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.
Rich Girl
Hall & Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
'Cause you know it don't matter anyway
You can rely on the old man's money
You can rely on the old man's money
It's a bitch girl but it's gone too far
'Cause you know it don't matter anyway
Say money, but it won't get you too far
Get you too far
And don't you know, don't you know
That it's wrong to take what is given you
So far gone, on your own
You could get along if you try to be strong
But you'll never be strong 'cause
You're a rich girl, and you've gone too far
'Cause you know it don't matter anyway
You can rely on the old man's money
You can rely on the old man's money
It's a bitch girl and it's gone too far
'Cause you know it don't matter anyway
Say money, but it won't get you too far
Get you too far
High and dry, out of the rain
It's so easy to hurt others when you can't feel pain
And don't you know that a love can't grow
'Cause there's too much to give, 'cause you'd rather live
For the thrill of it all, oh
You're a rich girl, and you've gone too far
'Cause you know it don't matter anyway
You can rely on the old man's money
You can rely on the old man's money
It's a bitch girl and it's gone too far
'Cause you know it don't matter anyway
Say money, but it won't get you too far
Say money, but it won't get you too far
Say money, but it won't get you too far
Get you too far
And you say
You can rely on the old man's money
You can rely on the old man's money
You're a rich girl, a rich girl
Oh, you're a rich, rich girl yeah
Say money, but it won't get you too far, oh
The lyrics to Hall & Oates’s “Rich Girl” presents a commentary on wealth and privilege. The song begins by addressing the titular “rich girl” and acknowledges her privilege, as she can “rely on the old man’s money.” The old man in question can be interpreted as the girl’s father or any figure of authority with wealth and resources. The singer implies that the girl has taken her privilege “too far” and suggests that she has relied on it excessively, to the point where it has become a hindrance. Despite her wealth, the singer argues that money won’t provide her with true happiness or help her grow as a person.
The second verse continues the critique and encourages the rich girl to try to be strong and independent. The singer claims that the girl has been “so far gone” and needs to learn to stand on her own two feet. The bridge of the song highlights the effects of the girl’s privilege and the way it affects her ability to form emotional connections with others. She’s “high and dry, out of the rain,” and unable to feel pain or love as deeply as someone who hasn’t relied on wealth and resources throughout their life. The chorus repeats the critique from the beginning, stating that while money can provide a certain level of ease, it won’t always provide true fulfillment or happiness.
Line by Line Meaning
You're a rich girl, and you've gone too far
You come from a wealthy background but you've become too entangled in the privileges that money can buy.
'Cause you know it don't matter anyway
You're aware that your wealth and status won't bring you true happiness or fulfillment.
You can rely on the old man's money
You depend heavily on the financial support of your father.
It's a bitch girl but it's gone too far
The reliance on your family's money has become problematic and excessive.
Say money, but it won't get you too far
Wealth won't make you truly happy or buy you love and loyalty from others.
Get you too far
Your wealth won't see you through every challenge or problem in life.
And don't you know, don't you know
You should be aware and cautious of the consequences of relying heavily on your family's money.
That it's wrong to take what is given you
It's not ethical to assume that you deserve privileges and advantages just because you were born into a rich family.
So far gone, on your own
Without the support of your father's money, you would be struggling to keep up with the lifestyle you lead.
You could get along if you try to be strong
You could manage to survive without relying on your father's money if you are willing to work hard and make efforts.
But you'll never be strong 'cause
Sadly, the excess and ease that comes with your wealth and privilege has made you weak and incapable of being independent.
High and dry, out of the rain
You have everything you need to live comfortably but you lack the real satisfaction that comes from overcoming struggles or challenges.
It's so easy to hurt others when you can't feel pain
Your wealth insulates you from the real problems most people face thereby undermining your ability to empathize and relate with others.
And don't you know that a love can't grow
You should realize that genuine love and meaningful connections come from values and virtues that money can't buy.
'Cause there's too much to give, 'cause you'd rather live
Your constant pursuit of more money and material possessions keeps you from giving and contributing to society and relationships meaningfully.
For the thrill of it all, oh
You are more interested in meaningless indulgences than the real purpose and meaning of life.
You're a rich girl, a rich girl
Your wealth defines you more than who you are as a person, your character or your individual strengths.
Oh, you're a rich, rich girl yeah
Your privilege to access expensive things and services has left you with an empty sense of self-worth and an identity that is often shallow or insincere.
Say money, but it won't get you too far, oh
No amount of money can ever substitute for the fundamental things that truly matter in life such as meaningful values, relationships, and purpose.
Lyrics © Warner Chappell Music, Inc.
Written by: Daryl Hall
Lyrics Licensed & Provided by LyricFind
@Bigeazy87
Always will be one of the greatest from this magical duo!
@ernestgreen6821
As a teenager in the 80’s these guys were the best!
Breathtaking, with first loves and breakups….wow this is what we listen to!
LOL
Great memories!
@sharpvidtube
They were great, "Out of Touch" is my favourite, hope you get around to it one day.
@tropicalpancake56
LOVE this! Thanks so much!
@nikolay6373
Бесподобно! 👏👏👏!!!
@penniidema8586
❣❣
@janetroberts1172
Love This and remember it they were ace xx❤