1973 was an amazing year for Daryl Hall & John Oates as they ushered their superstar paths further with the incredible masterpiece Abandoned Luncheonette. Produced by the great Arif Mardin (Aretha Franklin), this nine song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single She's Gone, as well as favorites When The Morning Comes and the celebrated title track, Hall & Oates second album was a watershed release which has rewarded them with non-stop success for the past four decades!

Mastered impeccably from the original Atlantic tapes by Joe Reagoso at Friday Music Studios and at Capitol Records in Hollywood, CA, this much acclaimed album gets the five star treatment with beautifully mastered sound and a stunning limited edition gatefold cover, which now includes the lyrics and photos from the first pressing of the original rare Atlantic Records release.

Hall & Oates are no strangers to the Friday Music catalog, as we have continued to release many magnificent soulful projects from their RCA years on critically acclaimed remastered compact discs. We believe this wonderful limited edition 180 Gram vinyl release of Abandoned Luncheonette will be one of the more anticipated audiophile releases of the New Year.

Friday Music proudly continues the extensive Hall & Oates Definitive Masters Series with their long out of print album Livetime from 1977. This the first time ever that this gold album have ever been issued on compact disc. Complete with the original graphics, artwork, and rare album art elements.

Impeccably remastered by Hall & Oates expert Joe Reagoso, this fine remastered version includes the hits Sara Smile, Rich Girl, and Do What You Want, Be What You Are. The fans have been demanding this for a long time, we are more than happy to oblige. A Friday Music exclusive!

We continue the Hall & Oates Definitive Masters Series with the multi-platinum Live At The Apollo. With Temptations' Ruffin & Kendrick, they strike gold with hits singles like Apollo Medley, Every Time You Go Away, I Can't Go For That and Adult Education.

First time on CD in two decades - the fans have been shouting for its re-release for years! Original art elements, photos and impeccable remastering by Joe Reagoso.

Along The Red Ledge was a return to the soulful rock sounds that superstars Daryl Hall & John Oates were known for. It proved to be a huge hit with the fans netting several hit singles and accumulating another platinum chart album three decades ago. As an eighth album in their extensive catalog, the Philly duo explored a redefined approach to their trademark sound, which would continue their winning streak for the next long run of platinum plus albums into the new millennium.

Enlisting a new producer in David Foster, the new conglomeration got down to business and put together a stellar list of ten new songs and kicked things off with the huge radio hit It's A Laugh. Clocking in less than four minutes, this magical song had the melody, harmony and familiar guitar and piano interplay that only Hall & Oates could create.

The Hall & Oates band included some of the hottest musicians of that era with stellar players like Kenny Passarelli (Joe Walsh, Tommy Bolin), Caleb Quaye (Elton John), long time stable mate Charlie DeChant and future superstar producer David Foster.

If that wasn't worth its weight in gold, the duo also brought along some very big heavyweights for the session including the late great George Harrison, Toto's Steve Porcaro and Steve Lukather, King Crimson founder Robert Fripp, Cheap Trick's Rick Nielsen and fellow Philly artist Todd Rundgren.

The sessions were recorded and mixed in Los Angeles and New York City and proved to be the winning combination to capture some of this collective duo's most powerful recordings from the late seventies. Along with their aforementioned hit It's A Laugh, Melody For A Memory finds Hall & Oates with a very classy nod to the progressive rock style they found on their previous works like Is It A Star, Winged Bull and more of their harder edged material. The Phil Spector influenced The Last Time is a very interesting departure from the rest of the album. Drenched in 12-string rhythm guitars, the wall of sound drum beat ala The Ronettes, the strategically placed string section, and Hall's strong vocal, made this one of the finest album tracks in their repertoire. If you never heard this song before, you will never stop playing it. It is just one of those carefully crafted hypnotic tunes that you'll remember forever in the record player in your mind.

Growing up in the Philadelphia area back in the sixties and seventies, if you had any musical bone in your body, you had the golden opportunity to have been blessed to listen to and buy the coolest soul and rock sounds ever waxed. Both Hall & Oates had their beginnings as well in several area bands that would eventually lead to their superstar partnership.

Daryl Hall (originally Daryl Hohl) was in the blue-eyed soul band, The Temptones, who had cut a few Temptations influenced sides. Later on, he formed Gulliver with another fine songwriter/vocalist Tim Moore, while John Oates was carrying some very fine melodies himself with his band The Masters. The significance of the second hit single culled from this album, I Don't Wanna Lose You, truly brings all of these rudimentary elements and influences to the forefront and helped deliver a slamming soul rocker that is still one of their finest songs ever.

For more straight-ahead hard rock, Don't Blame It On Love captures the essence of their live performances at the time. OK, you would go to the shows and hear the hit singles and key album tracks, but then you would get blown away by the sheer power and musicianship of songs like these. On the level of 1976's Room To Breathe from Bigger Than Both Of Us (FM 1976) or from some of the more rocking offerings from 1977's Beauty On A Back Street (FM 1977), Don't Blame It On Love displays the incredible range this act could deliver on a consistent basis, either on stage or in the studio.

The amazing thing about Along The Red Ledge is that it has been out of print for over a decade in any format, but our righteous friends at Sony BMG allowed us to go deep into their vaults and prepare a pristine new remastered version of this powerhouse effort from the original session tapes, engineered impeccably by music guru Joe Reagoso.

Friday Music is very proud to have these important chapters in the long career of Daryl Hall & John Oates represented once again. Stay tuned for more Hall & Oates Definitive Masters from the RCA years.

Years of sensational albums and singles, memorable harmonies, lyrics and stellar musicianship are what you can count on with Daryl Hall & John Oates. This award-winning Philly duo has been such a mainstay in popular music for years now, that it's hard to believe that it has been three decades since the vinyl release of their 1977 Top 30 hit album, Beauty On A Back Street. As an amazing follow-up to their previous smash albums: Daryl Hall & John Oates (The Silver Album) and Bigger than Both of Us (FM 1976). Beauty On A Back Street had the reputation of a transitional album with more of a harder edged sonic quality, while maintaining the rock and soul approach, making their trademark sound the much emulated style it is to this day.

1977 was one of the greatest years for rock, soul and popular music. You had breakout albums hitting from almost everyone in those days. Before the theft of music, you would see albums that would normally hit 4 or 5 million units... platinum was part of our culture at the time, and Hall & Oates weren't foreign to the culture either. They had just completed a nice chart run of singles with She's Gone, Sara Smile, Rich Girl, and Do What You Want, Be What You Are.

With the punk rock influence hitting the shores with new albums, as well as bombastic soul efforts, plus arena rock achievements from mega superstar bands, this hit-making duo from Philadelphia knew they had to keep the fans satisfied. So, they reached back to the some of their recognizable star formula and created one of the most enduring and artistically pleasing efforts in their large catalog of albums.

Utilizing the studio wizardry of their past platinum efforts with Christopher Bond, Hall & Oates along with lyricist Sara Allen combined their musical talents and crafted nine new tracks for the sessions at The Sounds Labs from April to May of 1977.

With clever arrangements and natural players like Scotty Edwards and Leland Sklar on bass, the late great Jeff Porcaro on drums and the jazz legend Tom Scott on sax, this album hits its stride with the first hit single Why Do Lovers Break Each Other's Heart? With the correct balance of Philly soul, 50's doo-wop, and crunchy almost Mick Ronson style guitar riffs, this tune was just the beginning of what was happening in the studio as the album was being caught on tape. A little departure from their previous hit singles, Hall's lead vocal truly captures the lyric with a tonal quality that is reserved only for pros. As another successful follow-up at radio, Don't Change again relies on some heavier guitar patterns in just the right places, while Daryl belts out another incredible vocal performance. Truly, this was one of the most memorable tunes on this project.

To gravitate towards a more familiar space, their rock 'n' soul trademark sound comes home once more with Bigger Than Both Of Us. The beat of the string arrangement, the horns, the mighty drum sound, the strong vocals... it just worked out to be another high-point track and album clincher for the duo.

John Oates unleashed some very fine material on this album as well including the soulful Love Hurts (Love Heals) with a memorable sax break from Tom Scott, as well as the LP closer The Girl Who Used To Be. With a great story line, chilling guitar work and harmonies, this song is one of his strongest writings ever.

It's difficult to think that this wonderful album has been unavailable for quite some time, but thanks to folks at Sony BMG, Friday Music is proud to re-release this fine album, presented now as a pristine remaster, directly from the original session tapes, with the all of the courtesy, respect and sonic qualities that you have come to know and deserve from the Friday Music label. Thoughtfully and painstakingly remastered by Joe Reagoso at the Friday Music Studios.

We personally had a blast working this album in its day at retail, back in the Philly area at a famous one-stop, right out of high school, recalling vividly the Daryl Hall & John Oates personalized black and white album boxes that were stacked in the warehouse. Think about that... RCA gave them their own cardboard boxes to ship to the record stores. How cool was that! Beauty On A Back Street was great then, and it still sounds great today... especially this amazing new remaster... which begins our Hall & Oates Definitve Masters Series... Enjoy!

1976 was a banner year for Philly's finest Hall & Oates, which was the year of their #1 smash Rich Girl and their platinum smash album Bigger Than Both Of Us.

This incredible album also culled two other hit singles with Back Together Again and Do What You Want, Be What You Are, which helped make this one of their most ground breaking albums of their long and successful career.

Amazingly, this smash has been out of print for a quite some time, but thanks to the keeper of the vaults at Sony BMG, Friday Music is now here to the rescue! We are proudly presenting Bigger Than Both Of Us as the definitive re-release, as part of our continuing Hall & Oates Definitive Masters Series. Complete with original graphics, lyrics, photos, and a pristine remaster by Joe Reagoso (Doobie Brothers, Boz Scaggs, America) from the original RCA source tapes.

Wait until you hear the new definition in the voices and the solid contrast in instrumentation that makes this new remaster the definitive version of this platinum-plus album from 1976. Reserve your copy today!