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 Kenny Gamble, Leon 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 Stylistics, The 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 records — 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 number 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 record 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-'70s 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, the album that marked the beginning of Hall & Oates' greatest commercial and artistic success. The first single from Voices, a cover of Righteous Brothers' "You've Lost That Lovin' Feeling," reached number 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; the record 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 Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. 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 album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & 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 Ooh Yeah!, their first record for Arista. The first single, "Everything Your Heart Desires," went to number three and helped propel the album to platinum status.
However, none of the album's other singles broke the Top 20, indicating that the era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it only featured one Top 40 hit — the number 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 soul covers record Our Kind of Soul.
Mano a mano
Daryl Hall & John Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Terra firma turned them upside down
Too scared to reach out, maybe afraid of what they'll find
But a hand stuck in a pocket, come up empty every time, yeah
Now you better believe the writing on the wall
All for one and one for all
Woman to woman and m-m-man to man
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Now I see a lot of people fighting for the left or the right
Fighting people see black or white
You'd like to go your way sure I'd like to go mine
But all we're in this together running-ng-ng out of time, time, yeah
Woman to woman and m-m-man to man
Heart to heart and hand to hand
Set an example for all the little boys and girls
For the hand that rocks the cradle can rule the world, sing
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
No, no more fighting my friends
Everybody hand to hand
It's time to stop making the same mistake
Over and over and over again
Mano a Mano, oh
Mano a Mano, oh
Mano a Mano, oh
Mano a Mano, oh
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
Mano a Mano, oh
Mano a Mano
The lyrics of Daryl Hall & John Oates's song Mano A Mano speak of unity and togetherness. The first verse describes people who are lost and scared, walking around without purpose. They are afraid to reach out and discover something new because they may be disappointed. The chorus emphasizes the message of unity, with the phrase "Mano a Mano," a phrase that translates to "hand to hand" in Spanish. The song encourages people to put their differences aside and work together towards a common goal. It acknowledges that there may be disagreement, but that individuals must come together to overcome obstacles.
The second verse speaks of people fighting for different ideologies or beliefs, making judgments based on superficial differences such as skin color. It suggests that people are wasting time fighting each other when they should be working together. The bridge highlights the importance of leading by example for future generations, especially for children. The song ends with a call to action, urging listeners to stop making the same mistakes over and over again and come together "hand to hand."
Overall, the song is a message of hope and unity, emphasizing the power of individuals to come together and make a difference.
Line by Line Meaning
Now I see a lot of people walking around and around
The singer observes many people aimlessly wandering without purpose.
Terra firma turned them upside down
The solid ground beneath their feet has left them disoriented and confused.
Too scared to reach out, maybe afraid of what they'll find
Fear prevents some people from seeking help or trying something new.
But a hand stuck in a pocket, come up empty every time, yeah
Those who don't reach out for help may end up feeling unfulfilled and unsupported.
Now you better believe the writing on the wall
It's time to face the inevitable consequences of our actions.
All for one and one for all
We are all in this together and must work for the common good.
Woman to woman and m-m-man to man
All genders must work together and support each other.
Face to face, heart to heart, hand to hand saying
We must have honest and open conversations to build real connections.
Mano a Mano, oh
We must confront our problems and challenges head-on.
Now I see a lot of people fighting for the left or the right
The artist observes the pervasive political polarization in society.
Fighting people see black or white
People are quick to categorize others and polarize themselves based on differences.
You'd like to go your way sure I'd like to go mine
Everyone has their own ideas and preferences, but we must find a way to work together.
But all we're in this together running-ng-ng out of time, time, yeah
Regardless of our differences, we all share a common fate and must act now.
Set an example for all the little boys and girls
We must model positive behavior and values for future generations to emulate.
For the hand that rocks the cradle can rule the world, sing
The future is in the hands of those who raise and shape the next generation.
No, no more fighting my friends
The artist urges people to put an end to conflict and work towards unity.
Everybody hand to hand
We must all join hands in solidarity and cooperation.
It's time to stop making the same mistake
We must learn from our past errors and change our ways.
Mano a Mano, oh
We must confront our problems and challenges head-on.
Lyrics © Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC
Written by: JOHN OATES
Lyrics Licensed & Provided by LyricFind