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Rock and Soul Part 1
Hall & Oates
Rock & Soul, Part 1
RCA Records
82876753972
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1. Say It Isn’t So 4:16
(Daryl Hall)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Bob Clearmountain
Pop #2 / chart debut: 10/29/83
R&B #45 / chart debut: 11/12/83
AC #8 / chart debut: 11/5/83
Dance Club Play #1 / chart debut: 12/3/83
Album Rock #18 / chart debut: 11/19/83
2. Sara Smile 3:08
(Daryl Hall-John Oates)
PRODUCED AND ARRANGED BY CHRISTOPHER BOND,
DARYL HALL & JOHN OATES
Pop #4 / chart debut: 1/31/76
R&B #23 / chart debut: 4/3/76
AC #18 / chart debut: 4/17/76
3. She’s Gone 3:26
(Daryl Hall-John Oates)
PRODUCED BY ARIF MARDIN
Pop #7 / chart debut: 7/24/76
R&B #93 / chart debut: 10/2/76
AC #6 / chart debut: 8/14/76
Produced Under License From Atlantic Recording Corp.
4. Rich Girl 2:24
(Daryl Hall)
PRODUCED BY CHRISTOPHER BOND
Pop #1 / chart debut: 1/22/77
R&B #64 / chart debut: 2/12/77
5. Kiss On My List 3:52
(Janna Allen-Daryl Hall)
PRODUCED BY DARYL HALL & JOHN OATES
Pop #1 / chart debut: 1/24/81
AC #16 / chart debut: 2/14/81
Album Rock #54 / chart debut: 4/11/81
6. You Make My Dreams 3:07
(Daryl Hall-John Oates-Sara Allen)
PRODUCED BY DARYL HALL & JOHN OATES
Pop #5 / chart debut: 5/2/81
Album Rock #35 / chart debut: 7/18/81
7. Private Eyes 3:27
(Daryl Hall-Warren Pash-Sara Allen-Janna Allen)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Neil Kernon
Pop #1 / chart debut: 8/29/81
AC #33 / chart debut: 11/14/81
Album Rock #33 / chart debut: 10/17/81
8. Adult Education 5:23
(Daryl Hall-John Oates-Sara Allen)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Bob Clearmountain
Arranged by Daryl Hall, John Oates, Nile Rodgers
Pop #8 / chart debut: 2/18/84
R&B #50 / chart debut: 3/3/84
Dance Club Play #21 / chart debut: 4/7/84
Album Rock #23 / chart debut: 2/18/84
9. I Can’t Go For That (No Can Do) 3:45
(Daryl Hall-John Oates-Sara Allen)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Neil Kernon
Pop #1 / chart debut: 11/14/81
R&B #1 / chart debut: 11/28/81
AC #12 / chart debut: 11/28/81
Dance Club Play #1 / chart debut: 11/28/81
Album Rock #28 / chart debut: 11/28/81
10. Maneater 4:31
(Daryl Hall-John Oates-Sara Allen)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Neil Kernon
Pop #1 / chart debut: 10/16/82
R&B #78 / chart debut: 11/20/82
AC #14 / chart debut: 11/6/82
Dance Club Play #18 / chart debut: 11/27/82
Album Rock #18 / chart debut: 10/30/82
11. One On One 3:56
(Daryl Hall)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Neil Kernon
Pop #7 / chart debut: 1/29/83
R&B #8 / chart debut: 2/12/83
AC #4 / chart debut: 2/5/83
12. Wait For Me (Live Version) 6:03
(Daryl Hall)
PRODUCED BY DARYL HALL & JOHN OATES
Remixed by Bob Clearmountain
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BONUS TRACKS
13. Family Man 3:25
(Maggie Reilly-Morris Pert-Mike Oldfield-Kim Cross-Rick Fenn-Mike Frye)
PRODUCED BY DARYL HALL & JOHN OATES
Co-Produced by Neil Kernon
Pop #6 / chart debut: 4/30/83
R&B #81 / chart debut: 6/11/83
AC #36 / chart debut: 6/18/83
14. You’ve Lost That Lovin’ Feeling 4:09
(Phil Spector-Barry Mann-Cynthia Weil)
PRODUCED BY DARYL HALL & JOHN OATES
Pop #12 / chart debut: 9/27/80
AC #15 / chart debut: 10/11/80
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ORIGINAL LP CREDITS
From their earliest days on the Philly folk and soul scene, Daryl Hall and John Oates have demonstrated an uncanny knack for creating catchy hooks, heavenly harmonies, indelible melodies and story lines that went straight to the heart. With the sleek and sophisticated “Sara Smile,” “She’s Gone,” “Rich Girl,” “Maneater,” “One On One,” and “Say It Isn’t So,” Daryl and John became the most successful duo in recorded history, and for ROCK ‘N SOUL PART 1, they handpicked the music that made music history.
PREVIOUSLY UNRELEASED MATERIAL PRODUCED BY
DARYL HALL & JOHN OATES
CO-PRODUCED BY BOB CLEARMOUNTAIN
AT ELECTRIC LADY STUDIOS N.Y.C., SEPTEMBER, 1983
RECORDED BY BOB CLEARMOUNTAIN
ASSISTANT ENGINEER: BRUCE BUCHHALTER
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THE BAND
DARYL HALL
JOHN OATES
G.E. SMITH
TOM T-BONE WOLK
MICKEY CURRY
CHARLIE DECHANT
_______________________________________________________________DARYL HALL
JOHN OATES
G.E. SMITH
TOM T-BONE WOLK
MICKEY CURRY
CHARLIE DECHANT
Illustration: Nancy Dwyer
Art Direction: Jeb Brien, Nancy Dwyer and Ron Kellum
Photography: Lenny Williams
Calendar: Joe Telmach
REISSUE CREDITS
Produced for reissue by Rob Santos & Jeremy Holiday
Mastered by Joseph M. Palmaccio at Sony Music Studios, NY
Legacy A&R: Steve Berkowitz
Project Direction: Mandana Eidgah
Project Coordination: Jessica Lizzio
Art Direction: Howard Fritzson
Design: Bob Jones
Packaging Manager: Lily Lew
Special thanks to Adam Block, Brian Doyle, Jeff Jones, Jacqueline Kotier, Paul Williams, T-Bone Wolk
Management: Doyle-Kos Entertainment
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Originally released as RCA CPL1-4858
Rock ‘N Soul Part 1 debuted 11/19/83 on the Billboard Top LPs & Tapes chart and peaked at #7 in a 44-week chart run. All Billboard chart positions appear courtesy of Joel Whitburn’s Record Research publications and BPI Communications.
ALSO AVAILABLE FROM DARYL HALL & JOHN OATES
Big Bam Boom 82876586172
Daryl Hall & John Oates 74465997542
H2O 82876586162
Private Eyes 82876586152
The Essential Daryl Hall & John Oates 82876692382
The Very Best Of Daryl Hall & John Oates 07863693192
VH1 Music First: Behind The Music – The Daryl Hall & John Oates Collection 07863651052
Voices 82876586142
X-Static 74465997552
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For a complete listing of titles from Legacy Recordings, please visit us at:
www.legacyrecordings.com
www.hallandoates.com
This compact disc was manufactured to meet critical quality standards. If you believe the disc has a manufacturing defect, please call our Quality Management Department at 1-800-255-7514. New Jersey residents should call 609-722-8224.
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The Rock ‘N Soul Part 1 Sessions
September of 1983 found Daryl & John and the band back in Electric Ladyland Studio A, after a long but triumphant world tour supporting the wild success of 1982’s H2O.
“Maneater” had gone to Number 1 on the charts late in 1982, continuing the Hall & Oates magic touch of Number 1’s that included “Rich Girl,” “Kiss On My List,” Private Eyes” and “I Can’t Go For That (No Can Do),” while “One On One” and “Family Man” from the same LP flew up the charts as well, propelled by the ubiquitous presence of their videos on MTV.
Looking back, it was quite a year, with a seemingly never-ending tour that took us all from the UK and Europe to Japan, Southeast Asia and Australia, only to return home and hit the road for the big summer run of sheds.
But let’s get back to 8th St., Greenwich Village, NYC. So there we sat in the house that “Jimi” built, legendary Studio A, contemplating the recording of two new tracks for a greatest hits compilation to be entitled Rock ‘N Soul Part 1.
Daryl had played one of the new songs for me, the one which was written on guitar, which he was playing more and more of in our shows. It had a very cool chord structure that went from A major 7th to C major 7th and resolved in the chorus around D major 7th. A tremendous climax so when the chorus hit – “say it isn’t so…it isn’t sooooo” – you really felt like you’d been on a wild major 7th ride. A great “payoff”… a very unique chord structure it floated along so easily… something a little sideways about it, but still with that same recognizable Hall & Oates soul/pop “thang” that radio and fans alike seemed to be really digging.
The cast of characters included Daryl, John, myself, Mickey Curry on drums, G.E. Smith on guitar, and of course Charlie on sax. Bob Clearmountain, who was quickly becoming the ONLY producer/engineer you’d want to be working with, now had joined the team.
We tracked the song quickly with drums, bass and keys, using just a click as reference. The arrangement hit a bit of a “snag” after the second chorus with a little 2 bar break that just wouldn’t let itself come to life, so upon the suggestion of Clearmountain, another one of NYC’s rising session stars was brought in to add a new dimension to the track – drum programmer Jimmy Bralower, who had become one of Nile Rodgers’ secret weapons after the wild success of David Bowie’s “Let’s Dance” earlier that year.
Jimmy suggested making the 2 bar break a ONE bar break, forcing Bob to cut the master tape BUT the end result proved to be just what the patent required. It was a cool bit of asymmetry that caught you off guard for a moment, and then you were right back in the groove for Charlie’s sax solo and the big outro!
Jimmy’s other invaluable contribution was the hooky little wood block and cowbell sounds that went through the intro and verses. It’s no wonder he became an integral part of our record making process for the next 10 years. Those 16th note percussion sounds sparked John’s idea about the intro background vocals, borrowing from the Flamingos’ doo wop classic “I Only Have Eyes For You.” Their “doo wop shoo bop” became “say it isn’t…say it isn’t so:… now that’s pure genius!!!!
Daryl handled the keys and as always trying to shake it up a little, he decided to NOT play strict eighth notes on the piano as he had on “Kiss,” “Private Eyes” and “One On One” but rather to hint at it, by using a delay. It really modernized the sound of the record completely, but still sucked you right into that familiar H&O sound that had been the signature of so many hits… Daryl’s very own eighth note piano groove.
The Police’s “Every Breath You Take” had been another giant record that year soooooo, strict eighth notes from the bass were out, Sting had ALREADY done THAT! Instead, John and I came up with the idea of NOT playing on the downbeat, and adding a little “skip” to the part every 2 bars, which sounded so amazing that it was instantly doubled with a keyboard bass, a device that we later used again and again on the Big Bam Boom record.
G.E. supplied a classy Gretsch brush chord part in the choruses, complete with a subtle and slinky touch on the Bigsby, and Daryl had the brilliant idea to use a delay on Charlie’s arpeggioed sax solo; a kind of thread of continuity from his classic “Maneater” solo. Another genius idea, I thought. These guys just never run out of them!!!
Mind you, this was all done in a matter of DAYS, not weeks or months. There was no time to dilly dally, it was… come on guys… bang out a hit single for the greatest hits compilation and get back out on the road. It’s truly remarkable how D&J were able to keep the hits coming and “Say It Isn’t So” wasn’t just a huge radio hit worldwide. NY’s remixer Jellybean Benitez worked his magic on it over at the Power Station and scored a Number ONE dance record for Hall & Oates.
The second new song we recorded was a nasty, down and dirty minor key funk-rocker, DH composition called “Adult Education” based around a repetitive classic chord structure of F, G, A minor – a sexual lyric for the “kids” hinting at their need for an “adult education.” It cleverly described SO accurately the carnal frustrations of a high school junior. I think Daryl & John finished up the lyrics right there in the control room with some help from Sara Allen after we all kind of reminisced about our high school experiences, ya know… waiting for the bell to let you out of homeroom… hoping to see that cool senior girl over by her locker… wondering if you’d ever get the nerve to say something.
It was Daryl & John’s desire to collaborate with multi-talented guitarist, producer and friend Nile Rodgers that gave this track its unique hypnotic groove. Nile jammed out the song with Daryl, myself, and a quirky offbeat hip-hoppy drum program from Jimmy B., and in a matter of a few hours, he composed his signature guitar riff, which drove the whole record along in a relentless way that only Nile was capable of.
A big brassy keyboard pad from Daryl, and a hooky “marimba” 16th note ostinato part in the second verse set this track apart from anything Hall & Oates had recorded to date. I held down the bottom with whole notes in the choruses and a funky, staccato riff in the verses, a nod to Chuck Rainey’s bass part on Aretha’s “Rock Steady.” G.E. added a very hard edge with his “Neil Young-ish” Gretsch track that worked sooo well against Nile’s phenomenally funky, thin, clean Stratocaster track. This all hitting its high when halfway thru the record… BANG… Mickey’s monstrous live drums make their appearance to set up the top of the outro!!!! It was a drum sound he and Clearmountain had been perfecting over the year, a combination of Mick’s powerhouse drumming, Bob’s radical miking technique and the incredible mystical sounds that you get recording in one of the great live tracking rooms at Electric Ladyland’s Studio A, the home to so many classic records, starting with Jimi Hendrix in the ‘60s and continuing with Led Zeppelin and Foreigner among others.
Looking back, it’s obvious that the creative forces present at these sessions allowed Daryl & John to forge a new, musical path, merging the technology of drum programming with the live performance of our band. You can pretty much say that “rock ‘n soul” sound that defined Hall & Oates recordings through the rest of the decade was a direct result of these two new tracks!
In addition, digital sampling had come on the scene in 1983 and was put to the test on “Adult Education.” It was decided that a “cheerleading” kind of girl group was needed for the chant “oh yeah, oh yeah,” so off John and drum tech Anthony Aquiltao went to our favorite 8th St. pizza joint, the Be Bop Café, and a group of waitresses was brought in to party up the track. They were then “sampled” into the “Fairlight” keyboard and manipulated and performed by Daryl one nite after the track was complete. The “uh” “uh” background vocals part in the second verse is actually Daryl playing the first syllable of the “oh yeah” on the Fairlight. You could take a vocal part or guitar part, or ANY musical phrase and “play” it wherever in the song you wanted it, anywhere in the bar, across the bar, WHATEVER sounded great to you. It was the beginning of a whole new approach to recording. No longer were you restricted to what was performed to tape. In fact, the entire background vocals outro for “Adult” was RE-constructed using this technique, a real revolution as it were, and of course, Daryl & John embraced it immediately.
Although I knew these two new songs were destined to be H&O classics, and the finished tracks were as great as they could be, I never imagined what a thrill it would be recording with Daryl & John. I was still the “new” kid in the band and they inspired me as much then as they do to this day. The excitement of watching a song come to life in the studio, participating in the process, and witnessing Daryl & John’s vocal performances. It was all so effortless, so soulful, and a whole lot of fun to say the least; just the way I had envisioned records to be. And the good news is… it’s still happening for all of us today!
So there you have it, a little glimpse into the world of H&O recording in the Fall of 1983, and my recollections of two unique gems that were recorded in the blink of an eye – to round out this first collection of timeless classics and to present to the world the REAL Rock ‘N Soul Part 1.
T-Bone Wolk
Dallas
November 1, 2005
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© 1983, 2006 BMG Music / (P) 1973 Atlantic Recording Corporation; 1975, 1976, 1980, 1981, 1982, 1983, 2006 BMG Music / Manufactured and Distributed by SONY BMG MUSIC ENTERTAINMENT / 550 Madison Avenue, New York, NY 10022-3211
RCA ® Marca(s) Registrada(s) RCA Trademark Management, S.A. / “Legacy” and L Reg. U.S. Pat. & Tm. Off. Marca Registrada.
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82876753972
