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Hey guys and gals, Ian wanted me to post this essay he did on Hall and Oates since he's off to Seattle for a family visit.  Dig it, it's some good writing.  Here's Ian "The Dean of 80s Rock" Wagner:

Hauntings: a Hall and Oates Compendium Pt. 1"

Sometimes a group comes along in the rock spectrum that challenges listeners due to the surface components of its sound.  The listener, blindsided by history’s predilection for stamping itself on culture, cannot see the enduring miasma of emotional heartache and transcendental purity lurking beneath the trendy cultural surface.  In the 80s, the poster boys of this searing beauty were Hall and Oates.

Hall and Oates came a long way from earlier works, The Temptones and The Masters, respectively.  Formed at Temple University, the duo was fueled by the area’s poverty and sexual tension: key themes in their megalithic oeuvre.

Their first release was 1972’s Whole Oats on Atlantic Records.  Since then, the duo managed to ensconce their culture—the 70s and 80s—through 17 albums (more than the Beatles) and 16 top ten singles, not to mention a barrage of biographic tomes and one stellar documentary, Can’t Go For That, produced by myself as a trade school project in June of 1987.  Through each work the depths of humanity were explored, exhumed, surmised, and reproduced in a cascading cavalcade of drum machine and Korg beauty, not to mention urbanic* bass.  White soul never sounded so breathless and haunting.  Of course, their music has all the energy of psychedelic classics, as well.  Buddha Records didn’t release X-Static for nothing.  However, the combination of intense music and lyrical savagery is what attracts me most.  Below is “Rich Girl,” a 1976 (the year punk broke)** effort showing Hall and Oates' talents at their most obvious.  The song couches its social-sexual commentary amid Darryl Hall’s virulent mouth work and Oates’ brimming energy:

http://s7.yousendit.com/Richgrl

Of course, "Rich Girl" was only their first number one single.  Hall and Oates have enjoyed a long illustrious career, complete with the magnificent comeback Marigold Sky.  Future installments of my essay will delve into these, but for now I’m focusing on the heights they attained in the early 80s.  Segueing from the stylistic declaration of "Rich Girl," for me their greatest achievement has always been 1982’s H20 and its crown, “Maneater.”

H20, like the similar Private Eyes before it, was a veritable soup of blissful hooks, R&B pizzazz, and stylish, conservative 80s production.  The music remains as soulful as ancient African song, and as mathematical as the Greeks.  The tastefulness of this duo has never been in more full effect.  The album also contains their finest piece, the tragic psychosexual odyssey “Maneater.”  Over sax rhythms straight out of Birdland, and the sinister, steady inflections of the rhythm section, Hall outlines the story of a down-and-out loner worn thin by women who “only come out at night.”  When Hall’s voice shimmies on the adlib, “The woman is wild / the woman is wild / ooooo,” the entire song vibrates in a bleak, sexual flux that envelopes the listener in its clasping goo.  Of course, Hall's paranoia at the psychic powers of woman is unignorable.  I don’t need to say that, in 1982, this song was my world.  It seemed to describe breakup-after-breakup, and as the walls came tumbling down on my love life I could see that “Maneater” was written on them.  It speaks volumes of the composing chops employed by Hall and Oates that such a devastating tragedy—for “Maneater” is musical tragedy with as much lyrical prowess as Hamlet not to mention a Faustian character—finds itself encased, like a horny fly in amber, by soothing melodies and rhythms.  The bass is bouncy, the drums assured but flexible, and the lighter melodies positively drip against their stalwart background.  More than Steely Dan, Hall and Oates (the better duo), proved that slickness did not equal lack of emotion.  Here emotions are fluid and untamed.  I like to think of Hall and Oates as primal polish.

http://s7.yousendit.com/Maneater

They’d previously touched on dark territory, in what I call their “Theater of Despair,” namely tracks like "I Can't Go for That (No Can Do)" and "Private Eyes."  The former, purloined mercilessly my Michael Jackson for "Beat It," casts "Maneater" in an upbeat light.  Our narrator would "do most anything," but simply "can't go for that."  He tries to love his femme fatale the best a down-on-his-luck charmer can.  “Private Eyes" is an entirely different beast, however.  This exposé of paranoia and social undress shows how deep their lyrics could go, and the precise, climbing notes of the studio Strat as it shreds only mirror the way we attempt to cover our most undone emotions with public composure.  I haven’t been calling Darryl Hall the Dylans of the 80s for nothing.

http://s7.yousendit.com/Privateeyes

It's obvious there is more to this duo than "fake" 80s production and gimmicky singles.  Most critics disagree, but one day the composititional skills of these two will be realized by music fans.  I also believe their lyrical message will reach the masses.  In this mega-industrial age, where emotions are on trial and souls are burned like fossil fuel, I know I can always turn to their work.  I hope with this essay you can too.  Of course, Hall and Oates outline their own feelings best in “Out of Touch” when they say that humans are only “using our bodies up as we go along.”  We are all shells, like the abandoned luncheonette of their 1973 meisterwork.

TO BE CONTINUED…



* patent pending, refers to the "language" of black music

** they would later record with punk/alternative pioneer Robert Fripp as producer on Sacred Songs.

Ian certainly does have a way with words.  Must be all the Parade Magazine inserts he reads.

Damn, post that m0f0 on the Shop!

That great!  Come on, your Band writing was beautiful.  This sh*t just popped in my head on the way to class.  I don't think I really captured you anyway, it was pretty quick.  Parody me if you want, it's all in good fun.

Honestly, I think Bugul would be a blast too.  "The TOTAL FUCKING explosion of Phil Collins' balding head as it reforms into musical expansion..."

The best joke would be to pitch that to Hunt and Lane as a serious piece, especially since they're begging for more help with the website.

I'll be here when you do  ;D

Yes, that would be pretty funny.

oh sh*t. It is a put on.

I expect a thesis on "Lady Willpower" next.

A haunting expose on the male power structure as essentially pedophiliac, using the images of....oh, never mind.

"...it's now / or never..."

The Puckster and the Union Gap... ALWAYS opt for the young.

Hahaha...April Fool's Day.  We rewrite the Smile Shop late on March 31st with essays like this, just like when we did the porn names.

It's a date!

Can I join in?

Me and Chris are always ready for you to join us, May!  ;)

Oh yeah, definitely join in.  First comes  :-[, but that quickly fades to  ;D and  :o

Yes I should imagine there would be a lot of  :o


(That's my current favourite smiley)

Using Lady Willpower as evidence of GP&UG's pederastic leanings? Uh, hello, Young Girl? "get out of my mind, my love for you is way out of line"

Yeah. The surface was barely scratched.

actually War Babies produced by Todd is a very eclectic , weird, cool record and light years away from their 80's output.

D,

even though your essay was a parody, it has merit.  Hall and Oats are great.  It would be great if you really did continue in this vein...there is truth underneath your parody.  It would be great to read a finished "Shop-like" study...album after album 8)

Thanks dude.  I think I broke the seal with that...had to break out the Hall and Oates LPs.  Who knows, serious discussion may follow.

Also -- a joke essay that gets props when it's presented as fake, and more when it's presented as a real-fake.  This is too postmodern for me.

I don't give two fucks about Hall & Oates, but the essay read pretty well to me.

You deny these pioneers of electronic music?

HAHAHA!!!!!!!!!!!!!!

Suicide stole everything from War Babies.

Electronic music? Hall & Oates? The same sentence? FODA OFF AND *IE!

Kidding.

Frankie Teardrop versus the War Babies.


Censoring "die" is probably the most hilarious thing I've ever seen.

I did that for a reason. A mutual friend got banned for a similar comment.

Yeah, Maybelline can be a real asshole.

Whatever you say, chief.

 ;D

"I'd pay the devil to replace her" is as good a line as anyone's written.

You know, you're right.
It's like Robert Johnson.

Exactly.  I have a feeling this thread is going to go real serious.

Lets get deconstructive ;D

Sounds good!

By the way, between Hall and Oates...which one wrote the music and which wrote the lyrics?  Or did they write together?  Is their creative process documented anywhere?

Judging from some album credits, they wrote together and separately.  I get the impression that Hall did more writing overall, but Oates has some tunes entirely to himself.

I have Abandoned Luncheonette on now.  "I'm Just a Kid" is like a lesser rewrite of "She's Gone," except they've got the balls to put them back-to-back, which makes both songs even better.

That's an amazing album.

It has a great cover...She's Gone is good.

I've only heard the hits...I haven't gone through the albums.  Whats a good place to start?

Ian?  I'm just starting myself.  Luncheonette seems like a decent place though.  I grew up with this stuff because of my parents, but I can't say I really know the albums.

Nice avatar.

Luncheonette is a great place to start!
The album before that, Whole Oates is pretty folky and unrepresentative.
The template is Luncheonette.

Hell, get "Ultimate Hall and Oates" or the "Essential" Hall and Oates. Same comp, different packaging. They are the last great singles band so I think a comp is perfectly fine. I really rank "Rock and Soul, Pt 1"-- one of the best "best ofs" ever but you get pretty much all of that on the 2 disc set. The live "Wait for Me" and the single mix of "She's Gone" though-- those are way superior to the LP versions included on "Ult/ Essential."

There is far worse music you could listen to than Hall and Oates. 

Care to elaborate, anyone?

there is a great review on this album at the TR connection ..here is the beginning of the review , i suggest bopping over there and reading the rest ...just do a search for War Babies.

produced by todd rundgren, hall and oates' third release followed on the steps
of the critically-acclaimed abandoned luncheonette album and took the group in
a different direction - a freewheeling quirky trip through pop sensibility,
sweet harmony, and tasteful arrangement.
the album has a flow that is not unlike that of many "concept albums" as the
streaming subconscious mind of todd was at full bloom. todd had just 'turned
his back on stardom' by shunning the pop expectations of his hugely-successful
double album Something/Anything? and heading in a psychedelic progressive rock
direction, releasing three of his own epics (A Wizard, A True Star, and Todd)
during this curve on his creative musical roadmap.