I said, ‘Well, the chords are interesting, but I think we should change the groove.’ I changed it to that Motown kind of groove. “John had written a prototype of “Maneater ” he was banging it around with Edgar Winter. In a 2009 interview with American Songwriter, Daryl Hall recalled how he and John Oates collaborated on the song with Daryl’s girlfriend Sara Allen: 1982’s “Maneater,” which rocketed to #1, is just one fine example. You can grab just about any of their songs and point out the outstanding qualities within. Meanwhile, their underrated lyrics were heavy on nifty wordplay and unforgettable choruses. Their hits had hooks on top of hooks, so that they were irresistible whenever they busted out of car radio speakers or boom boxes. What Hall & Oates did just about better of anyone of their generation was master the art of the pop song.
Maybe it’s because they weren’t writing deep philosophical treatises or navel-gazing ballads, which often grab all the critical attention. Maybe it’s because they had so much success that it’s easy to take for granted their ability to craft a song. Yet the songwriting behind the hits of Daryl Hall and John Oates often gets overlooked in discussions about their music, which is a crying shame. They had an amazing streak that ran from 1981 to 1985 which included twelve top 10 hits and five #1 singles.
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