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.
Soldering
Hall & Oates Lyrics
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Soldering
Soldering it's what the young girl needs
Soldering
She says she don't want the young buy,
The young boy drink too much white rum
She says she don't want the soul man,
She says she don't want the dread lock
'Cause dread lock smoke too much Haile
Soldering it's what the young girl wants
Soldering
When you check it out the young boy is undecided
And the dread lock is getting natty groove
While the old man he's watching them move
And the soul boy he start to prove
Soldering it's what the young girl wants
Soldering
Soldering it's what the young girl needs
Soldering
Oh young girl want soldering
The song "Soldering" by Hall & Oates is a reggae-inspired track that talks about what a young girl wants and needs in a partner. The lyrics make use of the term "soldering" which is a Jamaican slang for a sexually intimate encounter between two people. The repeated chorus that goes "Soldering it's what the young girl wants, soldering it's what the young girl needs" suggests that this young girl desires a physical connection with her partner.
In the verses, the song talks about the different types of men this young girl does not want. The lines "She says she don't want the young buy, the young boy drink too much white rum" suggest she is not interested in a young boy who drinks excessively. The next line "She says she don't want the soul man, 'cause soul man fall asleep in bed" implies that she does not want a man who is only interested in soul music or relaxed in bed. The lyrics "She says she don't want the dread lock 'cause dread lock smoke too much Haile" could be interpreted as the girl not wanting a man who smokes too much marijuana.
The second verse refers to the different types of men around the young girl but none of them offering what she is looking for in a partner. The lyrics "When you check it out the young boy is undecided, and the dread lock is getting natty groove, while the old man he's watching them move, and the soul boy he starts to prove" reinforce how the young girl is on the lookout for someone who can satisfy her desires intimately.
Overall, "Soldering" highlights the young girl's need for physical affection while making references to different Jamaican slangs and music genres. The upbeat reggae rhythm, combined with the playful lyrics, make it an enjoyable and funky track.
Line by Line Meaning
Soldering it's what the young girl wants
The young girl desires intimacy and connection.
Soldering
Emphasizes the importance of soldering, or bonding, in a relationship.
Soldering it's what the young girl needs
The young girl requires a deeper emotional connection and commitment from her partner.
She says she don't want the young buy,
The young girl is not interested in a boy who is immature and inexperienced.
The young boy drink too much white rum
The young boy has a tendency to engage in reckless behavior and substance abuse.
She says she don't want the soul man,
The young girl is not interested in a man who is emotionally distant or uninvolved.
'Cause soul man fall asleep in bed
The soul man lacks passion and energy in the relationship.
She says she don't want the dread lock
The young girl is not interested in a man who is too focused on his appearance or image.
'Cause dread lock smoke too much Haile
The dread lock has a habit of smoking marijuana and potentially other drugs.
When you check it out the young boy is undecided
The young boy is uncertain about his feelings and intentions in the relationship.
And the dread lock is getting natty groove
The dread lock is developing a laid-back and carefree attitude.
While the old man he's watching them move
An older man is observing the younger generation's behavior.
And the soul boy he start to prove
The soul man is attempting to demonstrate his commitment and affection to the young girl.
Soldering it's what the young girl wants
The young girl's desire for intimacy and connection remains consistent.
Soldering
Emphasizes the importance of soldering, or bonding, in a relationship (repeated for emphasis).
Soldering it's what the young girl needs
The young girl continues to require a deeper emotional connection and commitment from her partner.
Oh young girl want soldering
Reiterates the young girl's desire for intimacy and connection.
Lyrics © O/B/O APRA AMCOS
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