In total, the duo had 34 singles chart hits on the U.S. Billboard Hot 100, seven RIAA platinum albums, and six RIAA gold albums. Because of that chart success, Billboard Magazine named them the most successful duo of the rock era, surpassing even The Everly Brothers. In 2003, they were inducted into the Songwriters Hall of Fame. They were also placed #15 on the Billboard Magazine list of the 100 greatest artists of all time and the #1 duo, while VH1 placed the duo as #99 on their list of the 100 greatest artists of all time.
From their first hit in 1974 onwards, Daryl Hall and John Oates' smooth, catchy take on Philly soul brought them commercial success— including six number one singles and six platinum albums as referred to before. Hall & Oates' music was well-constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them by incorporating elements of arena rock and new wave.
Daryl Hall, born on October 11, 1946, 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.
All American Girl
Hall & Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Changing her life for another
She dreams magazines
Sees herself on the cover
Anything anytime anywhere
It's fitting in that matters
Faithfully she believes in the look he wants to know better
She knows what she wants
She's an all American girl
She knows what she needs
She's a sold American girl
She knows what she knows
She's an all American girl
She does what she does
She's an all American girl
Sold American
She's got a double bubble with a bossanova back
She's a real hot pepper and I like it like that
It's all right you don't have to change your way
You're all right I'm hoping the best part stays
She knows what she wants
She's an all American girl
She knows what she needs
She's a sold American girl
She knows what she knows
She's an all American girl
She does what she does
She's an all American girl
Sold American
Street smart close to the heart gotta be real
More than the clothes you wear
You know what you've got look to your heart
You carry your history there
The lyrics to Hall & Oates's song All American Girl discuss the pressures and expectations put on women to conform to societal beauty standards. The first verse describes a woman who is willing to change herself in order to fit the image of what her partner wants. She dreams of being on magazine covers and believes in the importance of fitting in. The chorus repeats that she is an "all American girl" who knows what she wants and needs, but the repeated use of "sold American" suggests that she has given in to the demands of society and is not truly free to be herself.
The second verse offers a more positive perspective, celebrating the woman's physical attributes and encouraging her to be true to herself. The mention of her "double bubble" and "bossanova back" implies that she has a curvy figure that is appreciated. The chorus is repeated again, with the addition of the line "Street smart close to the heart gotta be real", emphasizing the importance of inner strength and authenticity.
The song overall highlights the conflicting pressures on women to both conform to beauty standards and be true to themselves. It acknowledges the challenges that women face in trying to balance these expectations but ultimately encourages them to be proud and confident in who they are.
Line by Line Meaning
Skin tight soul delight
She dresses in tight clothes that highlight her figure, and she feels empowered and confident.
Changing her life for another
She is willing to change herself for a man's approval and validation, prioritizing his desires over her own.
She dreams magazines
She aspires to be a model in magazines, seeking fame and recognition for her appearance.
Sees herself on the cover
She imagines herself becoming a successful model and being featured on the cover of a magazine, symbolizing her ultimate achievement.
Anything anytime anywhere
She is willing to do whatever it takes to fit in and be accepted by others, regardless of the circumstances or consequences.
It's fitting in that matters
She cares more about fitting in with others and conforming to societal expectations than being true to herself or her own values.
Faithfully she believes in the look he wants to know better
She is willing to completely change her appearance to match the preferences of a man she desires, believing that doing so will make him like her more.
She knows what she wants
She is confident in her desires and has a clear idea of what she wants.
She's an all American girl
She embodies the typical American girl stereotype, conforming to societal expectations and values.
She knows what she needs
She has a clear understanding of what she requires to be happy and fulfilled.
She's a sold American girl
She fully embodies and embraces the American girl stereotype, fitting perfectly into societal norms and expectations.
She knows what she knows
She is confident in her knowledge and beliefs, even if they contradict societal expectations.
She does what she does
She acts in a way that aligns with her desires and beliefs, even if it goes against societal norms.
Sold American
She is the epitome of the American girl stereotype, completely conforming to societal expectations and embodying its values.
She's got a double bubble with a bossanova back
She has a curvy figure with a prominent butt, which is often deemed attractive by society.
She's a real hot pepper and I like it like that
She is an attractive woman who is desired and appreciated by men, specifically the singer of the song.
It's all right you don't have to change your way
The singer reassures her that she is perfect the way she is and does not need to change to be loved or accepted.
You're all right I'm hoping the best part stays
The singer admires and appreciates the parts of her that are true to herself, and does not want her to change those aspects of herself to please him or society.
Street smart close to the heart gotta be real
She is savvy and practical when it comes to navigating life, and is true to her authentic self rather than conforming to societal expectations.
More than the clothes you wear
Her worth and value extend beyond her physical appearance and the clothes she wears.
You know what you've got look to your heart
She should be confident in her unique qualities and strengths, rather than seeking validation from others or conforming to societal expectations.
You carry your history there
Her past experiences and personal history shape who she is and influence her present actions and beliefs.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: DARYL HALL, JOHN OATES, SARA ALLEN
Lyrics Licensed & Provided by LyricFind