I Love John Oates Even More Than I Hate Sarah Palin's Smile: Meet the Man Behind the Mustache

In the movie Music & Lyrics, a woefully undervalued cinematic gem, Hugh Grant brilliantly plays the other half of a pop British duo -- think Wham's Andrew Ridgely -- who comes into his own personally and professionally rather late in the pop game. Every time I watch the film on HBO in the middle of the night, which is often, I think of John Oates, a great guy I've been a fan of since my youth and had the pleasure of getting to know a bit over the years.

John is, of course, that fine fellow who comes after the ampersand in Hall & Oates - the most commercially successful duo of all time and a group I love with every bit of my green-eyed soul. Growing up in New Jersey I learned almost everything I ever really needed to know about Philly soul from these two. Abandoned Luncheonette was one of my favorite albums when I was a teenager, and is one of my favorite albums today -- when I am far from a teenage. In the Eighties, of course, they ruled the airwaves for a long span.

Yet in a sense, Hall & Oates became victims of their own runaway success -- and early MTV overexposure -- and too rarely get the respect they deserve. Even within the confines of Hall & Oates, John Oates rarely gets proper respect -- call it an unavoidable occupational hazard of standing onstage with Daryl Hall, the single best white soul singer in the entire world. Don't believe me about Daryl -- listen to "Sara Smile" again, and please try not to think of any unqualified Republican candidate for Vice President. Yet for my love of money, Hall & Oates' greatest moments have come when both the name partners blend their two voices -- most notably on "She's Gone," simply one of the greatest songs of the Seventies and one that for me has never dated one bit.

In 2002, John Oates finally got around to putting out his first solo album, the memorably titled Phunk Shui and I liked it a lot. That album gave you a better sense of the man behind the mustache -- a patch of hair that for the record exists now only in our collective Eighties memory. Apparently on a roll, John is just about to put out his second solo effort, 1000 Miles of Life, and it is fantastic, a luminous, lived-in song cycle combining folk, country and even bluegrass with a whole lot of rocking soul.

Wonderful things can happen on both sides of the ampersand, and this is one of them. Let that be a life and punctuation lesson to us all.

Comments

[Nunziato]

Sacred Songs, Three Hearts..., Can't Stop Dreaming---all superior than most H&O releases since the underrated masterpiece "Change Of Season." Another Oates' gem is "All You Want Is Heaven" from X-Static. Can't say I liked "Phunk Sui," but I will give this new one a shot. Once a fan, always a fan. (unless it's David Byrne)

[OldJewEyes]

Indeed X-Static is a wonderfully odd lost classic -- art pop disco with a touch of early electronica. Even better for me is "Along The Red Ledge" which contains another great Oates moment -- "Melody For A Memory."

[Shrug]

Actually Daryl Hall's first solo album Sacred Songs was pretty groundbreaking. But John doesn't get his due. "How Does It Feel To Be Back" might be my favorite H&O single ever, and it's a Johnner.

[OldJewEyes]

Boy, do I agree. "Sacred Songs" is Bowie-good, "Heroes"-good, which is high praise indeed. Robert Fripp deserves some credit, but it's Daryl at his finest. "How Does It Feel To Be Back" is an undervalued Johnner, as is "I'm Just A Kid (Don't Make Me Feel Like A Man)." When I wrote this column, I had no idea that I would reach H&O scholars of such excellent taste on The Huffington Post.

DW

[ReaderTeacherCitizen]

I loved Abandoned Luncheonette. I once heard a DJ on a classic rock station say it was a perfect album (as we called them back in the day.) And the put on great live shows in the 1970s.

[OldJewEyes]

The live shows are still pretty great. They recently played the Troubadour in LA and reached back into the catalog for some great material, including some primo "AL" numbers.

I think they lost their way for a time, but they have found their way back.

[Bullfrog]

I guess you haven't heard.......we're documenting Media Bias.

[OldJewEyes]

Media bias? Here?
And gambling at the casino?
Say it ain't so.

[Bullfrog]

Well David, You just couldn't write this fine piece without putting somekind of over-done politicle spin on it, so here's one of my own.

Sarah smiles because Obama's done.

Hillary YES.......Obama NO!!!
prepare for some BIG changes.

[kreider204]

The problem is that for whatever reason (I suspect ignorance), audiences fixate on the lead singer, never mind how much other members of the group contribute. I'm reminded of the Go-Go's -- Belinda Carlisle (sp?) made a ton of money on her solo career, but Jane Wiedlin -- who wrote most of the group's songs -- had far less success.
Maybe I'm just bitter because I play bass -- no one pays any attention to me . . .
:-)

[LiberalBuzz]

Tell me about it. BUT we usually get the hottest chicks. Gene, Nikki, tons of others, so there are compensations to being the bass player.

Even if we are ignored most of the time on the road.

[OldJewEyes]

What about when the bass player is the Cute One, as in some band out of Liverpool.

[muggles5]

If you wonder what John Oates was contributing to Hall and Oates, listen to Daryl Hall's solo albums... apparently Oates was doing something important.