Though he was a primary guitarist, he also co-wrote eight Billboard Number One songs such as: "Sara Smile" (with Daryl Hall) , "You Make My Dreams" (with Sara Allen & Daryl Hall), "She's Gone" (with Daryl Hall), "I Can't Go For That (No Can Do)" (with Sara Allen & Daryl Hall), "Maneater" (with Sara Allen & Daryl Hall), "Out of Touch" (with Daryl Hall), "Everytime You Go Away" (with Daryl Hall - as covered by Paul Young) and "Adult Education" (with Daryl Hall & Sara Allen).
He also sang lead vocals and has written or co-written a few less popular singles that did not make it to the Billboard's Top 10 such as: "How Does It Feel to Be Back", "You've Lost That Loving Feeling" and "Possession Obsession" (with Sara Allen & Daryl Hall). In addition to his work with Hall, Oates co-wrote and sang back-up on the song "Electric Blue" by the band Icehouse which was a Billboard Top Ten hit.
Complete BIO From JohnOates.com
John Oates was destined to be a musician. Singing from the time he could talk and playing the guitar since the age of five, his calling in life was never in question. Born in New York City, his family moved to a small town outside of Philadelphia Pennsylvania in the early 50ā²sā¦. a move that would change the course of his life. Like most kids at that time, the impact of the early days of rock left an lasting impression on John. At the age of four he witnessed his first live concert: Bill Haley and the Comets playing their classic rockabilly hits at a local amusement park. Then there were the recordsā¦
He began to collect 45 rpm singles ā¦treasures from Little Richard, Chuck Berry, the Everly Brothers, Gary U.S. Bonds and of course, Elvis. He spent countless hours twisting the dial on his AM transistor radio trying to tune in the local R&B stations and listening to DJs like Jerry Blavat spinning obscure Doo Wop records and B sides.
When it came to influences John was open to more than just the top 40 hitsā¦his friendsā older brother turned him on to the nascent folk music scene that began to sweep the country in the early 60ā²s. Johnās interest in traditional American music began and he immersed himself in the Childās Ballads, Joan Baez, Rev. Gary Davis, Dave Von Ronk and all the rediscovered bluesmen who began to make appearances at the Newport and Philadelphia folk festivals. Absorbing it all developed a kind of musical split personality. One night he might be wearing a shark skin suit playing everything from Doo Wop covers to the big R&B hits of the day with his band and the next night he would be playing his acoustic guitar in a local coffee house singing Appalachian folk balladsā¦to this day the very same roots and influences still can be heard in Johnās original playing and singing style.
In the late 60ā²s John moved to Philadelphia to attend Temple University and check out the cityās music scene. In 1966 he wrote and recorded his first single āI Need Your Loveā which was released on the label owned by a local music store called the Record Museum. The song was arranged by Bobby Martin who at the time was producing and arranging for Gamble and Huff. The single received airplay on Phillyās R&B radio stations and John began to divide his time between being a student and a professional musician.
Around the same time he met an influential guitar player/ teacher named Jerry Ricks who had spent time on the road with Mississippi John Hurt and Son House. Jerry took John under his wing and introduced him to many of the newly rediscover folk performers, such as Doc Watson, Sonny Terry and Brownie McGee and Mississippi John for whom Philadelphiaās folk venues, like the Second Fret and Main Point, were frequent stops in their concert schedules.
John had the unique opportunity to play alongside some of these seminal musicians learning first hand, their finger picking and flat picking styles.
When John first met Daryl Hall it was their mutual love for urban rhythm and blues blended with the more rural roots of American music that created their unique sound.
Since the formation of their partnership in the early 70ā²s Hall & Oates have gone on to record 21 albums which have sold over 80 million units making them the most successful duo in rock history. They have scored 10 number one records, over 20 top 40 hits and have toured the world for decades. Their involvement in the original āLive Aidā concert and the ground breaking āWe Are The Worldā charity recording have further established them as legendary artists who have personally and through their music, stood the test of time. Their influence on modern pop music has been cited by numerous contemporary bands, like the Gym Class Heroes and the Killers, who have credited and acknowledged H&Oās considerable contribution to American music.
In addition to their numerous American Music and MTV awards, in 2005 they were inducted into the American Songwriters Hall of Fame and in May of 2008 will were presented the prestigious BMI Icon Award for their outstanding career achievement in song writing.
John continues to support many national and local charities. He has recorded three solo albums, the most recent entitled āMississippi Mileā, in Nashville featuring an amazing collection of some of the worldās top musicians.
In 2009, in association with the Historic Wheeler Opera House in Aspen Colorado, John created a singer/songwriter series entitled: The Stories Behind the Songsā. Performing with Patty Griffin, Tift Merritt, Jimmy Wayne and other well known songwriters in an acoustic setting. The series was such an overwhelming success that it has been expanded into an annual event.
7908 THE ASPEN SONGWRITERS FESTIVAL
The festival, now in its third year, takes place in Aspen Colorado and has featured songwriters such as: Keb Mo, Shawn Colvin, Allen Toussaint, Matt Nathenson, Jim Lauderdale, Kenny Loggins, Gary Burr and many others.
When, not touring with his solo show or with Daryl Hall, he divides his time between Nashville and his ranch in the Rocky Mountains of Colorado, with his wife and son along with 3 dogs, a flock of Emus, Llamas and Alpacas. In his free time he enjoys driving his tractor, riding his mountain bike, hiking the backcountry and telemark skiing.
Family Man
John Oates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She took her standard pose as she presented herself
She had sultry eyes
She made it perfectly plain that she was his for a price
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
She wore her hurt surprise
As she rechecked her make-up to protect herself
Dropped her price and pride
She made it totally clear that she was his for a night
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
She gave him her look
It would have worked on any other man around
He looked her up and down
She knew he couldn't decide if he should hold his ground
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He's just "Leave me alone, I'm a family man (oh oh)
If you push me too far I just might" (ayy)
She turned, tossed her head
Unlike her opening move, her final exit line
He waited much too long
But by the time he got his courage up she was gone
Then he screamed, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man (oh oh)
If you push me too far, I just might"
He said, "Leave me alone, I'm a family man
And I don't think I want it tonight"
Then he said, "Leave me alone, I'm a family man (oh oh)
If you push me too far I just might"
He said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man (oh oh)
If you push me too far I just might"
He said, "Leave me alone, I'm a family man
Don't leave me alone 'cause I got to go home please
Leave me alone, I'm a family man"
The song "Family Man" revolves around a man who is tempted with the prospect of infidelity outside his marital life. The singer of the song is approached by a woman who is open about her willingness to engage in a paid sexual encounter with the individual. However, the man insists that he is a "family man" and declines her advances. He emphasizes that while he might have a tough exterior, he values his family life and will not abandon his principles or sacrifice his family's well-being despite temptations.
The song conveys a moral message about the importance of personal values, fidelity, and familial bonds. The singer's tough exterior indicated by his "bark is much worse than my bite" phrase echoes the overarching theme of the song, which stresses on the idea of staying true to one's commitments and principles regardless of external enticements. The song highlights the importance of family values and the firm belief in them to help individuals navigate through difficult times.
Line by Line Meaning
She had sulky smile
She appeared unhappy or resentful, with a slight downward curve on her lips
She took her standard pose as she presented herself
She stood in a typical, rehearsed way as she introduced herself
She had sultry eyes
Her eyes were suggestive, alluring or seductive
She made it perfectly plain that she was his for a price
She made it clear that she was willing to engage in a transactional relationship
But he said, "Leave me alone, I'm a family man
He expressed that he was committed to his family and didn't want to be involved
And my bark is much worse than my bite"
He warned that his words or actions may seem harsher than his true intentions
He said, "Leave me alone, I'm a family man
He repeated that he prioritized his family above anything else
If you push me too far I just might"
He cautioned that if she persisted, he may be compelled to act outside of his values
She wore her hurt surprise
She showed a mix of emotions, including disappointment and shock
As she rechecked her make-up to protect herself
She adjusted her makeup, possibly as a way of shielding herself from feeling exposed
Dropped her price and pride
She gave up both her monetary demands and her sense of self-respect
She made it totally clear that she was his for a night
She made an unambiguous offer to engage in a short-term, purely physical relationship
She gave him her look
She made eye contact with him, possibly attempting to convey attraction or seduction
It would have worked on any other man around
Her look would have been successful in tempting or persuading most other men
He looked her up and down
He assessed her physical appearance, possibly as a way of deciding whether or not to engage with her
She knew he couldn't decide if he should hold his ground
She was aware that he was indecisive about whether or not to maintain his original commitment to his family
She turned, tossed her head
She flipped her hair as she left, possibly attempting to convey indifference or disinterest
Unlike her opening move, her final exit line
Her last words were different from her original approach
But by the time he got his courage up she was gone
He waited too long to make a decision, and lost his chance to engage with her
Then he screamed, "Leave me alone, I'm a family man
He got frustrated and expressed his commitment to his family even more emphatically
He said, "Leave me alone, I'm a family man
He repeated his earlier statement, indicating how important it was to him
And I don't think I want it tonight"
He admitted that he had no interest in engaging with her that evening
Don't leave me alone 'cause I got to go home please
He acknowledged that he needed to return to his family, and requested that she not pursue him any further
Lyrics Ā© BMG Rights Management, Universal Music Publishing Group, CONCORD MUSIC PUBLISHING LLC
Written by: David Brough Pert-Morris, Eddie Fenn, Maggie Reilly, Michael Gordon Oldfield, Mike Fry, Timothy Kjell Cross
Lyrics Licensed & Provided by LyricFind
@edkeaton1085
Any song from "Hall and Oates" from the 80's will always be a classic to me. They have a lot of heart and soul. Awesome group!
@markgoodwin7442
Love these guys so does my pop who is 74
@edkeaton1085
Mark Goodwin Right on! I have been a big fan of Hall & Oates since the eighties, bro!
@tracyconner1497
Ed Keaton same š
@ozzyhoang3499
@@edkeaton1085 I have 30 favorite bands of the '80s, but since the '90s up till now 2022..... I have none, big 0 band to like....Music is dead!
@alexandermakrianis
Yes sir, you are right on the money! 1980s Hall and Oats is the best!
@rodneycox5798
One of the most underated Hall and Oates songs EVER
@nexxxus7498
GE Smith kills it on the lead guitar. He is so underrated!!! He is one of the greatest guitarist out there. He doesnāt get his due because he was mostly a studio player. The guy is absolutelyš„š„š„!!!
@micway71
He was getting it!! You know he could probably hang with just about anyone plucking! Nice sound too!
@lauramayfield5410
He was with the house band for SNL back in the day xo