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BIGGER THAN BOTH OF US

chappell music company

Management 'and Directionby TOMMY MOTTOLA

Book Design: LEE SNIDER

CONTENTS

As Recorded on RCA Records LP APL1-1467

BACK TOGETHER AGAIN 13Lyrics, 19

RICH GIRL 20Lyrics, 26

CRAZY EYES 27Lyrics, 32

DO WHAT YOU WANT,BE WHAT YOU ARE 33

Lyrics, 37

KERRY 38Lyrics, 43

LONDON, LUCK AND LOVE 44Lyrics, 49

ROOM TO BREATHE 50Lyrics, 55

YOU'LL NEVER LEARN 56Lyrics, 64

FALLING 65Lyrics, 72

It's the second half of the Seventies and all thechanges are over; the war is over, flower power, hippies,heavy metal, unisex, and psychedelics have all gone bythe boards. But something remarkable has happened;from all the passion and excitement of rock and roll; fromthe primitive three-chord clamor; from all the sourcesgospel, folk, R&B and everything else, there's come anew sense of things. It's an end product; the finely cutand highly polished diamond that's been trying to

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emerge ever since the fifties. This diamond is hard andflashing yet soft as a gift of love; it's Daryl Hall and JohnDates and their music; the crystalization of rock and rollon their new album on RCA "Bigger Than Both Of Us."

First of all, this is theiryear. The single "Sara Smile."from theirfirst RCA album "Daryl Hall & John Oates" hasbeen certified gold. "She's Gone" from their second LPon Atlantic Records, has been high on the charts withthe album "Abandoned Luncheonette," going gold."Bigger Than Both Of Us," with massive pre-releaseorders, will almost certainly be certified gold within thenear future.

In addition they are the recipients of two NATRAAwards, one for "Sara Smile" as Best Song of the Yearand the other naming them Best Duo of the Year. Daryland John were also recently honored by the RockAwards show, naming them Best New Group. In winningthe award, they beat out such acts as Aerosmith, BruceSpringsteen, Bob Seger and Thin Lizzy.

We're talking about something very special here!It's taken awhile for Daryl and John to truly come intotheir own, but it's unquestionably been worth the wait.According to John Oates, "This is a collaboration and ittook time to reach a balance. "But now. . . ." and DarylHall interjects "now, we're burning on all cylinders. It's abalance; it's drawing an essence out of your roots. Thisis head music and heart music. And it's a whole physicalthing, too. I got into rock music to pick up girls but it'sgone way beyond that now. They can look if they want to.but I want them to listen."

Daryl, 27, grew up in Pottstown, Pa. about 40 mileswest of Philadelphia. "It's sort of suburban now," he says"but back then it was really country. I spent a great dealof time alone. I had a lot of time to develop my fantasies.My parents were classical musicians and they gave mepiano and voice lessons. But after the first time I heardrock and roll, it was all over."

The first rock record he bought was Ike and TinaTurner's "(I Think) It's Gonna Work Out Fine'" and, sureenough, rock and roll, the devil's music, stole anothersoul. "I was running away to Philadelphia as soon as Icould." Before you knew it the young, very blondsuburban kid was hanging out on street corners, singingwith local "under the street lamp" black a capellagroups. All the while, though, he kept on with hisclassical training. "It got to a point where I was singingwith the Philadelphia Orchestra in the afternoon andthen would sing back up for Smokey Robinson at theUptown Theater later that night." Somewhere at homeDaryi has a picture of himself, at 17, with theTemptations. "I learned more from David Ruffin andEddie Kendricks than from anyone else."

At 18. Daryl started playing with local Jersey Shorebands and made his first record with "Kenny Gambleand the Romeos." Mr. Gamble, of course, went on tobiggerthmgs; he, Thorn Bell, and Leon Huff are the primeforces behind the "Philly" sound. Daryl was in on thisscene from the beginning, working at Sigma Sound as asession musician on recordings by The Stylistics, TheDelphonics and others. Later he and producer TomSellers and singer/songwriter Tim Moore started aBeatle-ish rock band called Gulliver which eventuallyrecorded an album for Elektra.

Meanwhile, though, in 1967 he had met JohnGates. Their first efforts together were a disaster:according to John "it just sounded ridiculous. The songwas bad and our voices sounded terrible together."

"e. .'.ere coming at things from two different direc-tions.

John, who's 26, was actually encouraged by hisparents to become a rock and roller. His mother even

took him to a "Bill Haley and The Comets" concert. Hewas born in New York City and moved to Philadelphia atage four. At age 8, he started playing guitar and imitatingElvis Presley in local schoolyards.

"When you get to junior high you finally needmoney. To take out girls, you need money, neverworked. I always knew it was music. I'd watch bands withmy mouth open, chills running down my spine. I'd go tothe Steel Pier in Atlantic City. N.J. to see Sam and Daveor U.S. Bonds and I'd go crazy. I always knew music wasthe way, the answer."

And so John was transfixed by rock and roll. "I wasa hoodlum, man. I changed my crew cut to apompadour." "Man. we'd walk into a dance and it waswar—a music war. The guys would be wearing blacktrench coats, tab collars, pointy shoes. The girls wouldhave teased hair, with little pieces of scotch tape holdingdown the curls. There'd be people in a circle doing splits,dancing, grinding, pushing the girls into the coat racks.

There were no bands, only records and this was everySaturday night."

"This was the golden age. It still happens in smalltowns, in finished basements." And Daryl adds, "Thefirst time I made it with a girl it was in her parents finishedbasement. We got carried away and broke one of herfather's bowling trophies.

Surprisingly though, John Gates, the little, dark-haired Mediterranean-looking punk, later got into folkmusic. He even went on to college, studying journalismand picking folk guitar. After meeting Daryl he playedoccasionally with the soon-to-disband "Gulliver.".

In 1969, the two decided to work seriously together.Prior to this they had only written songs together. Nowthey began to play around Philadelphia, establishing asubstantial local following. In 1972, they signed withAtlantic Records, and with Arif Mardin producing, cutand released "Whole Gates" in October. It was acompendium of their best material to date and was asimple, straightforward album. "Just raw material" saysDaryl now.

1973. however, brought the classic "AbandonedLuncheonette." The album was a step forward, they hadadded a rhythm section onstage, and introduced

electronic new sounds from mellotrons. synthesizersand such. Arif Mardin once again produced with theassistance of Chris Bond, a talented Philadelphia friendof the duo. 'What we tried to do then was to fuseprogressive music with soul music" says Mr. Hall.

"War Babies," their next effort, came in 1974 andwas quite a departure from the mellow soulfulness of"Abandoned Luncheonette." It was extreme,progressive rock with Todd Rundgren producing. SaysDaryl, "It was cold, metallic, nihilistic. It was all ourconflicts coming out. It was very naked music. We haduprooted ourselves, come to New York and picked up onalljhe madness around us."

The upshot of the whole thing was a completereassessment for the two. They changed recordcompanies, moving to RCA and began to change theirfocus and their sound.

With "War Babies" they had gone to their youthfulextremes. "Daryl Hall and John Gates," the "SilverAlbum" was a reconciliation, peace upon the waters.Featuring the beautiful lyricism of "Sara Smile" thealbum brought them a larger and more devotedfollowing.

Now, "Bigger Than Both Of Us" continues their

evolution. They're riding high; strong, successful and yetstill as passionate. They are extending themselves andeverybody else once again.

John Gates says it best: "Everyone is drawing fromthe same wells today. It's all out there to choose from theblues, the Beatles, the Everly Brothers, Stockhausen.Anyone can use old styles but fusing them withindividual perceptions is tough. What comes out is asynthesis."

"You see, we're not a group. We're a duo; comingfrom different places. In a group the focus is diffused.What results is often just a muddy consensus. We'retighter and more centered."

They have identical Greenwich Village apartments,see each other every day and work together constantly.Daryl smokes thick cigars and is a keen student of themetaphysical and the occult. John races sports carsand reads a lot. There are similarities and differences,but out of all of it a whole, a sound, has been created.Two sensitive, highly trained, aware musicians haveplugged into the magic, taken it all a step forward and,finally, released the seventies from its bondage to thepast. They've emerged as rock and roll gone to finishingschool and the end product is "Bigger Than Both Of Us."

Words & Music byJOHN GATES

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Copyright ® 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.Unichappell Music, Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

Any copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

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Words & Music byJOHN OATES

He's back together againYeah, everyone is glad that he's together againJust like the old days, old daysYeah, he could sing, he could singHe's back together againYou know he's still got the movesYou know the groove's still thereJust like the old days, old daysYeah, he could sing, he could singListen to him sing ~

Chorus:Back together again, back together againSinging the same old storyBack together again back together againThe old songs never endAnd that's something to believe in

Remember '65You know the kids are all grown upBut their records are still aliveJust like the old days, old daysYeah, he could sing, he could singHe's back, he's riding highThe charts are full of love andHe's on everybody's dialJust like the old days, old daysYeah, he could sing, he could singJust listen to him sing

Chorus

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Words & Music byDARYL HALL

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Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.Unichappell Music,, Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

Any copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

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Words & Music byDARYL HALL

You're a rich girl and you've gone too far'Cause you know it doesn't matter anywayYou can rely on the old man's moneyYou can rely on the old man's moneyIt's a bitch girl but it's gone too far'Cause you know it doesn't matter anywaySay money, money won't get you too farGet you too far

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Words & Music byJOHN GATES

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Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.Unichappell Music, Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

Any copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

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Words & Music byJOHN GATES

Pardon the crazy way I behaveAnd the things I sayMaybe I'm too young to know the scoreBut there's something inside not rightWish 1 could vocalizeIf I screamed would you realizeFeeling like a child without his toysBut I just want to tell you ...

Chorus:Everything's all rightI'm just looking at you through

crazy eyes tonightSo if I'm acting kind of strangeI'm just looking through crazy eyes

Cloudy day say it looks like rainWhat's the use, I know it's all the sameRead a magazine, electric light

is keeping me from my dreamsHow do I sound to you?Like a fool, a little cuckoo tooI only wish I knew what I should doBelieve me when I tell you

Chorus

Everything seems to have changedI don't even know my nameI wish I could place the blame on someonebut there's no one—

Chorus

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just play from the heart..Is that how you feel?.

It ain't aYou_

signcan .

of

Copyright e 1976 by UnichappeH Music, Inc. and Hot-Cha Music Co.Unichappell Music. Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

: : =:=:•-: : ' : -= A:-. .•.-:.- -e ::-==-: :• '--- : •••---•'. - '-- :e~e" :' : : : - - :-:

Gm7 Bb (Cbass) Cm? Bfc At

weak - ness, girl,.change

to give your - self a - way,.but you can't con- ceal _

Fm7 Gm7 F (Gbass)X ~

Be-cause the strong give up and move on while the weak, the weak give up andwhat's deep in - side you, It's your game, it's your

stay .deal . So, do what you wan - na, do what you wan - na, do what you

T *fn\iHr

^3 g

^yuyi.7 g J* y J

Cm7 (Bbbass) Abmaj?

wan - na, do what you wan - na do,_ but be what you are.

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Be what you are .. Do what you

wan-na, do what you wan - na, do what you wan - na do, but be what you

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Repeat and fade

So, do what you(Lead Improvise)

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3gp PCm 7 (Bbbass)

J ^wan - na do. Do what you wan - na do, but be what you

i r^^

Al?maj7 Db7-5

^ & fj*are, Be what you are.

mj. j I«5

Words by DARYL HALL & JOHN OATES/Music by DARYL HALL

Do what you want girl, but be what you areThere ain't no right or wrong wayJust a play from the heartIt ain't a sign of weakness to give yourself awayBecause the strong give up and move on,While the weak give up and stay

Chorus:So do what you want to doBut be what you are...

Do you believe in hot cars,leather bars, or movie stars

Is that what's realRavin' dues, Earth Shoes, Chicago bluesIs that how you feel?You can change, but you can't concealWhat's deep inside youIt's your game, It's your deal

Chorus:So do what you want to doBut be what you are ...

38

Words & Music byDARYL HALL & STEPHEN DEES

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Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.Unichappell Music, Inc., administrator

International Copyright Secured Made in U.S.A.

-f — l—f — %I LJ1 k —— i =H

ALL RIGHTS RESERVED including public performance for profitAny copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

D

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w^

Words & Music byDARYL HALL & STEPHEN DEES

Kerry, so cool and so cleverI know 'cause you told me soYou've got it bad for yourselfAnd nobody else can hold a candle to youSo I'm toldWon't you give us a breakDon't take it too farWon't you give yourself a chanceYou're enough as you areYeah, you might be O.K.And it might be all wrongTo carry on

Oh Kerry you can carry onJust don't get carried awayOh Kerry, it's O.K. to carry onBut don't get carried away,

watch it now, Kay oh Kerry

I must have been crazy to thinkthat I could find you

When you were lostGirl, you can't know what you're sayingWhen you slip awayTell me baby, is it worth the cost

44

Words by DARYL HALL, JOHN OATES & SARA ALLEN/Music by DARYL HALL

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WhereAnd

Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.Unichappell Music, Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

Any copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

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^

^f5^

Words by DARYL HALL, JOHN GATES & SARA ALLEN/Music by DARYL HALL

Walking in time to the ringing bellWaterstained where the raindrops fellOn an island of green in a city seaAnd traffic-sound breakers roll in to meI never thought I'd be up this morningBut London is calling to meAnd I never thought that I'd find somebodyNever be caught so easily

London Luck, & LoveWhat else could I be dreaming ofThe place, the chance, the feeling ofLondon Luck, & LoveWhat else could I be dreaming of

London and Love were in your eyes& Luck 'cause the moment we realizedThat mornings are better spent in bedAnd some things are better left unsaidI never felt so close so quickly'Cause no one gets this close to meI never thought that I'd find somebody& never be caught so easily

Words by DARYL HALL & SARA ALLEN/Music by DARYL HALL

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33

is the shad - ow be-hind.in your mind there's no fu ture,

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that it's no place to stand What if 1so much light - er to bear If you deal.

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"j^J \r±=±AJ J M EEj§ i PPP

^ ^^Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.

Unichappell Music, Inc., administratorInternational Copyright Secured Made in U.S.A.

ALL RIGHTS RESERVED including public performance for profitAny copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

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^ -f-stand,_I can walk,

^ ^

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Words by DARYL HALL & SARA ALLEN/Music by DARYL HALL

All you want is the shadow behind meDon't you know that it's nowhere to standWhat if I didn't call you tomorrowMaybe you'd fall apart after thatYou keep it so tight I can't stand itThere's no room for love when it's ended

So give me Room to BreatheThe choice to stay or leaveI don't know what you needSo give me Room to Breathe

If you keep in your mind there's no futureIt makes "now" so much lighter to bearIf you deal with it ever so loosely

You just might shake it, it might clear the airYou keep it so tight I can't stand itThere's no room for love when it's ended

56

Words by JOHN OATES & DARYL HALL/Music by JOHN OATES

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hate you in the morn-ing.. You'll nev - er learn,.

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Dadd9

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no, you'll ne

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r^ — 1~s w~~i J * pi 1 1Bit - ter - sweet,

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3 h — i 1Copyright © 1976 by Unichappell Music, Inc. and Hot-Cha Music Co.

Unichappell Music, Inc., administratorInternational Copyright Secured Made in U.S.A.

ALL RIGHTS RESERVED including public performance for profitAny copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

Eadd9o o Dadd9

57

i—j-with heart of ice, you're get - ting love mixed up with hun - ger

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You'll nev - er learn,. no, you'll nev er,.

>— >

Dadd9 Eadd90

I know you'11 nev - er,

learn . You could change ,

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pyou're not too far gone Life's such a pain, ain't it,

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and dy - ing' s no

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fun. . — •— « —

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es you've made,

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Iyou'11 make a-gain and a-gain._ You'll nev er,

Oh, you'll nev - er, oh, you'll nev - er, 'Cause I know you can't

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Eadd9 Dadd9 59

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change ._ No, no, say you'll

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learn, no, no. . . .

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I know you're nev - er gon - na

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learn.

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there the scars from your trials

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are just an -

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ces you've made, _

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'cause I know you can't change. _No, no, say you'll nev - er, you're nev-er gon - na

Dadd9

mmlearn, no, no. You're nev - er gon - na learn, learn,

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learn,.

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I know you're nev - er gon-na learn,. 'cause I know you can't

T~y

64

Words by JOHN OATES & DARYL HALL/Music by JOHN OATES

You'll never learnYou who cheatYou who lieNow don't you hate you in the morningYou'll never learnYou be heatYou be iceYou're getting love mixed up with hungerYou'll never learnNo you'll never...You could changeYou're not too far goneLife's such a pain—ain't it-No dying's no funMistakes you've madeYou'll make again and againNo you'll never learnNo No I know you're never never gonna learnNo no neverRazor queenSuicideYou've got some twisted medicationAnd you'll never learnAnd the scars from the trialAre just another indicationThat you'll never learnNo No I know you're never never gonna learnNo No never

mmWords & Music by

DARYL HALL

Moderately slowEtmaj9 (Fbass) Bbmaj7(Fbass)

Start an - y way you can, in the com-pa - ny of gift - ed and mad men.7

Bbm6 (Fbass) Fmaj9 Ebmaj9(Fbass)

(••"-

Some vote to go on, some fall a-way May-be grow-ingpast the pain,_

J • •

-o-

Bbmaj? (Fbass) Bbm6 (Fbass)

may - be go - ing in-sane, or may-be it's just that you don't feel6

Copyright e 1976 by Unichappeli Music, Inc. and Hot-Cha Music Co.Unichappell Music, Inc., administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performance for profit

Any copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright

66Fmaj9 Ekmaj9(Fbass)

on, and you know, but you go on, and you know, but you go on,. But you

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Fmaj9

fall - ing,_ fall - ing.. You're down on the ground, but you're

jy J

Gm0

Dm7o

F6 E\> (Fbass)0

F6 67

mfall

*S|ing al - lez, (You go,). 'f??^ .%^«-.^,.^ al -

I P

0 0 0 0•• ^f 5 ?Bt (Fbass) F6 (Fbass)

b < rIons.. (We go.) — Float-ing thru the clouds go-ing down,

0000

J J J

Btmaj? (Fbass) Bl>m6 (Fbass)

1it seems a strange_ point of calm. With no past and no fu-ture, just the

ft- * 1

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i ^ — J i — "i j — *= — i* j i uFmaj9 Etmaj9 (Fbass)

wing and the wind When the wheels touch the ground,_

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1

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t

=1

. r r r if j — i^=j — * —

68Bbmaj / (Fbass) Bbm6 (Fbass)

7 LJa flood of feel - ing sweeps a - round and the wheels of my life.

3-start

If I could stay, if I could stay,turn - ing a - gain.

Bbmaj? (Fbass) Bbm6 (Fbass)

£\>w^==—if I

«r t=

—r — ——a — 1could stay, if ]

r f r r1

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in the sky, sus -

^ 1 ' ' ' ^

Fmaj9 Bb F (A bass)0

Gm Dm7

But I'm fall - ing,

F (A bass)0

Gm Dm? (sus4)0 0

F (A bass)0 69

fall-ing, fall-ing, fall - ing ing I'm down on the ground but I'm

^

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b ,—Jl Ife±f«J I

fall - ing, al - lez,. (You

i

Al -

I " ' t $

(Fbass) F6oEbmaj9 (Fbass)

Play 4 times

Ions.. (We go.)

(Improvise freely)

Bbmaj? (Fbass) B(>m6 (Fbass) Fmaj9

|P ¥

b * • — 0 - w

70 F (A bass) Gm0

Dm? F (Abass)

»' "v_ ''—•• _ mf LJ L.rFall

Gm Dm7(sus4)o

F (Abass) Gmo Dm?o ^I I t>~9• I I

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fall ing.

JEbmaj? Btmaj9 Etmaj?

tJBl>maj9 E\> F

ftw

03 %. IE. i 03

72

Words & Music byDARYL HALL

Start anyway you can in thecompany of gifted and mad men

Some vote to go on and some fall awayMaybe growing past the pain, maybe going insaneor maybe it's just that you don't feel

like singing againand you know but you go onFallingI'm down on the groundbut I'm fallingAllez ...Allons ...Floating through the clouds, going downIt seems a strange point of calmwith no past, no future, just the wing and the windwhen the wheels touch the grounda flood of feeling sweeps aroundand the wheels of my life start turning againIf I could stayin the skysuspended in time

chappell music company^tj-e. New York, NY 10019MHriH

$5.95A POLYGRAM

COMPANY

• CHAPPELL & CO . LTD Toronto

0145839-123MADE IN U.S.A.