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.
Mano a Mano
Hall & 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
Now you better believe the writing on the wall
all for one one for all
woman to woman and man to man
face to face heart to heart hand to hand
Hand to Hand
Mano a Mann
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 we're all in this together running out of time
Woman to woman and man to man
heart to heart and hand to hand
set on example for all the little boys and girls
for the hand that rocks the cradle can rule the world
Mano a Mano
Hand to Hand
Mano a Mano
The verses of Hall & Oates's song "Mano a Mano" seem to be a commentary on the state of society, as the duo observes "a lot of people walking around and around" seemingly lost, maybe even afraid to venture beyond their comfort zones. It's almost as if they are stuck in a rut or moving in circles that have turned them "upside down." Though they might want to change, they might be apprehensive of what lies ahead, which is why they're too scared to reach out. This lack of effort causes them to come up empty-handed and they remain in this cycle of frustration and disappointment.
However, there is hope, as Hall & Oates argue that the "writing on the wall" is calling for unity, because "we're all in this together." Every individual can take responsibility for their actions and make a change so that everyone can benefit. They urge people to look past their differences, rather than fight in opposition, as there is strength in numbers. When both genders unite, they could be a force to be reckoned with for the betterment of society.
The chorus of the song, "Mano a Mano," which means "hand to hand," emphasizes the importance of physical and emotional interaction, something that is often lost in the face of technology and screens. The song implores people to reach out to each other, face to face, heart to heart, and hand in hand -- to join together, despite their differences or fears, to create a better future, and provide an example for future generations to follow.
Line by Line Meaning
See a lot of people walking around and around
Observing people aimlessly walking in circles
terra firma turned them upside down
Their stability has been shaken and they're disoriented
too scared to reach out maybe afraid of what they'll find
They're too afraid to connect with others, fearing the unknown
but a hand stuck in a pocket come up empty every time
But refusing to reach out will only leave them feeling unfulfilled
Now you better believe the writing on the wall
It's time to acknowledge the warning signs
all for one one for all woman to woman and man to man
We should work together and support each other regardless of gender
face to face heart to heart hand to hand
We should connect on a personal level, not just superficially
Mano a Mano Hand to Hand Mano a Mann
We need to reach out and connect one-on-one with others
See a lot of people fighting for the left or the right
Observe people passionately defending their political beliefs
fighting people see black or white
They view their ideology as the only correct one and don't consider different perspectives
you'd like to go your way sure I'd like to go mine
People have different opinions and that's okay
but we're all in this together running out of time
However, we need to work together to solve issues as time is running out
set on example for all the little boys and girls
Be a role model for children
for the hand that rocks the cradle can rule the world
The influence of caregivers can shape the future
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind