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.
Out Of Touch
Hall & Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Using the bodies up as we go
I'm waking up to fantasy
The shades all around aren't the colors we used to see
Broken ice still melts in the sun
And times that are broken can often be one again
We're soul alone
And soul really matters to me
You're out of touch
I'm out of time (time)
But I'm out of my head
When you're not around
You're out of touch
I'm out of time (time)
But I'm out of my head
When you're not around
Oh, ohh
Ohh
Reaching out for something to hold
Looking for a love where the climate is cold
Manic moves and drowsy dreams
Or living in the middle between the two extremes
Smoking guns hot to the touch
Would cool down if we didn't
Use them so much, yeah
We're soul alone
And soul really matters to me
Too much
You're out of touch
I'm out of time (time)
But I'm out of my head
When you're not around
You're out of touch
I'm out of time (time)
But I'm out of my head
When you're not around
Oh, ohh
Ohh
Ooh
Oh, ohh
Ohh (ohh)
(Out of touch, out of touch)
(Wow!) You're out of touch
I'm out of time
But I'm out of my head
When you're not around
You're out of touch
I'm out of time (time)
But I'm out of my head
When you're not around
You're out of touch (we're soul alone, girl)
I'm out of time
But I'm out of my head
When you're not around (not around)
You're out of touch
I'm out of time (out of touch, out of time)
But I'm out of my head (out of touch, out of time, girl)
When you're not around
You're out of touch
Reach out for something to hold (time)
But I'm out of my head
When you're not around (too cold, girl)
You're out of touch (too cold, girl)
I'm out of time (too cold, girl)
Yeah open eyes (not around)
You're out of touch (out of touch)
I'm out of time (out of time, out of touch)
But I'm out of my head (out of time)
When you're not around
You're out of touch
Yeah I'm out of time (time)
But I'm out of my head
When you're not around
The song "Out of Touch" by Hall & Oates explores feelings of disconnection and disillusionment in modern society. The opening lines, "Shake it up is all that we know, using the bodies up as we go," suggest a culture that values instant gratification and consumes people and resources without regard for the consequences. The singer laments, "I'm waking up to fantasy, the shades all around aren't the colors we used to see," implying that the world has changed and become less vibrant and authentic.
The chorus repeats the refrain, "You're out of touch, I'm out of time, but I'm out of my head when you're not around," suggesting that the singer is disconnected from others and struggling to make meaningful connections. The bridge introduces a theme of searching for love and meaning in a world that feels cold and detached, with "smoking guns hot to the touch" and a "climate" that is "too cold." The final lines, "You're out of touch, reach out for something to hold, but I'm out of my head when you're not around," suggest a longing for connection, even as the singer acknowledges that they feel disconnected and alone.
Line by Line Meaning
Shake it up is all that we know
We constantly seek new experiences and sensations to avoid boredom.
Using the bodies up as we go
We have a tendency to burn through things quickly, including our own bodies and energy.
I'm waking up to fantasy
I often find myself lost in imaginary scenarios.
The shades all around aren't the colors we used to see
Things have changed and lost their vibrancy and meaning over time.
Broken ice still melts in the sun
Even things that have been broken or damaged can eventually heal or recover under the right circumstances.
And times that are broken can often be one again
Difficult or troubled times can sometimes lead to positive outcomes or reunification.
We're soul alone
We often feel isolated or disconnected from others on a deeper level.
And soul really matters to me
Connection and authenticity with others is very important to me.
Take a look around
Reflect on the current state of things and observe the world around us.
You're out of touch
You aren't in tune or connected with the reality of the situation.
I'm out of time (time)
I feel like I'm running out of time to make a change or impact on the situation.
But I'm out of my head
I'm feeling overwhelmed and consumed by my thoughts and emotions.
When you're not around
I need your presence or guidance to help me through this situation.
Reaching out for something to hold
Looking for something stable or reliable to provide support and comfort in a difficult situation.
Looking for a love where the climate is cold
Searching for love or connection in an emotionally distant or difficult situation.
Manic moves and drowsy dreams
Feeling frenzied and exhausted at the same time, struggling with balancing high energy and exhaustion.
Or living in the middle between the two extremes
Trying to find a balance between opposite or conflicting emotions or desires.
Smoking guns hot to the touch
Dangerous or risky situations that are addictive and exciting.
Would cool down if we didn't use them so much, yeah
These risky situations wouldn't have as much power over us if we didn't rely on them so heavily.
Too much
We're indulging in excess and it's becoming harmful.
Yeah open eyes (not around)
I need to be mindful and alert to the situation, even if you're not here to help me.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Daryl F Hall, John William Oates
Lyrics Licensed & Provided by LyricFind
@NickG8420
I love the intro to this song
@daturableu
The remix has a so much better sound !
@peachandtoffee
Cool-
@ziodeterren2
Yea really cool
@choppers9909
Really really cool
@forsaken696
It’s cool
@hedgehog1684
covid out of touch
@bigdoinkers1452
so true!!!!! thank you hedge hog
@stevendevarakonda3631
It's Thursday Again
@apolloniusbeitsman5444
How is this song called?