A Kiss That Just Barely Made Our List

Daryl Hall and John Oates, ’70s and ’80s blue-eyed soul hit makers, preformed at the Seaside Summer Concert Series on August 6 as part of their “Up Close and Personal Tour.” The show, which drew an enthusiastic crowd, was a greatest hits retrospective that offered expert musicianship among other things, including Hall’s compromised vocals and altered versions of songs, which put a damper on an otherwise solid night of music.

This Philadelphia duo, which pays homage to soul greats, while incorporating rock and pop into their music, met at Temple University in the late 1960’s in a freight elevator after escaping from a riot at a Battle of the Bands. Their shared love of soul music (The Temptations and the “Philly Sound”) led to their musical partnership. Hall and Oates incorporated rock and soul with exquisite harmonies to give the music world eight number one hits and a song catalog that is dance-able, intelligently constructed and emotion-filled. This duo, which performed at Live Aid and on Michael Jackson’s and Lionel Ritchie’s “We Are the World” (both 1985) are an important part of the rock and roll landscape and still have a large and dedicated fan base.

The show began with “Maneater,” a 1982 number one hit from the “H20” album. The sunglass wearing Hall played his acoustic guitar while sitting on a stool for the majority of the show. He clearly could not reach some of the higher notes the song demands and his voice lacked its usual power and authority. Hall’s voice improved as the show progressed while the excellent backup vocals by Oates and band harmonies covered up this deficiency. “Family Man,” featured excellent guitar work by Oates (sans moustache) and the band’s lead guitarist ,Tom “T-Bone” Wolk.

“Out of Touch” started with an overdrawn introduction that might please some, but detracted from the brilliance of the pop masterpiece. This was a major drawback of the show. Though the live setting allows for improvisation and reworking of a band’s songs, Hall and Oates took it a bit too far. Annoying feedback, that was a problem in the early part of the show, also hurt the presentation.

“Say It Isn’t So” off the “Rock and Soul Part One” release featured a rousing, sonorous saxophone solo by Charlie DeChant and a wonderful guitar coda. At that moment, the Hall and Oates band proved they are a top-notch ensemble that still impresses. Wolk’s acoustic-electric guitar work and Charlie DeChant’s sax playing particularly shined.

“How Does It Feel To Be Back,”an extremely underrated track from 1980’s “Voices”album took the concert to another level. Oates, on lead vocals, forcefully strumming his Fender Stratocaster guitar, showed why he is an integral part of the duo’s success. “Las Vegas Turnaround (The Stewardess Song),” another forgotten gem was given new life with lilting band harmonies and Hall and Oates’ vocal interplay. This song written about Hall’s girlfriend Sara Allen, who was a flight attendant and future songwriting partner, is on Hall and Oates’s “Abandoned Luncheonette,” their maiden 1973 release on Atlantic Records.

Hall and Oates signature song, “She’s Gone” was as vocally fresh as the original version, but suffered from the aforementioned overlong introductions and interminable endings that plagued the show. This impious disregard for the sanctity of the original version of the song and the crowd’s devotion to it was annoying. It did not seem to bother most of the audience who were reveling in getting the chance to see Hall (62) and Oates (60) in the flesh.
“One on One,” a number seven charting song from 1983’s “H20 album,” took the crowd out of their seats and filled the night air with a party atmosphere. At this point in the show, Hall mentioned his internet show “Live at Daryl’s House,” which features musicians collaborating with Hall and Oates’ band on the pair’s songs and their own offerings in Hall’s homey residence. Hall also mentioned a retrospective CD boxed set that the band will release in October.

“Sara Smile,” a heartfelt soulful ballad followed from the silver covered “Daryl Hall and John Oates” release. As Hall navigated the high register demanded in singing this song, the band hit its stride as the assembled throng sang along with true emotion. This timeless classic is a rock-soul standard that will stand the test of time and inspire future generations of music lovers. DeChant’s jazzy saxophone solo added extra texture and richness to the song.

As the audience was at a fever pitch, Hall finally got up from his stool, abandoned his omnipresent acoustic guitar, and walked over to an electric piano. The beginning strains of 1981 #1 hit, “I Can’t Go for That (No Can Do)” got everyone up and shaking. The band’s percussionist joined in adding his own vocals in a call and response with Hall. A lithe saxophone solo brought the song to a soothing, melodic conclusion.

The Seaside park crowd gave the band a raucous ovation as they left the stage and would not desist until the band returned to the stage. The encore found the band in an inspired mood and making every effort to impress. The set began with “Rich Girl” from 1976’s “Bigger than Both of Us,” their first number one single that featured an excellent Telecaster solo by the band’s lead player. “You make my Dreams” (Private Eyes- 1981) began with its rousing keyboard introduction and featured Hall in improved vocal form. “Kiss on My List,” another Billboard Number one hit followed and virtually every fan present was mouthing its catchy lyrics. Hall and Oates touched the crowd and brought out warm feelings and pleasant associations with these pop opuses.

“Private Eyes,” the number one hit title track from Hall and Oates 1981 smash album closed out the performance with these musical partners visibly inspired.

The crowd left satisfied and happy they witnessed these rock-pop and soul icons giving it their all despite some vocal shortcomings on Hall’s part and other minor flaws. Despite that, it was an enjoyable night and it brought back many vivid, happy memories for a crowd that obviously had a plethora of emotion invested in these timeless classics.

Editor’s Note- You can check out video of the show here.

Sorry Steve, I know you’re the rock guru on the site, but I’m going to have to respectfully disagree with some of the things you said here.

Simply put, Daryl Hall’s voice was not what it used to be. If it wasn’t for a competent backup singer and a talented saxophonist and lead guitarist, the band would have been booed off the stage. However, since the concert was free, many were just thrilled to see the duo live, playing the songs they grew up on. Can they still throw a good party? Damn skippy, but it’s a different type of party. Gone forever are the snappy rock songs with a tint of soul and pop, replaced with long instrumentals and Hall trying to change the timbre of his old work by Oo-ing and Ah-ing for 30 seconds at the start and finish of every song.

The way he started and ended up butchering “Rich Girl” was sad proof of that.

It’s commonplace for musicians to change their tunes while live in concert, but when every song is at least two minutes longer because your lead singer can’t cut the mustard anymore, you have a big problem.

-Patrick Hickey Jr.