Tag Archives: Hall & Oates

A Few Notes About ‘She’s Gone’

“Everybody’s high on consolation”

Consolation
noun

1. the act of consoling; comfort; solace.
2. the state of being consoled.
3. blahblablahablnhja

What do you get when you’re on a game show? A consolation prize. You can’t be sad if you receive something tangible from a minor sponsor.

A toaster maybe.

But a really nice toaster.

So are Hall & Oates high on toasters in the “promotional” video for She’s Gone?

No, clearly they’re high on drugs.

Anyone who’s talked to me on gchat for more than a few minutes has probably been sent this video. The other day, anonymous asshole peterbd had the audacity to say, “You’ve already sent me this.”

Well I know, peter. Maybe I thought you needed to see it again, okay?

So why should I send everyone this video constantly? Is it because of Hall & Oates’ hipster fame from the last few years? Has that—spurred on by The Bird & The Bee’s respectable cover album—fanned the fire that burns in my heart for the Hoates?

I’d like to think not, but I am a white dude living in a neighborhood becoming more and more gentrified every day.

Hipsters don’t need to inspire me, or anyone else, to listen to Hall & Oates though, since there’s a long history of other muscians–starting in the 70s—covering and sampling them. This is what happens when you make some of the most well produced music in the 70s.

The most interesting spin on H&O songs comes from rap and hip-hop, where they’ve found a fairly successful home. Notorious BIG, Kanye and De La Soul have all sampled H&O. My favorite use of the Hoates is none other than—speaking of music hipsters love—Wu Tang Clan on the song Method Man, which takes from H&O’s minuscule hit Method of Modern Love (a video and song equally as weird as She’s Gone, but not by any means as legitimately enjoyable).

M-E-T-H-O-D Man

Christ that’s good.

This has nothing to do with She’s Gone, or the video for She’s Gone. I just want to make sure you know that Hall & Oates is a staple of music, across all genres & generations.

Not that I really needed to explain that.

So. She’s Gone. What the fuck, right?

Hair! Stache! Daryl!

I’ve had more than one person try to tell me She’s Gone is a cover, which is understandable. The Tavares, who covered She’s Gone to a decent amount of fame, both sound and look more likely to produce a song with such an R&B and Soul sound. Not that Hall & Oates don’t look capable of this, but, come on – HAVE YOU SEEN DARYL’S BEAUTIFUL, FEATHERY, BLOND HAIR???

I want to fall into it, feel it catch my weight like a soft bed of leaves, sink into it like molasses…

I read somewhere—or possibly made this up, it’s hard to tell the difference—that She’s Gone was directed by one of their sisters (I want to say Daryl’s sister, but I’m not certain). This makes sense. This video, a video you won’t find on their official goddamn channel for obvious reasons, feels like it’d have been made by someone’s sister.

Take out the drug use, and it almost seems like something children would make for fun. There’s not a whole lot going on. A woman or a man in a devil suit walks by at predictable moments. Near the end John even kind of looks like a child, walking in a circle with the Devil and Daryl, his tuxedo devouring his limbs as he marches with his guitar.

This is by no means the best part of the music video. The best is at about 2:40, when John stands up in his sleeveless shirt, the devil puts an over-sized tux jacket on him, John picks up his guitar, and he tears that shit up. Of course, he’s not actually playing the guitar. It’s plain to see. His fingers don’t even make it out of his sleeves. You squint as he does this, as he fake plays, you squint hard until you see nothing but his bowtie and you wonder:

Are Hall & Oates fucking with me?

Maybe. Or maybe they were fucking with their then record label, Atlantic Records. From what I understand (I may be making this up too), they didn’t have a very good relationship with Atlantic. This may explain their move to RCA, who knows. Regardless, what do you do, friend, when you’re working for a label that treats you like shit? You eat that shit. You eat it up with a spoon. You’re their slave. And when they go and ask you to make a promotional video for one of your songs, you eat that shit too, right?

Well you could eat their shit.

Or you could punk the shit out of them.

I have no proof whatsoever that She’s Gone is a rally and/or practical joke against their label, but that’s what I like to believe it is. What better way to give your label the finger, and fans something truly unique to watch, than to waste a bunch of someone else’s money?

God bless you, Hall & Oates.