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.
Nothing At All
Daryl Hall & John Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't matter anymore
Ain't no surprises, and we're too young
To come to that
Oh, time has a way of lessening love
You know that's true, nothing at all
Nothing at all, nothing at all
We spent last night like every night
Sitting and staring
I wish we could fight at least
That would be something
Oh, time has a way of lessening love
You know it's true, nothing at all
Nothing at all, nothing at all
You don't say nothing
'Cause there ain't nothing at all
Nothing at all, nothing at all
Oh, time has a way of lessening love
You know it's true
So don't bother listening anymore darling
'Cause I'm writing my last song about you
Nothing at all, nothing at all
Nothing at all
You don't say nothing
'Cause there ain't nothing at all that's right
Nothing at all, nothing at all
You don't say nothing
'Cause there ain't nothing at all
Nothing at all, nothing at all
You don't say nothing
'Cause there ain't nothing at all
The lyrics of Daryl Hall & John Oates's song Nothing At All are reflective of a relationship that has lost its spark. The singer is reminiscing over the past when things used to matter to them, but now they are realizing that those things no longer carry the same importance. The line "Ain't no surprises, and we're too young to come to that" implies that they are too young to have lost their passion and excitement for each other, but time has had a way of lessening their love. They spend their nights sitting and staring at each other, with no words exchanged, and the singer wishes they could at least fight, as that would be more meaningful than their current state.
The chorus repeats the phrase "Oh, time has a way of lessening love, you know it's true, nothing at all" which highlights the theme of time taking its toll on their relationship. The singer is resigned to the fact that there is "nothing at all" left to salvage in their love, hence the line "So don't bother listening anymore darling, 'cause I'm writing my last song about you". They have reached a point of no return and are finally letting go.
Overall, Nothing At All is a poignant ballad about the gradual falling out of love and the realization that sometimes letting go is the only option.
Line by Line Meaning
All the things that used to mean a lot to me
As time passes, priorities change and things that once held great significance may lose their importance.
Don't matter anymore
These things are no longer relevant or necessary.
Ain't no surprises, and we're too young
There is no excitement or unexpectedness in the relationship, and given our youth, this feeling is particularly concerning.
To come to that
We do not want to reach a point where we are completely devoid of passion or interest in our relationship.
Oh, time has a way of lessening love
As time goes on, relationships can lose their fervor and intensity.
You know that's true, nothing at all
It is a widely accepted truth that relationships can lose their spark over time, resulting in a lack of feeling or emotion.
We spent last night like every night
Our routine has become exceedingly monotonous and predictable.
Sitting and staring
We are becoming increasingly disengaged and uninvolved in each other's lives, simply occupying the same space without interacting.
I wish we could fight at least
Conflict, however unpleasant, may be preferable to the boredom and apathy that currently defines our relationship.
That would be something
Even negative emotions or experiences can be preferable to feeling nothing at all.
You don't say nothing
We have grown so distant that we no longer communicate effectively or meaningfully.
'Cause there ain't nothing at all
There is nothing left to talk about or address in our relationship because there is no substance, passion, or depth left.
So don't bother listening anymore darling
Our relationship has reached the point of no return, and it is no longer worth the effort or the emotional toll to try and salvage it.
'Cause I'm writing my last song about you
This song serves as a final acknowledgement and goodbye to the relationship that has failed to withstand the test of time and passion.
You don't say nothing 'cause there ain't nothing at all that's right
Our relationship is so devoid of joy or positivity that there is nothing left to say about it, let alone attempt to fix.
Lyrics © Peermusic Publishing, Sony/ATV Music Publishing LLC
Written by: CHRIS VRENNA, JESSE HALL, JESSICA FODERA
Lyrics Licensed & Provided by LyricFind