Hall and Oates – Daryl Hall & John Oates

More Hall and Oates

  • Here the duo’s voices are rich, clear and present – they’re breathier and yet more natural, a combination that works wonders on this copy and is the main reason it won our shootout
  • Man, this is one tough nut to crack– gritty vocals, thin vocals, recessed vocals, smeary vocals — this music is all about the vocals and the vocals leave a lot to be desired on most of the copies we’ve played over the years
  • 4 1/2 stars: “… much of the album is lush and catchy, featuring ballads and midtempo numbers that are nearly as engaging as the duo’s breakthrough single, ‘Sara Smile.'”

This vintage RCA pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What the best sides of Daryl Hall & John Oats have to offer is not hard to hear

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1975
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We’re Listening For on Daryl Hall & John Oats

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.

TRACK LISTING

Side One

Camellia 
Sara Smile 
Alone Too Long 
Out of Me, Out of You
Nothing at All

Side Two

Gino (The Manager) 
It Doesn’t Matter Anymore
Ennui on the Mountain 
Grounds for Separation 
Soldering

AMG  Review

… much of the album is lush and catchy, featuring ballads and midtempo numbers that are nearly as engaging as the duo’s breakthrough single, “Sara Smile.”

Hall & Oates

Daryl Hall and John Oates (often shortened to Hall & Oates) are an American duo who achieved their greatest fame in the late 1970s and early to mid-1980s. Both sing and are multi-instrumentalists. They specialized in a fusion of rock and roll and rhythm and blues styles, which they dubbed “rock and soul.”

Critics Stephen Thomas Erlewine and J. Scott McClintock write,[1] “at their best, Hall & Oates’ songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them by incorporating elements of new wave and hard rock.” On some tours and dates, established soul and blues artists performed in the duo’s band.

Their “…smooth, catchy take on Philly soul brought them enormous commercial success” in the 1970s and 1980s. They are best known for their six #1 hits on the Billboard Hot 100: “Rich Girl”, “Kiss on My List”, “Private Eyes”, “I Can’t Go for That (No Can Do)”, “Maneater”, and “Out of Touch”, as well as many other songs which charted in the Top 40.

Wikipedia