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My strong preference regarding the long career of this Philadelphia Blue Eyed Soul duo goes to that phase in the '80s when they decided to blend their basic rhythm & blues with disco, electronics, and even a bit of rock. The work in question (1984) is emblematic of that very period.
And in agreement with Robert Fripp, I place Daryl Hall in my top five of rock, pop, blues singers, whatever you like: an excellent voice, full of soul, highly versatile but without that excessive emphasis that often makes colored singers showy, perhaps balanced by the rigorous Teutonic blood passed down to Daryl by his German ancestors (his real last name: Kohl).
And John Oates? The five of clubs; no, come on, let's make it the five. He has hit upon some great songs as well (not on this album), but essentially he is the Garfunkel of the situation, precious but marginal.
We then have a powerful and danceable rhythm & blues base, diversified by distorted guitars, electronic beats, heavy drums, yet always underpinned by exquisite melodic vein, intelligence, and measure.
The best things are right at the two extremes of the album: the opening “Out of Touch,” preceded by a brief and percussive instrumental prelude dominated by the Synclavier, and the concluding “Possession Obsession,” sung by Oates; the former is more intense, the latter more soothing with its delightful doo-woop style response choruses. “Method of Modern Love” and “Some Things Are Better Left Unsaid” also travel well, less melodically rich but still classy and danceable.
The eighties were a good decade for pop and this duo made a strong contribution to the cause, alongside Prefab Sprout, Tears for Fears, Level 42, Men at Work, Howard Jones, Cutting Crew, Thompson Twins, Freur, Missing Persons, Propaganda, Talk Talk…
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