Hall & Oates - Maneater 1982

Please view the following Terms Of Use Privacy Policy Site Credits

Midi playing "Maneater" by Hall & Oates. To download midi click on title. DO NOT directly link to this file. When in doubt view the TERMS OF USE

She'll only come out at night The lean and hungry type Nothing is new, I've seen her here before Watching and waiting Ooh, she's sittin' with you but her eyes are on the door So many have paid to see What you think you're gettin' for free The woman is wild, a she-cat tamed by the purr of a Jaguar Money's the matter If you're in it for love, you ain't gonna get too far (Oh-oh, here she comes) Watch out boy she'll chew you up (Oh-oh, here she comes) She's a maneater (Oh-oh, here she comes) Watch out boy she'll chew you up (Oh-oh, here she comes) She's a maneater I wouldn't if I were you I know what she can do She's deadly man, she could really rip your world apart Mind over matter Ooh, the beauty is there but a beast is in the heart (Oh-oh, here she comes) Watch out boy she'll chew you up (Oh-oh, here she comes) She's a maneater (Oh-oh, here she comes) Watch out boy she'll chew you up (Oh-oh, here she comes) She's a maneater ------ saxophone ------ Ooh, (Oh-oh, here she comes) Here she comes, Watch out boy she'll chew you up (Whoa-oh, here she comes. Watch out) She's a maneater (Oh-oh, here she comes. She's a maneater) Ooh, she'll chew you up (Oh-oh, here she comes) Here she comes, she's a maneater (Oh-oh, here she comes. Watch out) She'll only come out at night, ooh (Oh-oh, here she comes) Here she comes, she's a maneater (Oh-oh, here she comes. She's a maneater) The woman is wild, woo (Oh-oh, here she comes) Here she comes. Watch out boy, watch out boy (Oh-oh, here she comes) Oh, watch out, watch out, watch out, watch out (Oh-oh, here she comes) Yeah, yeah, she's a maneater (Oh-oh, here she comes. She's a maneater) She's watching and waiting, ooh (Oh-oh, here she comes) Oh, she's a maneater

Brief biography courtesy of Wikipedia
Hall & Oates is a popular music duo made up of Daryl Hall & John Oates. The act achieved its greatest fame in the late 1970s and early-to-mid 1980s. They specialized in a fusion of rock and roll and rhythm and blues styles which they dubbed "Rock and Soul". 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. They last reached the pop top forty in 1990 and then slowly faded from public view, though they did not formally break up. They have continued to record and tour with some success. In total the act scored thirty-four hit singles on the US Billboard Hot 100. As of 2006, Hall and Oates have seven RIAA platinum albums along with six RIAA gold albums. A greatest hits compilation was released in 2001 from Bertelsmann Music Group. The BMG collection was expanded in 2004 and reissued the following year, after BMG merged with Sony. In 2003, Daryl Hall and John Oates were voted into the Songwriter's Hall of Fame. Daryl Hall (born Hohl) first met John Oates at the Adelphi Ballroom in Philadelphia in 1967 while attending Temple University. Both were heading their own musical groups at the timeÑHall with the Temptones, and Oates with the Masters. They were there for a band competition when gunfire rang out between two rival gangs, and in trying to escape, they ran to the same service elevator. Because of their similar musical tastes, they quickly became acquainted. It would take them another two years to form a musical duo, and three years after that they had signed to Atlantic Records and released their debut. Early on in their recording careers, Hall & Oates had trouble clearly defining their sound, alternating between R&B, soul, Folk rock, and pop music. None of their early albums - Whole Oats, Abandoned Luncheonette, and War Babies - were very successful, despite being produced by such big-name producers as Arif Mardin and Todd Rundgren. They had no hit singles during this time period, though Abandoned Luncheonette contained "She's Gone", which would be covered by Lou Rawls and Tavares before Atlantic Records re-released it in 1976. "She's Gone", as covered by Tavares, did go to number one on the R&B chart in 1974. Another Abandoned Luncheonette single that has become a Hall & Oates fan favorite was "Las Vegas Turnaround," written about (and mentioning by first name) Hall's girlfriend, stewardess and future songwriting collaborator Sara Allen. It was around this time that Hall & Oates started developing a reputation of being "blue-eyed soulsters", largely based on the soulful sound of "She's Gone". Hall & Oates left Atlantic Records after the release of War Babies to join RCA. Their first album for the new label, Daryl Hall & John Oates (often referred to by fans as The Silver Album because of the silver lamŽ backing on the original album cover), was their first legitimate success. It contained the ballad "Sara Smile", a song Hall wrote for his girlfriend, and featured an album cover in which the two are overly made-up to the point where they (especially the then long-haired Hall) looked like women. Hall would later say in an interview for VH1's Behind the Music that he looked like "the girl I always wanted to go out with" on the album cover. "Sara Smile" became their first top-ten hit, reaching number four on the chart in June 1976. "She's Gone", re-released by Atlantic Records after "Sara Smile" also went to the top ten, reaching number seven in October 1976. Hall & Oates followed those hits with the more pop-oriented Bigger Than Both of Us later that year. Though the first single from the album - the Philly soul-oriented ballad "Do What You Want, Be What You Are" - barely made the top forty, the second single was a smash. The song ("Rich Girl"), was Hall and Oates' first number one hit, reaching the pinnacle on March 26, 1977. After this small run of hits, Hall & Oates encountered something of a dry spell. Despite touring constantly and recording albums with efficiency, the duo could not find any pop success for a number of reasons. First, as Oates would later say, they were "in a learning process in the '70s". The two were still fine-tuning their soul-rock style. Also, the musical climate at the time was not very receptive to their sound. By the time they released the rock-oriented Along the Red Ledge (an album that is generally well-regarded today) in 1978, disco music was trendy and taking most spots of popular music. Hall & Oates tried to jump on the disco bandwagon with the release of X-Static in late 1979, but by then dance music was out of favor, and the album did not fare well. They did record minor hits in the period, including "Back Together Again", "It's a Laugh", and "Wait for Me". In 1977, RCA attempted to push Daryl Hall to the front with his first solo effort, Sacred Songs. However, after being presented with the highly experimental recording (produced by Robert Fripp of King Crimson), RCA became unwilling to publish the record, which they saw as non-commercial. It was eventually released in 1980. The 1980s brought about change for Hall & Oates. They had determined that the biggest problem was that their music was being filtered through outsider producers and studio musicians who weren't familiar with their own tastes and thoughts. They also wished to capture the sound of New York City, which by then had become their home. Instead of recording in Los Angeles like they'd done previously, they decided to record at Electric Lady Studios in New York, just five minutes away from their apartments. They also began producing their own records, using their touring band in the studio, and enlisting Hall's girlfriend Sara Allen (and also her sister Janna) as a songwriting collaborator. Voices was written, produced and arranged by Daryl Hall & John Oates in one month according to their authorized biography Dangerous Dances (by Nick Tosches). The result was a clearer style and a better sound, and beginning with the Voices LP in 1980, Hall & Oates had found the missing link in their formula for hits. The first two singles from the album charted fairly well, with "How Does It Feel to Be Back" charting at #30 and the well-received cover of the Righteous Brothers' "You've Lost That Lovin' Feelin'" just missed the top ten, peaking at #12, but spent fourteen weeks in the top forty. The third single, "Kiss on My List," hit number one in April 1981 and remained there for three weeks. The follow-up single, "You Make My Dreams," reached number five in July of that year. The other well-known single from Voices, apart from those four hits, is the emotive ballad "Everytime You Go Away," with powerful lead vocals by Hall, who wrote it. British singer Paul Young had a Billboard number-one hit with a cover of the song in 1985. Though the Hall & Oates original (recorded in a Memphis soul style) was never released as a single, it remains a favorite on the duo's greatest hits albums, was featured on their Apollo Theater CD in 1985, and is frequently featured in their live set lists to this day. The Voices album firmed-up the duo's working relationship with Neil Kernon, an engineer on the Voices set who would work as co-producer on the succeeding two albums that would ensure their status as music fixtures. By the time "You Make My Dreams" was falling down the charts, Hall & Oates had already released their follow-up album Private Eyes. Having worked in the studio while Voices was at its peak in popularity, the two already had most of their material laid down and felt no need to repeat the old formula from that LP. The result was the first Hall & Oates album to reach the top ten on the Billboard 200 album chart. The four singles from Private Eyes all reached the top forty. The title track and "I Can't Go for That (No Can Do)" were consecutive number one hits, with the latter song hitting the top spot on the R&B and the pop charts (one of the few songs by a white act ever to do so). "Did It in a Minute" reached No. 9 in the spring of 1982, and "Your Imagination" peaked at No. 33. The set is considered among the duo's best albums, mixing soul, new wave, and power pop. Next came H2O, a polished, synth-heavy album that became the duo's most successful album to date. H2O reached number three on the album charts and spawned three top-ten singles. "Maneater", the biggest hit of their career, reached the number-one spot on December 18, 1982 and stayed there for four weeks. The ballad "One on One" and a cover of Mike Oldfield's song "Family Man" reached number seven and number eight in March and June of 1983, respectively. For the H2O album, Hall & Oates made changes to their band. Drummer Mickey Curry -- who had appeared on some Private Eyes tracks, including the title song -- replaced Jerry Marotta full-time, and bassist Tom "T-Bone" Wolk, who had mimed John Siegler's bass line in the "Private Eyes" video, replaced Siegler full-time. The two joined the band's holdovers Ñ lead guitar player G.E. Smith, saxophonist Charles DeChant, and Hall & Oates to form one of the most acclaimed studio/backing units of the 1980s. DeChant and Wolk continue to perform with the duo to this day. Curry returned for the Do It for Love sessions. By the fall of 1983, Hall & Oates were one of the biggest pop music acts in America. They had five number-one singles to their credit, two consecutive top-ten albums, and were one of the biggest names on MTV. The constant loop of recording, promoting, and touring wore them down, though, and in 1983 they could only put out a greatest-hits package, Rock'n Soul Part 1. The album peaked at number seven and the two new songs on the LP both became top-ten hits as well. The lead-off single for the Greatest Hits album, "Say It Isn't So", battled six weeks for the number-one spot with Paul McCartney and Michael Jackson's "Say, Say, Say" at the high-point of the Thriller hysteria. "Say It Isn't So" remained at number two for an impressive four weeks from December 1983 to January 1984 (The battle with the McCartney/Jackson single led DJ Peter Bush of New York's WPLJ Radio, which had just switched from rock to Top 40 the previous June, to intro the Hall & Oates entry "Say, Say, Say It Isn't, Isn't, Isn't So, So, So"). Hall & Oates' followup, "Adult Education," got heavy airplay on both pop and black (urban contemporary) radio and hit number eight on the Billboard Hot 100) in April 1984. It was accompanied by a dark, New York City-oriented music video set in a cave. John Oates later told VH1 that the clip resembled the Survivor TV show on acid. In that month, the Recording Industry Association of America issued a report declaring Hall & Oates as the most successful duo in the history of recorded music. Hall & Oates returned to the studio in 1984 after some time off to begin work on the Big Bam Boom LP. Unlike their previous work, this album had a more urban feel to it. Noted remix and hip-hop icon Arthur Baker worked closely with the duo as a consultant and did dance remixes of four of the album's tracks. The lead-off song, "Dance on Your Knees", (co-written by Baker and Hall) is basically an homage to the Grandmaster Flash and the Furious Five's song "White Lines". Hall himself performs some light rapping on the songs "Method of Modern Love" and "All-American Girl". Released in late 1984, the first single off the LP, Out of Touch, became the group's sixth number-one hit on December 8, 1984. "Method of Modern Love", which debuted on the pop charts while "Out of Touch" was at number one, reached number five in February 1985. "Some Things Are Better Left Unsaid" and "Possession Obsession" reached the top thirty in 1985 as well. Hall & Oates have almost always toured extensively. But in 1985, the duo took a break after the release of their Live at the Apollo album with David Ruffin and Eddie Kendrick -- voices of The Temptations and two of their heroes. This was RCA's second attempt at a live album, following the 1978 release Livetime, which the duo barely acknowledges today. Live at the Apollo was released primarily to fulfill the duo's contract with RCA, and contained a top-twenty hit with a medley of "The Way You Do the Things You Do" and "My Girl", both hits Ruffin and Kendrick had recorded with the Temptations in 1964. After the live recording in spring 1985, the quartet of Hall, Oates, Ruffin and Kendrick reprised their Big Chill-style performances in July at the Live Aid concert in Philadelphia, and again at the MTV Video Music Awards in New York later that year, complete with an Apollo Theater-style marquee descending on the stage during their performance. The Philly portion of the Live Aid concert used the Hall & Oates backing unit as the house band. Just prior to Live Aid, on July 4, 1985, Hall & Oates performed at Liberty State Park in Jersey City, New Jersey as part of the Liberty Concert, where they played an outdoor benefit concert for the restoration of the Statue of Liberty. It became a major music event drawing an estimated crowd of over 60,000 people. Hall & Oates signed with Arista Records in 1981, shortly before the string of top ten hits began, in Tommy Mottola's effort to keep them under contract when their RCA obligation ran out. Their first album for the label, Ooh Yeah!, included the hits "Everything Your Heart Desires" (number three hit in May 1988 - their last to make the top ten), "Missed Opportunity", and "Downtown Life". This may have been the last Hall and Oates album - other than greatest hits packages - to enjoy platinum success. Hall & Oates did one more album for Arista called Change of Season. The album's first single, "So Close" (co-produced by Jon Bon Jovi) hit number eleven on the pop charts and was Hall & Oates' last major hit. Another song off the album, "Don't Hold Back Your Love", has become a Hall & Oates staple. Change of Season was a more mainstream-rock album than their previous work. Despite the fact that Ooh Yeah! and Change of Season went platinum and gold, they were perceived as disappointments. The duo's occasional songwriting collaborator, Janna Allen (sister of Sara), died of leukemia in 1993. Hall & Oates released the Marigold Sky album in 1997 (their first all-new studio album in seven years), which included an adult contemporary hit "Promise Ain't Enough". They also released a "VH1 Behind the Music" Greatest Hits package shortly after appearing on the show in 2002. At the same time, Daryl and Sara, professional/personal collaborators, broke off their romantic relationship after some three decades. Their friendship is still apparently strong; he has noted her help in the recovery from his 2005 attack of Lyme disease. Daryl Hall & John Oates put out the Do It for Love album in 2003. That included "Do It for Love" (a number-one Adult Contemporary hit). They have also released the Hall & Oates Live DVD from an A&E Live by Request special. This album was the first album and first success for their newest joint venture, U-Watch Records. Daryl Hall has also released a third and fourth solo album called Soul Alone (1993) and Can't Stop Dreaming (originally released in Japan 1996), and a live 2 CD solo album called Live in Philadelphia (2004). John Oates released his own solo album in 2002 entitled Phunk Shui and a companion live concert DVD. Hall & Oates have also put out their first CD of (mostly) covers, Our Kind of Soul, in 2004. It includes some of their favorite R&B songs, such as "I'll Be Around", "Love TKO", "I Can Dream About You", and more. Hall & Oates are still on the touring circuit, traveling as much as they did several years ago. In addition, a DVD of live performances of the songs from Our Kind of Soul was released in November 2005. Daryl & John released a Christmas album, Home For Christmas on October 3rd, 2006 which contains 2 holiday originals and covers. It includes a version of "It Came Upon A Midnight Clear", which became their second number one Adult Contemporary hit. Forty years after they first met in Philadelphia -- and twenty years after they became the single most successful duo of all time -- Daryl Hall & John Oates continue to record and perform together their distinctive and enduring blend of soulful sounds. Starting out as two devoted disciples of earlier soul greats, Hall & Oates are soul survivors in their own right. They have become such musical influences on some of todayÕs popular artists that the September 2006 cover of Spin MagazineÕs headline read: ÒWhy Hall & Oates are the New Velvet UndergroundÓ. Their artistic fan base includes Rob Thomas, John Mayer, Brandon Flowers of the Killers, Ben Gibbard of Death Cab for Cutie and MTVÕs newest hipsters Gym Class Heroes who dubbed their tour ÒDaryl Hall for President Tour 2007Ó. Daryl Hall & John Oates first met back at Philadedelphia's Adelphi Ballroom in 1967. Both were attending Temple University, but they first discovered their shared passion for soul music during a show at which both of their groups -- The Temptones and The Masters, respectively -- were on a record hop bill with a number of then nationally known soul acts like the 5 Stairsteps and Howard Tate. When a gang fight broke out inside the Ballroom, the pair met each other in a service elevator while trying to get out. Hall had already become a fixture in the Philly soul scene, recording a single with Kenny Gable and the Romeos featuring future Gamble, Leon Huff and Thom Bell. Hall Ð now considered one of the great soul singers of his generation -- became a protŽgŽ of the Temptations at the young age of 17. Oates too had performed with a number of R&B and doo-wop groups on the Philadelphia scene, and recorded a single with famed Philly soul arranger Bobby Martin. In the early 1970Õs Hall & Oates began performing as a duo, and a year later -- with the help of manager Tommy Mottola -- they signed to the legendary soul label Atlantic Records. The groupÕs major label debut Whole Oats -- produced by legendary producer Arif Mardin who had already worked with The Rascals and Dusty Springfield -- combined the groupÕs soul and folk influences, but failed to make a significant commercial impact. That breakthrough would come with the duoÕs following effort, 1973Õs Abandoned Luncheonette, still considered one of the groupÕs finest albums by many of their admirers. Abandoned LuncheonetteÕs acoustic soul sound was groundbreaking and widely acclaimed, and the albumÕs stunning standout track ÒSheÕs GoneÓ would become a #1 R&B smash on the Billboard Magazine charts for Tavares in 1974, and eventually become a pop hit for Hall & Oates when it was re-released in 1976. Hall & Oates took a rather dramatic turn with their third album, 1974Õs War Babies, a rockier and more experimental song cycle recorded with producer Todd Rundgren. Leaving Atlantic, Hall & Oates signed with RCA Records and in 1975 released the Daryl Hall and John Oates (also unofficially known to fans as The Silver Album) which yielded the duoÕs first critical and commercial smash ÒSara SmileÓ .The groupÕs 1976 follow- up Bigger Than Both Of Us yielded the infectious ÒRich Girl,Ó the groupÕs first #1 on the Pop Singles chart, and a track that once again artfully combining their rock and soul influences into a cohesive whole. The group continued to experiment and expand their rock nÕ soul sound with ambitious albums like 1978Õs Along The Red Ledge (with David Foster as producer) and 1979Õs X-Static. During that same period, Hall recorded and released on RCA his critically acclaimed first solo album Sacred Songs with experimental guitar innovator Robert Fripp. In 1980, Hall & OatesÕ released the Voices album which would prove a true watershed moment in their illustrious career. Producing themselves for the first time, Hall & Oates created the template for a brightly infectious but still soulful sound that would help them become one of the dominant groupÕs of the Eighties. Voices included the groupÕs second #1 on the Pop Singles chart, ÒKiss On My List,Ó as well as significant hits in ÒYou Make My DreamsÓ and a cover of the Righteous BrothersÕ ÒYouÕve Lost That LovinÕ Feeling.Ó In addition, ÒEverytime You Go AwayÓ from the Voices album became a #1 hit in America and around the world when later covered by British soul singer Paul Young in 1985. 1981Õs Private Eyes album featured two more #1 hits, the title track and ÒI CanÕt Go For That (No Can Do) Óand the Top Ten ÒDid It In A Minute.Ó This remarkable run continued with 1982Õs H2O and more smashes in the form of "Maneater," ÒFamily ManÓ and ÒOne On One.Ó Two more hits -- ÒSay It IsnÕt SoÓ and ÒAdult EducationÓ -- were included on the smash anthology Rock Ôn Soul, Pt. 1 that was released in 1983. Big Bam Boom continued the duoÕs momentum with the help of another #1 hit, ÒOut Of Touch.Ó Having achieved so much together -- including appearing on the ÒWe Are the WorldÓ recording session, at Live Aid and performing and recording at the Apollo Theater along with former Temptations David Ruffin and Eddie Kendrick -- Hall & Oates took a hiatus to focus on individual efforts in the mid-Eighties. Hall recorded and released his second solo effort, Three Hearts in the Happy Ending Machine, produced by his now long time friend, Dave Stewart of the Eurythmics. The album would produce another hit for Hall in ÒDreamtimeÓ. The pair would then reunited to record their final 2 albums for Arista Ooh Yeah and Change of Season. In the past decade, Hall & Oates have toured consistently and with considerable success around the world, and have continued to record both together and separately with impressive results including HallÕs third solo album, Soul Alone. Sensing the change in the business, they abandoned the major labels and released independently HallÕs fourth solo album, CanÕt Stop Dreaming and the duoÕs 1997Õs Marigold Sky ÐÐ with both receiving considerable acclaim. Forming their own label, U-Watch Records, 2003Õs Do It For Love rightly marked a major return to form with the album being embraced as the groupÕs finest in many years. It also had considerable commercial success with the passionate title track reaching #1 on the Billboard Adult Contemporary Charts, while ÒForever For YouÓ also hit the Top Ten on the same chart. Most recently, Hall & Oates saluted their deep soul roots with 2004Õs Our Kind Of Soul Ð an album that found them recording inventive re-workings of some of their favorite soul classics like the SpinnersÕ ÒIÕll Be AroundÓ and the Four TopsÕ ÒStanding in the Shadows of Love,Ó as well as three new originals with a decidedly classic soul feel, ÒLet Love Take Control,Ó and ÒDonÕt Turn Your Back on MeÓ. 2004 also saw Hall & OatesÕ body of work inducted together into the SongwriterÕs Hall of Fame. In 2006, Hall & Oates released their first ever full Christmas album on U-Watch entitled Home For Christmas, a soulful seasonal effort highlighted by a cover of Robbie Robertson's ÒChristmas Must Be TonightÓ and two moving originals-- ÒNo Child Should Ever Cry At ChristmasÓ written by John Oates and the albums title track written by Daryl Hall with Greg Bieck and longtime Hall & Oates player and collaborator T-Bone Wolk. The single ÒIt Came Upon A Midnight ClearÓ became the #1 Holiday song of the 2006 season, The fortieth anniversary of their first meeting finds Daryl Hall & John Oates very much at the height of their powers making their own kind of soul, with a new generation of musicians recognizing not only their historic track record of success, but also their continuing influence and achievements.

Visit the Official Website of Hall & Oates

Want to share this page with some one? Click below

Before you depart please sign the guest book

Feel free to email Feeling Nostalgic??? by clicking below

Click below to return to the Feeling Nostalgic??? site map

All graphics are copyright ©Kellya1211@feelingnostalgic.com. All rights reserved. Do not attempt to directly link to any graphic,midi or wav files within this site. All attempts are logged and all violators will be reported to the appropriate parties. Wav and midi files are copyright of the original artist. Wav and midi files contained with in this site are for entertainment purposes only. Please respect the original artists and purchase their music. This page was created on August 18th, 2003 - Page lat updated on Friday, October 5, 2007