Chords for Hall & Oates on Friday Night Videos in 1984 - @rocknsoul72 on Instagram

_ _ _ _ [C] Our private reel tonight is with the most [F] successful duo of our time, Daryl Hall and John Oates.
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_ _ _ _ [F] [Bb] We began by asking [F] how they got started.
_ _ We were lucky enough to grow up in a certain period of time in Philadelphia when Philadelphia was happening.
It was [F] the Mecca of rock and roll in the north [C] anyway.
_ _ [Eb] Like I said, we were just there.
We just experienced it [Gb] all.
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[Abm] It amazes me [E] when I look back on it.
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[Am] _ We're part of that tradition.
Part of the [G] tradition of soul.
[E] It was the [Am] music of the area that we grew up in.
It was the only music I ever listened to.
It was the music that meant something to me.
[Ab] I guess quite naturally that means that it's the [N] music I feel comfortable with.
I think we've tried to stretch its boundaries.
I think [A] that's our challenge and our goal.
That's what [D] we've been trying to do for the last ten years basically, is stretch the boundaries
of what we feel comfortable with at the same time maintaining the essence of it, which
is the soul of it.
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[Bb] People are involved in the [B] beat.
The beat is happening.
The beat is moving people for whatever reason.
[A] [Am] Just like lyrics.
Lyrics were the focal point of 60s music and 60s consciousness [B] when it came to [D] meaningful
music and the birth of the [G] singer-songwriter and Dylan and all that stuff.
There [Abm] was a sociopolitical [N] theme going on in music and that was moving people.
Well [G] now the groove is moving people [A] for whatever reason.
[Am] [Ab] People have that [F] one move.
What the groove?
[G] It's the greatest move.
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What the [G] groove?
It's the greatest move.
What [Am] the groove? _
It's the [F] greatest move.
It's the greatest move.
_ [G] _ [A] They used to have a show in Philadelphia called Summertime at the Pier, which was a guy named Ed Hurst.
[G] It was _ [E] originally out of Atlantic [G] City, but then they also had it in Philadelphia too.
And _ [Am] John's sister _ was, [Eb] I don't know what she had to do with the show.
I don't know if she was assistant director for the show [Gb] or something like that.
So she said, you guys want to come on the show?
So we did.
So _ normally we would get up there and people in those days just lip sync their records,
you know, just stand there and do it.
So we said, [Em] let's do something different.
We had no concept of quote video or whatever.
Let's just do something strange.
[B] So we rented [Ab] some costumes and brought [B] some furniture from our house and did all that
kind of thing.
And it was a really bizarre video.
I mean, if you saw it, you would [Ab] definitely wonder [Dbm] where we were coming from.
[Gb] But it was the first video I ever saw.
It was [A] actually a video.
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_ [E] _ _ [Gbm] _ I [B] bet a devil in the roof that [A] she's gone.
She's gone.
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_ To [E] me, the late 70s were a real low [C] point in music.
And I was very frustrated.
And I think, I don't know, I wasn't [N] getting along with the musical world.
They didn't like me.
And I just don't think there was that much happening.
_ And what I said was that [G] nothing will come until like until [F] what has come before is totally
exhausted [Ab] and then something has to come by its natural, you know, just by its natural
[N] sense of things flowing in cycles.
_ And I think it's actually starting to happen now.
You know, I think since I said that, I feel that it's coming to pass.
I mean, obviously, video is has a lot to do with what's becoming the next big thing.
And I don't mean just because the fad of video or whatever, which is the fad itself will
pass, but _ video is going to change the face of music, is in the process of changing the
face of music because it changes how not only how an artist conceives of the work, but [E] how
it's being perceived by the [Gb] audience.
And that's where the big [Bm] change is.
_ _ Music is not to [Em] be just listened to anymore, as [E] much as that might be good.
[Em] And I, being a purist [E] in some way, and a musician, I mourn [Gbm] the passing of that.
[D] But it's past.
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_ _ _ [E] I think a lot of people miss our point when they [G] analyze our lyrics.
I don't think the tradition we come out of, [Dm] rock and soul, soul [A] music is not to be
analyzed, it's to be [B] felt and experienced.
It's a mood, it's that, it's [G] literally goes back to religious roots.
It's gospel [D] music.
And, you know, it's a call and response and someone testifying, someone [Bm] responding to
that.
It isn't the words themselves, it's the meaning and the mood that they invoke.
_ [Em] _ And we try and do that visually, or at least [A] that's my idea of how to deal with video,
to try and _ [A] invoke an ego, some kind of mood.
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_ [G] I feel real satisfied, very satisfied. _
[E] I don't feel, I don't feel satiated, though.
You know, I [G] feel like there's still a lot more to come and we [E] just kind of we're still
just scratching the surface, [Dm] you know.
_ [D] _ So it's really challenging.
We're too [E] busy looking ahead [A] to worry about what we, you know, what's in what we've
done.
[B] And that's [F] that's done.
That's in the [Ab] past, you know, and [Bb] it stands on its own.
[Abm] People want to relate to it [Bb] and think about it.
Great.
But we're [Ab] we're too busy thinking about [G] tomorrow.
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_ [Dm] _ Back with Julio Iglesias,