Word: tunes
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Dates: during 1970-1979
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...connection they had with the stream of deranged, safety-pin punk; and the band no longer seems self-conscious about borrowing from the '50s. One song on the album, "11:59," is perfect: a wonderful mix of lyrics that sound like they have meaning and a hard-driving pop tune that doesn't wear out after three hearings...
...just have to score a lot more points than they do," Polillio added. And that's the name of that tune. RUSHING Player Att Yds Avg TD Ralph Polillio 40 175 4.4 2 Wayne Moore 16 134 8.4 1 Matt Granger 29 108 3.7 1 Larry Brown 38 105 2.8 0 Paul Connors 42 90 2.1 1 PASS RECEIVING Player CT Yds Lg TD Paul Connors 9 88 15 0 Ralph Polillio 7 134 50 2 Rich Homer 6 111 40 0 Paul Sablock 4 57 34 1 Matt Granger 4 42 18 0 Dave Kinney...
They follow this parody with a more serious punk tune, "Don't Blame It on Love," using some fine guitar and percussion work to drive the song along. Caleb Quaye's strong lead guitar dominates both these cuts, which comically oppose John Oates' "Serious Music," a conventional rocker that ponders the durability of pop music. The song uses some creative instrumental bridges playing off a "Rhapsody in Blue" theme...
Finally, John Oates follows up with an intriguing tune called "Pleasure Beach." Starting with a quiet, slow synthesizer backing Oates' soft, relaxed voice, the song shifts into the screams of a beach crowd mixed with a driving electric guitar riff that carries a vocal part adorned with a Beach Boys, teeny bopper harmony line. It's innocent, fun rock and one of the album's best offerings...
...called "August Day," written by Sara Allen (the subject of "Sara Smile" and a constant Hall and Oates companion and contributor), to a poor attempt at a Phil Spector rocker, called "The Last Time." There's a great orchestral work in "I Don't Wanna Lose You," a fine tune which may do well as a pop single; but the range and uneveness of the album as a whole make it almost impossible to label the work as a success or failure...