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.
Tell Me What You Want
Daryl Hall & John Oates Lyrics
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Music: daryl hall
When I look in your eyes I can see there's more than passion there
Something ugly and lovely is tuning in just behind your stare
Yeah, I've seen it before and I think that I'd know it anywhere
So tell me girl what you want
I know you know
Grin and bare it, no no I like what you're wearing
You gotta leave it on all night
As above so below so they say so can we do the magick [sic] right
Kiss and tell, when I know you so well there's no need to be polite
That's right
So tell me girl what you want
I know you know
Take a position 'cause you know I'm gonna listen to you
Tell me
Ain't no conditions, no there isn't baby ya don't have to sell me
'cause I love you and I want you tonight
So tell me girl what you want
I know you know.
The lyrics to Daryl Hall & John Oates's song "Tell Me What You Want" are very straightforward, straightforward to the point that they betray the hidden aspects of the song. At a cursory listen, it seems to be about a lovers' plea to get their significant other to open up about their innermost desires. But a deeper listen reveals something more significant; the lyrics tell the story of a couple's sexual desires and secrets. When Hall sings, "As above so below so they say so can we do the magick [sic] right," he's referring to the ancient practice of performing a sexual act to create a transcendental experience.
Moreover, the lyrics show that both the singer and the lover have an unwavering desire for each other, which is why the lover doesn't have to sell themselves to the singer; there are no "conditions." They use their "grin and bare [it]" mentality to show each other what they want, and they do not have to adhere to societal norms of being polite because they know each other so well.
In conclusion, "Tell Me What You Want" can be seen as a classic 1980s song about sexual desire hiding behind the guise of lovers' pleads for openness. It may be an underrated song flirting with that creative edge of sex without being too explicit or vulgar.
Line by Line Meaning
When I look in your eyes I can see there's more than passion there
I can sense an unexpected mix of both unpleasant and attractive emotions within your gaze
Something ugly and lovely is tuning in just behind your stare
I can perceive hints of both unsightly and beautiful feelings emerging from your eyes
Yeah, I've seen it before and I think that I'd know it anywhere
I have witnessed this before and I believe I can recognize it no matter where it appears
So tell me girl what you want
Please express to me your desires
I know you know
I am aware that you have this information
Grin and bare it, no no I like what you're wearing
Smile through the discomfort, I appreciate the clothing you have on
You gotta leave it on all night
Please do not remove your attire as the night progresses
As above so below so they say so can we do the magick [sic] right
The notion of 'like above, so below' is sometimes cited in mystical practices, can we properly carry out such practices?
Kiss and tell, when I know you so well there's no need to be polite
Share intimate details, there is no need for manners when we are already so familiar
That's right
I agree
Take a position 'cause you know I'm gonna listen to you
Please state your opinion as I am willing to hear you out
Tell me
Share with me
Ain't no conditions, no there isn't baby ya don't have to sell me
There are no requirements, you do not need to persuade me in any way
'cause I love you and I want you tonight
Because I am in love with you and desire to be with you tonight
So tell me girl what you want
Please communicate your desires to me
I know you know.
I am confident that you possess this knowledge
Lyrics © OBO APRA/AMCOS
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