defend the indefensible: Hall and Oates

Both really, but H20 is some kind of peak of early eighties mainstream pop experimentalism.

Yeah I'm leaning H20 at the mo.

I'd say there's a case to be made for Voices as well. More of an upbeat rock vibe with a bit of New Wave energy vs. the slightly more R&B direction of the next two - though they always straddled several camps - the music is already as polished and pop-radio friendly as it would get on their more popular albums.

I managed to get both H2O and Private Eyes with my remaining eMu credits by skipping the Oates-sung tracks (sorry Oates). "Crime Pays" is awesome!

Will probably get Voices next month. Am on big FM-rock kick at moment.

The fourth disc of this box set has post-1988 stuff, and, boy, talk about their muse taking flight. The hair isn't even excusable. Plus, their squishy mid seventies white R&B period is too heavily represented. However, I'd never head the Abandoned Luncheonette material. Matos is right: it's got a proto-Belle & Sebastian vibe: sunny, witty folk-pop.

https://www.youtube.com/watch?v=sHYE4D8n3Ts&feature=related

One of my personal faves of H&O.

best thing on the internet ever:

https://www.youtube.com/watch?v=T7TI-AJi2O8

indefensible? i don't get it. seriously, maybe the best pop/rock song ever:

https://www.youtube.com/watch?v=8tJoIaXZ0rw&feature=related

I refuse to watch any more of that movie than I've already seen. But yeah... great song.

that film put me off both hall and oates and briefly, living.

this song achieves an impossible level of happiness

it's weird, i never heard that song a lot in the past or thought of it as one of their signature hits, but in the past two years it's picked up some kind of zeitgeist appearing in so much different stuff (that Days of Summer movie and the keyboard cat clip upthread, Step Brothers, episodes of Glee and The Office, etc.).

The Bird & The Bee's new H&O covers album is nothing special but very listenable, hard to mess up those songs and they don't.

I can't recall hearing any Hall & Oates on the radio at all since the early 90's, aside from the 3 or 4 big 70's hits (Sara Smile, Rich Girl, She's Gone..)

re: zeitgeist, everyone watched that Shorewood high school clip linked above Daniel's post right?

i didn't, sound's off on the computer -- same song?

yep

that film put me off both hall and oates and briefly, living.

ha! why? in total, i've seen that scene and maybe four others from the movie.

i like the lead actor (dancing guy).

oates kinda looks like lionel richie

Abandoned Luncheonette has long been a guilty pleasure of mine.... especially "When the Morning Comes" and "I'm Just a Kid"

"My face ain't gettin' any younger" is one of my favorite lines

I like the clapping in "private eyes," also the part where he goes really high like "EEYYYYYYEEEES!"

No such thing as "guilty" when it comes to loving H&O.

"one on one" = one of the few songs i could listen on a loop

whole private eyes lp is fire

The four-album streak from '80 to '84 is unimpeachable.

just looked at the back of Big Bam Boom while listening the other day and learned Arthur Baker mixed it (or parts anyway). These guys knew what was up.

"When the Morning Comes" is such a perfect song.

Abandoned Luncheonette has long been a guilty pleasure of mine

i recently discovered this disc. i have no guilt about loving it. in fact, i think it's a good gateway for people who don't normally like h&o to give them another try, since the sound and vibe is pretty far removed from some of their slicker, glossier, more played-out 80s albums.

For the record, the gorgeous "Las Vegas Turnaround" and "Had I Know You Better Then" are John Oates compositions.

These guys are so great because you can find all their albums for a buck each, they have tons of them, and every one of them that I've dug through (so far) has at least a pretty-good ratio of memorable, well-performed songs to aimless duds. I've been finally chewing on Voices lately and, god, I just can't stop listening to "Diddy Doo Wop" in the same way that I couldn't stop listening to "Head Above Water" when I got Private Eyes. Great great great stuff.

"Gotta Lotta Nerve (Perfect, Perfect)"! "Big Kids"!

How Daryl Hall Became Cool Again; Or, How Glossy Magazines Started Paying Attention Again.

don't worry, we thought he was cool before everyone else did

Hall and Oates were always dope.

The end of the Hall & Oates era came in a hotel bathroom in 1990 in Tokyo, where they had just performed at a Yoko Ono–sponsored concert commemorating the death of John Lennon. There, in a sad, reflective moment, John Oates said good-bye—to the mustache.

“It really was a kind of spiritual moment for me,” Oates says, laughing. “The mustache represented a me I no longer was. I shaved it off and never looked back.” The next day, he and Hall were waiting at the Tokyo airport for a flight back to the States when Miles Davis appeared. “He came up to me with those red eyes of his,” says Oates. “He got like three inches from my face and kinda drew his finger across his own upper lip, as if he was shaving, and he said to me [in a deep, raspy voice], ‘Now the lovin’s gonna be better.’ ”

oh my god at miles davis

There was a period where people cut down Hall and Oates as if they were Air Supply, but how long ago was that? "Maneater" was street just like "Beat It" and "Billie Jean". And they were put a song with the word "bitch" in it on the radio!

According to Daryl Hall, when Jackson was recording “We Are the World”, Jackson approached him and admitted to lifting the bass line for "Billie Jean" from a Hall and Oates song, apparently referring to "I Can't Go For That (No Can Do)". Hall says that he told Jackson that he had stolen the bass line as well.

Really though, what sort of lyric is "She needs a place she can lounge and wear gowns in."

A genius one, that's for sure.

PFM posted Ben Gibbard's H&O piece. It's stupid.

That Miles quote cracks me up.

Yeah, the Gibbard thing veers close to genuine fannish excitement in places but he's at such pains to describe the band's output as absurd and ridiculous that you wonder why he bothered at all. Doesn't seem much of a step above the "name-checking for cred" thing that he dismisses at the start.

"Italian Girls"This is a rare appearance of John Oates on lead vocals. A quick perusing of the liner notes indicates that Oates penned this tune without the assistance of Daryl Hall or any of the other songwriters the duo had been known to collaborate with. And you can tell. The ethnically tinged lyrics (ex., "I see Sophia on the silver screen-a" ) hit a level of offensiveness rivaled only by Genesis' "Illegal Alien"

I guess "offensive" means something else in Gibbardsville.

jesus. so that's the nudnik who gets to put it in zooey d?

btw, John Oates had a lot more lead vocal bits in the 70s, so calling "Italian Girls" a rare occurrence just makes me think Gibbard is more of a doofus than I already did.

Yeah! The most persistent misconception is Oates' redundancy when he in fact wrote many songs alone, cowrote most of their hits, and played better guitar than Hall.

okay I don't need to read that article, the picture at the top pretty much says everything

https://www.youtube.com/watch?v=O-zn-CuBD6U

https://www.youtube.com/watch?v=0GAqzcMevgg

this is weird, "I Can't Go For That" was just playing on my PC when i clicked on this thread

man, cee-lo is an embarassingly bad singer, bad choice to put him in a place where he'll be compared to daryl fuckin hall. Probably true of anybody that appears on this...podcast? What a weird idea for a series.