||||||||||
| "Out of Touch" | 1 | 48 |
| Big Bam Boom | ||||||||||
| 1985 | "Method of Modern Love" | 5 | 21 | |||||||||||
| "Some Things Are Better Left Unsaid" | 18 | — | ||||||||||||
| "Possession Obsession" | 30 | — | ||||||||||||
| "A Nite at the Apollo Live! The Way You Do the Things You Do/My Girl" (with David Ruffin and Eddie Kendricks) | 20 | 58 | Live at the Apollo | |||||||||||
| 1988 | "Everything Your Heart Desires" | 3 | 81 | Ooh Yeah! | ||||||||||
| "Missed Opportunity" | 29 | — | ||||||||||||
| "Downtown Life" | 31 | — | ||||||||||||
| "Talking All Night" | — | — | ||||||||||||
| 1989 | "Love Train" | — | — | Earth Girls Are Easy (soundtrack) | ||||||||||
| 1990 | "So Close" | 11 | 69 | Change of Season | ||||||||||
| 1991 | "Don't Hold Back Your Love" | 41 | — | |||||||||||
| "Everywhere I Look" | — | 74 | ||||||||||||
| "Starting All Over Again" | — | — | ||||||||||||
| 1997 | "Promise Ain't Enough" | — | — | Marigold Sky | ||||||||||
| 1998 | "Romeo Is Bleeding" | — | — | |||||||||||
| "The Sky Is Falling" | — | 144 | ||||||||||||
| "Hold On to Yourself" | — | — | ||||||||||||
| "Throw the Roses Away" | — | — | ||||||||||||
| 2001 | "I Can't Go for That (No Can Do)" (remix) | — | 163 | The Essential Collection | ||||||||||
| 2002 | "Private Eyes" (re-release) | — | — | |||||||||||
| "Do It for Love" | 114 | 143 | Do It for Love | |||||||||||
| "Forever for You" | — | — | ||||||||||||
| 2003 | "Man on a Mission" | — | — | |||||||||||
| "Someday We'll Know" (with Todd Rundgren) | — | — | ||||||||||||
| "Intuition" | — | — | ||||||||||||
| "Getaway Car" | — | — | ||||||||||||
| 2004 | "I'll Be Around" | 97 | — | Our Kind of Soul | ||||||||||
| "Without You" | — | — | ||||||||||||
| 2005 | "I Can Dream About You" | — | 122 | |||||||||||
| "Ooh Child" | — | — | ||||||||||||
| "Let Love Take Control" | — | — | ||||||||||||
| 2006 | "It Came Upon a Midnight Clear" | — | — | Home for Christmas | ||||||||||
| "Home for Christmas" | — | — | ||||||||||||
| 2007 | "Take Christmas Back" | — | — | non-album singles | ||||||||||
| 2018 | "Philly Forget Me Not" (with Train) | — | — | |||||||||||
Links
* GrinningPlanet quick and sensible overview
"Las Vegas Turnaround (The Stewardess Song)"
"She's Gone"
"I Can't Go for That (No Can Do)"
"Goodnight And Goodmorning"
"Angelina"
"Abandoned Luncheonette"
"Maneater"
"When The Morning Comes"
"Past Times Behind"
"Kiss On My List"
"Had I Known You Better Then"
"Out of Touch"
"Sara Smile"
"Private Eyes"
"Rich Girl"
"One on One"
"Method of Modern Love"
"Do What You Want, Be What You Are"
"Did It in a Minute"
"Say It Isn't So"
Summary
[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect may have influenced the overall score. However, some bands may well exceed that percentage, particularly if their main focus is in that area.]
Voice/Musicianship (15%)
Pleasant, accomplished. 8%
Image/Star quality (5%)Minor. 2%
Lyrics/Music (20%)Well written. Professional. Sometimes very effective. 12%
Impact/Influence (10%)Blue eyed soul. 5%
Popularity (5%)Popular in the 80s. 3%
Emotional appeal (5%)Soulful. 3%
Authenticity (15%)There's an honest feel about the pre-Eighties work. 8%
Art (5%)Edging. 2%
Classic albums/songs (5%)Abandoned Luncheonette. 3%
Originality/Innovation (5%)Smooth blue eyed soul and folk with touches of rock. 2%
Legacy (10%)Fading. 5%
Total: 47/100
Pleasant, accomplished. 8%
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