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.
I Ain't Gonna Take It This Time
Hall & Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And don't even realize what you're doing is killing my soul
Do you think I'm just some prize
You can win and then discard after the thrill is gone?
Well, listen then
[Chorus]
I ain't gonna take it this time
I ain't gonna take it this time
Guess I'm gonna break out
You know I try to please
I lay awake at night
Trying to find the words you'll understand
But when I'm nothing but sincere
I know you can't be hearing
Cause you say it's more of the same
Well, listen then
[Chorus]
Do you think I'd ever try to fool you
There are enough lies in the world
You don't need mine
If I can't win your heart and move you
You must be blind
In Hall & Oates's song I Ain't Gonna Take It This Time, the lyrics focus on a strained relationship where one partner feels unappreciated and undervalued. The opening lines of “you push my buttons hard and don't even realize what you're doing is killing my soul” sets the tone for the entire song. The singer is clearly frustrated with the way he is being treated by his partner and is making it clear that he will not tolerate it any longer. He questions his partner’s intentions and asks if they only see him as a prize that can be won and then discarded. The chorus offers a more defiant tone, stating that he won't take it anymore, and he's going to break free from the cycle of being undervalued.
Throughout the song, there is a sense of desperation to be understood and valued not just by his partner but also by the world. The line “I lay awake at night trying to find the words you'll understand, but when I'm nothing but sincere, I know you can't be hearing” speaks to the omnipresent feeling of not being seen or heard by those around him, despite his best attempts. The last two lines of the song, “if I can't win your heart and move you, you must be blind” represents the last glimmers of hope for the relationship. The singer is still holding out hope that his partner will come to appreciate his worth but is starting to recognize that perhaps their partner's ability to see him is lacking.
Line by Line Meaning
You push my buttons hard
You continually do things that bother me and ignore the emotional impact it has on me.
And don't even realize what you're doing is killing my soul
You hurt me deeply without even understanding the harm you cause.
Do you think I'm just some prize
You treat me like a game or a meaningless object.
You can win and then discard after the thrill is gone?
You want me only for what I can offer you in the moment and will easily abandon me when you grow bored.
Well, listen then
Pay attention to what I'm saying, as I won't tolerate this behavior anymore.
I ain't gonna take it this time
I won't put up with this treatment any longer.
I ain't gonna take that from anyone
I won't allow anyone to treat me this way again.
Guess I'm gonna break out
I'm going to assert my personal boundaries and seek a better life for myself.
You know I try to please
I constantly seek your approval and try to make you happy.
I lay awake at night
I can't sleep because I'm so consumed with trying to fix our relationship.
Trying to find the words you'll understand
I struggle to communicate my feelings in a way that resonates with you.
But when I'm nothing but sincere
When I'm being completely honest and genuine with you.
I know you can't be hearing
You aren't really listening to my thoughts and emotions.
Cause you say it's more of the same
You don't value my perspective and see it as more of the same complaints.
Do you think I'd ever try to fool you
I would never intentionally deceive you.
There are enough lies in the world
There's already too much dishonesty and I don't want to contribute to it.
You don't need mine
You shouldn't have to doubt my sincerity or honesty.
If I can't win your heart and move you
If I can't gain your affection and inspire you to change your harmful behavior.
You must be blind
You're choosing not to see how your actions and treatment of me is causing damage.
Lyrics © Universal Music Publishing Group
Written by: DARYL DAVID HALL
Lyrics Licensed & Provided by LyricFind