Daryl Hall / John Oates

Vinyl Records and Rare LPs:

	Abandoned Luncheonette Audiophile - LP - MFSL 1-069 1982 Half-Speed Master With Insert. LP Pressed In Japan By JVC. Glossy, Unplayed Condition. Like Finding A New Treasure Of Yacht Rock songs. "A Great Early Career Showpiece Of (And Homage To) The Duo's Eclectic Influences As Musicians. The Album's Songs Span A Variety Of Genres, But Still Somehow All Of Them Justify Their Place On This Highly Underappreciated Classic. The Angst Ridden Pair Share A Tasteful 'Call And Response' Singing Relationship In Certain Songs, But Also Allow Each Other Space To Perform In Their Own Right(S) On Others. Production Is, For The Most Part, Akin To A Live Recording Of A Motown Classic Both In It's Organic Feel And Orchestration. However, As Many Great Albums Tend To Do, It Simultaneously Looks Both To The Past And Future By Implementing The Use Of Synthesizers (Albeit Sparingly) As A Means Of Staying Relevant And Contemporary. Truly This Is A Fine Example Of Artists Who, Being In Their Early Careers, Have Nothing To Lose By Wielding Artistic Freedom And Simply Writing For Themselves. It Always Ends Too Soon Whenever I Listen To It." Mike Raymond, AMG. more
	Abandoned Luncheonette New - LP - FRM 7269 2010 Gatefold Reissue On 180 Gram Vinyl. New, Unplayed Copy. 1973 Was An Amazing Year For Daryl Hall And John Oates As They Ushered Their Superstar Paths Further With The Incredible Masterpiece Abandoned Luncheonette. Produced By The Great Arif Mardin (Aretha Franklin), This Nine-Song Album Fused With Classic Philly Soul, Rock And Acoustic Pop Anthems Delivered In A Big Way For The History Making Duo. Including The Huge Hit Single "She's Gone," As Well As Favorites "When The Morning Comes" And The Celebrated Title Track, Hall And Oats Second Album Was A Watershed Release Which Has Rewarded Them With Non-Stop Success For The Past Four Decades. more
	Bigger Than Both Of Us New - LP - MOVLP561 Sealed, Out Of Print 2012 Reissue On 180 Gram Vinyl. more
	H2O New - LP - AFL1-4383 Sealed 1982 Stereo Original. more
	H2O Used - LP - AFL1-4383 1982 Stereo Original, Indianapolis Pressing. Contains Their Huge Hit "Maneater". "Private Eyes Solidified Hall & Oates' Status As One Of The Most Popular Acts In America In The Early '80s, And With 1982's H2o, They Capitalized On Its Success, Delivering An Album That Turned Out To Be Bigger Than Its Predecessor, As It Climbed Higher On The Charts And Launched Three Top Ten Singles With "Maneater," "One On One," And "Family Man." Bigger Isn't Necessarily Better, Though, And In Comparison To The Glistening Pop Of Private Eyes, H2o Pales Somewhat, Coming Across As A Little Too Serious, With Its Ambitions Just Being A Little Too Evident. Take The Claustrophobic, Paranoid "Family Man" -- Covering An Art Rocker Like Mike Oldfield Suggests A Far Different Agenda Than Crafting A Tribute To The Temptations, And While "Family Man" Isn't As Key To The Album As "Looking For A Good Sign" Was To Private Eyes, It Does Indicate The Relatively Somber Tone Of H2o. Not That The Album Is A Tortured Dark Night Of The Soul -- How Could It Be, When John Oates Kicks Off The Second Side With The Proudly Silly "Italian Girls"? -- But The Production And Performances Are Precise And Deliberate, Effectively Muting The Pop Thrills That Spilled Over On Its Predecessor. Even If The Album Was Recorded With Hall & Oates' Touring Band -- Something That The Duo And Their Co-producer Neil Kernon Confirm In The Excellent Liner Notes By Ken Sharp In The 2004 Reissue -- H2o Feels As If Most Songs Were Cut To A Click Track, And Are Just Slightly Too Polished For Their Own Good; When The Productions Open Up A Bit, The Band Still Sounds Terrific, But They Never Are Given The Opportunity To Sound As Big And Bold As They Do On Private Eyes. This, Coupled With A Few Drawn-out Duds (Such As The Vaguely Atmospheric "At Tension") Means H2o Isn't Quite As Sharp And Bracing As Anything The Duo Had Released Since X-static, And The Fact That Two Of The Best Moments Are Huge Hits -- The Prowling "Maneater" And "One On One," Perhaps The Most Seductive Song Daryl Hall Ever Wrote -- May Suggest That This Is Closer To Singles-plus-filler Than It Really Is. The Best Of The Rest Of H2o Reveals That Hall & Oates Are At A Near-peak In Their Creativity, Writing Tuneful, Soulful Fusions Of Pop, Soul, And New Wave. "Crime Pays" Has An Appealing Robotic Synth Pop Groove, "Art Of Heartbreak" Rides A Tense Guitar Line To A Great Horn Line On The Chorus, The Jealous Anthem "Open All Night" Slinks By On A Stylized Late-night Groove, "Go Solo" Hails Back To Hall's Arty Sacred Songs, And "Delayed Reaction" Is A Sterling Piece Of Propulsive Near-power Pop. Even If They Don't Gel Into An Album As Strong As Voices Or Private Eyes, They're Pretty Terrific Pop In Their Own Right. They're Not Just Evidence That Hall & Oates' Popularity In The Early '80s Was Earned And Well Deserved, They Hold Up Very Well Decades After H2o Ruled The Charts." AMG Review By Stephen Thomas Erelwine. more
	H2O Used - LP - AFL1-4383 1982 Stereo Original. Contains Their Huge Hit "Maneater". "Private Eyes Solidified Hall & Oates' Status As One Of The Most Popular Acts In America In The Early '80s, And With 1982's H2o, They Capitalized On Its Success, Delivering An Album That Turned Out To Be Bigger Than Its Predecessor, As It Climbed Higher On The Charts And Launched Three Top Ten Singles With "Maneater," "One On One," And "Family Man." Bigger Isn't Necessarily Better, Though, And In Comparison To The Glistening Pop Of Private Eyes, H2o Pales Somewhat, Coming Across As A Little Too Serious, With Its Ambitions Just Being A Little Too Evident. Take The Claustrophobic, Paranoid "Family Man" -- Covering An Art Rocker Like Mike Oldfield Suggests A Far Different Agenda Than Crafting A Tribute To The Temptations, And While "Family Man" Isn't As Key To The Album As "Looking For A Good Sign" Was To Private Eyes, It Does Indicate The Relatively Somber Tone Of H2o. Not That The Album Is A Tortured Dark Night Of The Soul -- How Could It Be, When John Oates Kicks Off The Second Side With The Proudly Silly "Italian Girls"? -- But The Production And Performances Are Precise And Deliberate, Effectively Muting The Pop Thrills That Spilled Over On Its Predecessor. Even If The Album Was Recorded With Hall & Oates' Touring Band -- Something That The Duo And Their Co-producer Neil Kernon Confirm In The Excellent Liner Notes By Ken Sharp In The 2004 Reissue -- H2o Feels As If Most Songs Were Cut To A Click Track, And Are Just Slightly Too Polished For Their Own Good; When The Productions Open Up A Bit, The Band Still Sounds Terrific, But They Never Are Given The Opportunity To Sound As Big And Bold As They Do On Private Eyes. This, Coupled With A Few Drawn-out Duds (Such As The Vaguely Atmospheric "At Tension") Means H2o Isn't Quite As Sharp And Bracing As Anything The Duo Had Released Since X-static, And The Fact That Two Of The Best Moments Are Huge Hits -- The Prowling "Maneater" And "One On One," Perhaps The Most Seductive Song Daryl Hall Ever Wrote -- May Suggest That This Is Closer To Singles-plus-filler Than It Really Is. The Best Of The Rest Of H2o Reveals That Hall & Oates Are At A Near-peak In Their Creativity, Writing Tuneful, Soulful Fusions Of Pop, Soul, And New Wave. "Crime Pays" Has An Appealing Robotic Synth Pop Groove, "Art Of Heartbreak" Rides A Tense Guitar Line To A Great Horn Line On The Chorus, The Jealous Anthem "Open All Night" Slinks By On A Stylized Late-night Groove, "Go Solo" Hails Back To Hall's Arty Sacred Songs, And "Delayed Reaction" Is A Sterling Piece Of Propulsive Near-power Pop. Even If They Don't Gel Into An Album As Strong As Voices Or Private Eyes, They're Pretty Terrific Pop In Their Own Right. They're Not Just Evidence That Hall & Oates' Popularity In The Early '80s Was Earned And Well Deserved, They Hold Up Very Well Decades After H2o Ruled The Charts." All Music Guide - Stephen Thomas Erelwine. more
	H2O Used - LP - AFL1-4383 1982 Stereo Original, Indianapolis Pressing. Still In Shrink. Contains Their Huge Hit "Maneater". Two Tiny Corner Dings. "Private Eyes Solidified Hall & Oates' Status As One Of The Most Popular Acts In America In The Early '80s, And With 1982's H2o, They Capitalized On Its Success, Delivering An Album That Turned Out To Be Bigger Than Its Predecessor, As It Climbed Higher On The Charts And Launched Three Top Ten Singles With "Maneater," "One On One," And "Family Man." Bigger Isn't Necessarily Better, Though, And In Comparison To The Glistening Pop Of Private Eyes, H2o Pales Somewhat, Coming Across As A Little Too Serious, With Its Ambitions Just Being A Little Too Evident. Take The Claustrophobic, Paranoid "Family Man" -- Covering An Art Rocker Like Mike Oldfield Suggests A Far Different Agenda Than Crafting A Tribute To The Temptations, And While "Family Man" Isn't As Key To The Album As "Looking For A Good Sign" Was To Private Eyes, It Does Indicate The Relatively Somber Tone Of H2o. Not That The Album Is A Tortured Dark Night Of The Soul -- How Could It Be, When John Oates Kicks Off The Second Side With The Proudly Silly "Italian Girls"? -- But The Production And Performances Are Precise And Deliberate, Effectively Muting The Pop Thrills That Spilled Over On Its Predecessor. Even If The Album Was Recorded With Hall & Oates' Touring Band -- Something That The Duo And Their Co-producer Neil Kernon Confirm In The Excellent Liner Notes By Ken Sharp In The 2004 Reissue -- H2o Feels As If Most Songs Were Cut To A Click Track, And Are Just Slightly Too Polished For Their Own Good; When The Productions Open Up A Bit, The Band Still Sounds Terrific, But They Never Are Given The Opportunity To Sound As Big And Bold As They Do On Private Eyes. This, Coupled With A Few Drawn-out Duds (Such As The Vaguely Atmospheric "At Tension") Means H2o Isn't Quite As Sharp And Bracing As Anything The Duo Had Released Since X-static, And The Fact That Two Of The Best Moments Are Huge Hits -- The Prowling "Maneater" And "One On One," Perhaps The Most Seductive Song Daryl Hall Ever Wrote -- May Suggest That This Is Closer To Singles-plus-filler Than It Really Is. The Best Of The Rest Of H2o Reveals That Hall & Oates Are At A Near-peak In Their Creativity, Writing Tuneful, Soulful Fusions Of Pop, Soul, And New Wave. "Crime Pays" Has An Appealing Robotic Synth Pop Groove, "Art Of Heartbreak" Rides A Tense Guitar Line To A Great Horn Line On The Chorus, The Jealous Anthem "Open All Night" Slinks By On A Stylized Late-night Groove, "Go Solo" Hails Back To Hall's Arty Sacred Songs, And "Delayed Reaction" Is A Sterling Piece Of Propulsive Near-power Pop. Even If They Don't Gel Into An Album As Strong As Voices Or Private Eyes, They're Pretty Terrific Pop In Their Own Right. They're Not Just Evidence That Hall & Oates' Popularity In The Early '80s Was Earned And Well Deserved, They Hold Up Very Well Decades After H2o Ruled The Charts." AMG Review By Stephen Thomas Erlewine. more
	Livetime New - LP - AFL1-2802 Sealed 1978 Original With Custom Hype Sticker On Shrink Wrap. First Copy We Have Had In Stock In Six Years. more
	Ooh Yeah! New - LP - AL 8539 Sealed 1988 CRC Pressing, Done At The Carrollton Plant. No Cuts. more
	Private Eyes New - LP - AFL1-4028 Sealed 1981 Original. “Hall & Oates Were In The Middle Of Recording Private Eyes When Voices Suddenly, Unexpectedly Broke Big, With "Kiss On My List" Reaching Number One Not Just On The Billboard Charts, But In Cashbox And Record World. As The Album's Producer, Neil Kernon, Admits In Ken Sharp's Liner Notes To The 2004 Reissue Of The Album, Everybody Knew That The New Record Would Have To Do Better Than Voices, But Even If Hall & Oates Were Under A Lot Of Pressure, They Were In The Fortunate Position Of Not Just Having Reintroduced Their Modernized, New Wave-Influenced Blue-Eyed Soul On Their Previous Record, But They Already Had Much Of The Material Nailed Down. In Other Words, The Sound And Songs On Private Eyes Were Essentially Conceived When The Group Was Confident Of The Artistic Breakthrough Of Voices But Not Swaggering With The Overconfidence Of Being The Biggest Pop Act In America, And The Result Is One Of Their Best Albums And One Of The Great Mainstream Pop Albums Of The Early '80s. Hall & Oates Don't Repeat The Formula Of Voices; They Expand It, Staying Grounded In Pop-Soul But Opening Up The Stylized Production, So It Sounds Both Cinematic And Sharp. Lots Of Subtle Effects Are Layered On The Voices, Guitars, And Pianos As They Mingle With Synthesized Instruments, From The Keyboard Loops That Give "Head Above Water" A Restless Momentum To The Drum Machine That Lends "I Can't Go For That (No Can Do)" A Sexy, Seductive Groove.” - Stephen Thomas Erlewine, AMG more
	Rock 'N Soul Part 1 Used - LP - CPL1-4858 1984 Greatest Hits LP Featuring Two New Songs And A Giant 1984 Color Calendar And Custom Inner Sleeve. LP Appears Glossy, Unplayed. more
	Rock 'N Soul Part 1 Used - LP - CPL1-4858 1984 US Black & Red Cover Version, Indianapolis Pressing. Still In Shrink With Original Inner & 1984 Calendar Fold-Out Insert. A Greatest Hits LP Featuring Two New Songs. "Released At The Peak Of Hall & Oates' Popularity In The Early '80s, 1983's Rock 'n Soul, Pt. 1: Greatest Hits Effectively Chronicles The Time When The Duo Could Do No Wrong -- Namely, The Period Between 1980's Voices And 1982's H2o, Which Includes Only One Other Album, 1981's Excellent Private Eyes. While This Reaches Back To Their Early-'70s Work For Atlantic For "She's Gone," The Only Big Hit They Had At The Label, And Also Has Their Two Other Big Hits From That Decade, "Sara Smile" And "Rich Girl," The Bulk Of Rock 'n Soul, Pt. 1 Derives From Those Three Albums: "Kiss On My List," "You Make My Dreams," "Private Eyes," "I Can't Go For That (No Can Do)," "Maneater," And "One On One." That's A Long List Of Singles, But It Still Misses Some Terrific Singles From This Era, Including "How Does It Feel To Be Back," "Did It In A Minute," "Family Man," And "You've Lost That Lovin' Feeling" (The Latter Two Were Included As Bonus Tracks On Rca/legacy's 2006 Reissue). As Good As Those Songs May Be, Rock 'n Soul, Pt. 1 Doesn't Necessarily Miss Them: With The Exception Of A Live Version Of "Wait For Me" (Good, But Not Essential), This Is The Cream Of The Crop Of Hall & Oates' Best Period, And It Makes For A Tight, Excellent Listen, And It's Bolstered By The Sublime "Say It Isn't So" And The Good Rocker "Adult Education." Latter-day Compilations Like 2001's Very Best Of Daryl Hall & John Oates And 2004's Ultimate (Which Was Reissued A Year Later Under The Title Essential) May Cover Their Entire Career In More Detail -- And The Duo Certainly Made Great Music Before And After This Era -- But As A Snapshot Of Hall & Oates At Their Finest, Rock 'n Soul, Pt. 1: Greatest Hits Can't Be Beat." AMG Review By Stephen Thomas Erlewine. more