Hall and Oats

By Gary:
Daryl Hall and John Oates the Philadelphia connection.  They started in the early 70’s, but became huge at the end of the decade and into the 80’s.  I was not a big fan, but more a fan of some songs, You Make My Dreams, I guess being my favourite.  Today, Daryl who lives in Millerton N.Y., has built or renovated a house which has a great studio and some of the greatest musician’s visit him http://www.livefromdarylshouse.com/ , I really enjoy the concerts.
Hall & Oates
1977 / Midnight Special / She’s Gone / Sara Smile / Rich Girl
Rich Girl
Sara Smile /
Every Time You Go Away / 1995 /
You Make My Dreams Come True/Hot Fun in the Summertime / 1985 /
Maneater / 
One On One / Live / 1983 / with Charles DeChant on sax
Music: (Some of the many songs)
1973 / She’s Gone / # 60 BB
1976 / Sara Smile / # 4 BB
1977 / Rich Girl / # 1 BB
1979 / Wait for Me / # 18 BB
1980 / You’ve Lost That Lovin’ Feeling / # 12 BB
1981 / Kiss on My List / # 1 BB
1981 / You Make My Dreams Come True / # 5 BB
1981 / Private Eyes / # 1 BB
1981 / I Can go for That / # 1 BB
1982 / Maneater / # 1 BB
1983 / Say it isn’t so / # 2 BB
1984 / Out of Touch / # 1 BB

From their first hit in 1974 through their heyday in the ’80’s, 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.

Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured GambleLeon Huff, and Thom Bell, who would all become the architects of Philly Soul. During this time, Hall frequently appeared on sessions for Gamble and Huff.

In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late ’60s before disbanding.

After Gulliver‘s breakup, Hall concentrated on session work again, appearing as a backup vocalist for the Stylisticsthe Delfonics, and the Intruders, among others. 

Oates returned to Philadelphia in 1969, and he and Hall began writing folk-oriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records.

On their first 3 albums — Whole Oates (1972), Abandoned Luncheonette (1973), War Babies (1974) — the duo were establishing their sound, working with producers like Arif Mardin and Todd Rundgren and removing much of their folk influences.

At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit — the #60 “She’s Gone” in the spring of 1974.

After they moved to RCA in 1975, the duo landed on its successful mixture of soul, pop, and rock, scoring a Top Ten single with “Sara Smile.” The success of “Sara Smile” prompted the re-release of “She’s Gone,” which rocketed into the Top Ten as well.

Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The album took off in early 1977, when “Rich Girl” became the duo’s first number one single.

Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-’70’s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul.

The combination would finally pay off in late 1980, when the duo released the self-produced Voices, their 9th studio album that marked the beginning of Hall & Oates‘ greatest commercial and artistic success.


The first single from Voices, a cover of the Righteous Brothers‘ “You’ve Lost That Lovin’ Feeling,” reached #12, yet it was the second single, “Kiss on My List” that confirmed their commercial potential by becoming the duo’s second number one single; its follow-up, “You Make My Dreams” hit number five.

They quickly released Private Eyes in the summer of 1981;


this album featured two number one hits, “Private Eyes” and “I Can’t Go for That (No Can Do),” as well as the Top Ten hit “Did It in a Minute.”

“I Can’t Go for That (No Can Do)” also spent a week at the top of the R&B charts — a rare accomplishment for a white act. 


H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, “Maneater,” as well as the Top Ten hits “One on One” and “Family Man.”

The following year, the duo released a greatest-hits compilation, Rock ‘N Soul, Pt. 1, that featured two new Top Ten hits — the number two “Say It Isn’t So” and “Adult Education.”

In April of 1984, the Recording Industry Association of America announced that Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards.

Big Bam Boom

Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one “Out of Touch.”


Following their contract-fulfilling gold studio album Live at the Apollo with David Ruffin & Eddie KendrickHall & Oates went on hiatus.

After the lukewarm reception for Daryl Hall‘s 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988’s Oh Yeah!, their first record for Arista.


The first single, “Everything Your Heart Desires,” went to #3 and helped propel the album to platinum status.

However, none of the album’s other singles broke the Top 20, indicating that their era of chart dominance had ended.

Change of Season, released in 1990, confirmed that fact. Although the record went gold, it featured only one Top 40 hit — the #11 single “So Close.”

The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful; far better was 2003’s Do It for Love and the following year’s soul covers record Our Kind of Soul.

The issuing of “greatest-hits” albums reached a fever pitch during the 2000’s, with no fewer than 15 different collections seeing the light by 2008.

Live records proliferated as well, with the A&E Live by Request release Live in Concert hitting stores in 2003, a reissue of their Ecstasy on the Edge 1979 concert (titled simply In Concert this time around) in 2006, and the Live at the Troubadour two-CD/one-DVD set in 2008.

As far as proper studio albums go, the 2000’s were lean, with only three releases — the aforementioned Do It for Love and Our Kind of Soul, topped off by Home for Christmas in 2006. A career-spanning box set appeared in 2009, titled Do What You Want, Be What You Are: The Music of Daryl Hall and John Oates.

During the 2010’s, the duo were very active, both together and separately. Several Hall & Oates tours were mounted, and they performed together on American Idol and The Voice.

In 2011, Hall released his fifth solo album, Laughing Down Crying, on Verve Forecast, and that same year Oates released a blues tribute album titled Mississippi Mile.

Three years later, Oates drafted contemporary pop stars including Ryan Tedder and Hot Chelle Rae for Good Road to Follow.

In 2014, the duo were inducted into the Rock & Roll Hall of Fame.


2 responses to “Hall and Oats

  1. You left out that Darryl Hall, Kenny Gamble and Leon Huff were all discovered by songwriter/producer John Madara. Among many others, John wrote “At The Hop” and “Rock And Roll Is Here To Stay” for Danny & The Juniors; “1-2-3” for Len Barry; and “You Don’t Own Me” for Lesley Gore.

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