Concert Vault

Hall & Oates

Saratoga Performing Arts Center (Sarat…

Jun 18, 1977 - Late

  • play
  • add
  • favorite
  1. 1 Back Together Again 04:42
  2. 2 Rich Girl 03:22
  3. 3 Can't Stop The Music (He Played It Much Too Long) 03:52
  4. 4 Do What You Want, Be What You Are 07:11
  5. 5 Lady Rain 06:32
  6. 6 Fallin' 08:26
  7. 7 Camellia 04:03
  8. 8 You're Much Too Soon 05:30
  9. 9 Is It a Star / I'm Just A Kid (Don't Make Me Feel Like A Man) 14:31
  10. 10 Sara Smile 07:48
  11. 11 She's Gone 06:04
  12. 12 Abandoned Luncheonette 06:16
  13. 13 You Really Got a Hold On Me / Ennui On The Mountain / Gino (The Manager) 09:06
  14. 14 Room To Breathe / Johnny Gore And The C Eaters 09:31
More Hall & Oates
Liner Notes

Daryl Hall - vocals, keyboards; John Oates - vocals, guitar; Kenny Passarelli - bass; Todd Sharp - lead guitar; Eddie Zyne - drums; Charles DeChant - saxophone, keyboards; David Kent - keyboards, background vocals

Daryl Hall and John Oates were riding high at the time they taped a series of shows for the King Biscuit Flower Hour on their 1976-1977 "Beauty on Backstreet" tour. The group was still getting the attendance residuals of "Sara Smile" (its huge hit from 1974), but was also filling theaters because of newer hits, such as "Rich Girl" and "Room To Breathe" (which had not been a single hit, but was a steady FM airplay winner, nonetheless).

Many of the album tracks from the duo's last few records are represented here. Those songs such as: "Can't Stop the Music," "Do What You Want Be What You Are," "Lady Rain," "Falling," "Much Too Soon," and the medley of "Is It A Star" and "I'm Just A Kid" sound forced and dated. They weren't great songs, and therefore did not become part of the band's ongoing repertoire. But the popular radio hits such as: "Back Together Again," "Rich Girl," "Camilla," "Sara Smile," "She's Gone," and "Abandoned Luncheonette," are enough to keep the audience happy. One highlight for sure is an extended medley of: Smokey Robinson & The Miracles classic, "You Really Got a Hold on Me," "Ennui on The Mountain," and "Gino," (supposedly written about the band's manager, future Sony Music chief, Tommy Mottola). They close with a spirited version of "Room to Breath" and "Trouble Man."

After a series of moderately successful albums for Atlantic Records from 1971 through 1974, and one hit single, "She's Gone," Daryl Hall and John Oates decided it was time for a complete artistic make-over. They returned with a new look and sound in 1975 on RCA Records. This recording was made two years and several hit songs later in 1977. By then, the duo was at the top of the pop charts, alongside acts like Fleetwood Mac and The Eagles, with songs like "Sara Smile" and "Rich Girl."

Because of their hit record status, Hall & Oates was able to assemble an all-star backup band by the time they launched their '77 tour, which included bassist Kenny Passarelli (ex-Joe Walsh and Elton John); and Todd Sharp (who had worked on solo projects for both Mick Fleetwood and Christine McVie). The other side players, drummer Eddie Zyne, saxophonist Charles DeChant and keyboardist David Kent, were among the most in-demand studio musicians of the time.

Nearly three decades later, this concert proves just how powerful R&B/pop vocalist Daryl Hall was during this period. Although Oates' contribution is not as obvious, he was crucial to the duo's success. Otherwise, Hall alone would have seen success with one of his three solo albums.

More
More Hall & Oates

Daryl Hall - vocals, keyboards; John Oates - vocals, guitar; Kenny Passarelli - bass; Todd Sharp - lead guitar; Eddie Zyne - drums; Charles DeChant - saxophone, keyboards; David Kent - keyboards, background vocals

Daryl Hall and John Oates were riding high at the time they taped a series of shows for the King Biscuit Flower Hour on their 1976-1977 "Beauty on Backstreet" tour. The group was still getting the attendance residuals of "Sara Smile" (its huge hit from 1974), but was also filling theaters because of newer hits, such as "Rich Girl" and "Room To Breathe" (which had not been a single hit, but was a steady FM airplay winner, nonetheless).

Many of the album tracks from the duo's last few records are represented here. Those songs such as: "Can't Stop the Music," "Do What You Want Be What You Are," "Lady Rain," "Falling," "Much Too Soon," and the medley of "Is It A Star" and "I'm Just A Kid" sound forced and dated. They weren't great songs, and therefore did not become part of the band's ongoing repertoire. But the popular radio hits such as: "Back Together Again," "Rich Girl," "Camilla," "Sara Smile," "She's Gone," and "Abandoned Luncheonette," are enough to keep the audience happy. One highlight for sure is an extended medley of: Smokey Robinson & The Miracles classic, "You Really Got a Hold on Me," "Ennui on The Mountain," and "Gino," (supposedly written about the band's manager, future Sony Music chief, Tommy Mottola). They close with a spirited version of "Room to Breath" and "Trouble Man."

After a series of moderately successful albums for Atlantic Records from 1971 through 1974, and one hit single, "She's Gone," Daryl Hall and John Oates decided it was time for a complete artistic make-over. They returned with a new look and sound in 1975 on RCA Records. This recording was made two years and several hit songs later in 1977. By then, the duo was at the top of the pop charts, alongside acts like Fleetwood Mac and The Eagles, with songs like "Sara Smile" and "Rich Girl."

Because of their hit record status, Hall & Oates was able to assemble an all-star backup band by the time they launched their '77 tour, which included bassist Kenny Passarelli (ex-Joe Walsh and Elton John); and Todd Sharp (who had worked on solo projects for both Mick Fleetwood and Christine McVie). The other side players, drummer Eddie Zyne, saxophonist Charles DeChant and keyboardist David Kent, were among the most in-demand studio musicians of the time.

Nearly three decades later, this concert proves just how powerful R&B/pop vocalist Daryl Hall was during this period. Although Oates' contribution is not as obvious, he was crucial to the duo's success. Otherwise, Hall alone would have seen success with one of his three solo albums.