Book - Hall & Oates - Bigger Than Both of Us (Piano) Sheet Music

5/28/2018 Book - Hall & Oates - Bigger Than Both of Us (Piano) Sheet Music

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flRV JO N flit OflTS


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IGG R TH N OTH OF US

ch ppell music comp ny


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Management and Directionby TOMMY MOTTOLA

Book Design: LEE SNIDER


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ONT NTSAs Recorded on RCA Records LP APL1-1467

BACK TOGETHER AG AIN 13Lyrics 19

RICH GIRL 20Lyrics 26

CRAZY EYES 27Lyrics 32

DO WHAT YOU WANTBEWHAT YOU ARE 33

Lyrics 37KERRY 38

Lyrics 43LONDON, LUCK AND LOVE 44

Lyrics 49ROOM TO BREATHE 50

Lyrics 55YOU LL NEVER LEARN 56

Lyrics 64FALLING 65

Lyrics 72


6/74

It's the second half of the Seventies and all thechangesa re over ;the war isover,f lower powe r, hippies,heavy metal, unisex, and ps yched elics have all gone bythe boards. But something remarkable has happened;fromall thepassionan dexcitementofrockand roll;f romthe primitive three-chord clamor; from all the sourcesgospel, folk, R&B and everything else, there 's come anew sense of things. It's an end product;the finely cu tan d highly polished diamond that's been trying to


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emerge ever since the fifties. This diamond ishard aflashingye t softas agiftof love; it's Daryl HallandJoDates and their music; the crystalization of rock andon their new album on RCA"BiggerThan BothO f U

Firstofa ll, thisistheiryear The single "Sara Smifromthei r f i rstRC A album "Dary l Hall & JohnOates"hbeen certified gold. "She's Gone" from their second on Atlantic Records,has been high on the charts wthe album "Abandoned Luncheonette," going go"Bigger Than Both Of Us," with massive pre-releaorders, wil l almost certainly be c ertified gold withinnear future.

In addition they are the recipients of two NATAwards,one for "Sara Smile" as Best Songof theYand the other naming them BestDuo of theYear.Daand John were also recently honored by the RoAwardssho w, naming them BestNewGroup.Inwinntheaward, they beat out such ac ts as Aerosm ith, BruSpringsteen, Bob Seger and Thin Lizzy.

We're talking about something very special heIt's taken awhile fo r Daryland John to truly come itheir own, but it's unquestionably been worth the wAccordingtoJohnOates, "Thisis a collaboration antook time to reach a balance. "But now. . .." and DaHall interjects "n ow, we 're burningon allcy linders. Itbalance; it's drawinganessenceout ofyo ur roots. Tishead musican dheart music.And it'sawhole physithing, too. I got into rock music to pick up girls bu tgonewaybeyond that now. Theycan look ifthey w anbut Iwant them to listen."Daryl,27,grewup inPottstown,Pa .about 40 mwest ofPhiladelphia. "It's sortofsuburban now,"he s"but back then it was really country.Ispenta great doftime alone.I had a lot oftimeto develop myfantasiMy parents were class ical musicians and they gave piano andvoice lessons.Butafterthefirst time Iherock and roll, it was all over."

The first rock record he bought was Ike and TTurner's "( IThink)It s GonnaWorkOut Fine'"and, senough, rock an d roll, the devil's music, stole anotsoul. "I was running away to Philadelphiaas sooncould." Before you knew it the young, very blosuburbankid was hangingout onstreet corners,singwith local "under the street lamp" black a capgroups. All the while, though, he kept on withclassical training. "It got to a point where I was singwith the Philadelphia Orchestra in the afternoonthen would sing back up for Smokey Robinson at Uptown Theater later that night." Somewhere at hoDaryi has a picture of himself, at 17, withTemptations. "I learned more f rom David RuffinEddie Kendricks than from anyone else."


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At 18. Darylstarted playing with loca l Jersey Shorebands and made his f irst record with "Kenny Gambleand the Romeos." Mr. Gamble, of course, went on tobiggerthmgs;he ,Thorn Bell,andLeon Huffaretheprimeforces behind the "Philly" sound. Daryl was in on thisscenefromthebeginning, workinga tSigma Soundas asession musician on recordings by The Stylistics, TheDelphonics and othe rs. Later he and producer TomSellers and singer/songwriter Tim Moore started aBeatle-ish rock band called Gulliver which eventuallyrecorded an album for Elektra.

Meanwhile, though, in 1967 he had met JohnGates. Their f irst efforts together were a disaster:accordingtoJohn "itjustsoundedridiculous. The songwas bad and our vo ices sounded terrible together."" e . .'.ere coming at things from two different direc-tions.

John, who's 26, was actually encouraged by his

took him to a "Bill Haley and The Comets" concerwas born in NewYorkCityandmovedtoPhiladelphage four.At age 8, he startedplayingguitar and imitElvis Presleyin local schoolyards."When you get to junior high you finallymoney. To take out girls, you need money, nworked . I always knew itwas music. I'dwatch bandsmymo uth open, chills running dow n m y spine. I'd the Steel Pier in AtlanticCity.N.J. to see Sam and orU.S. Bondsand I'd gocrazy.Ialwa ys knew musicth e way, th e answer."

And so John was tra nsfi xed by rock and roll."a hoodlum, man. I changed my crew cut pompadour." "Man. we 'd walk into adanceand itwara music war. The guys would be wearing trench coats, tab collars, pointy shoes. Thegirlswhaveteased hair,withlittlepieceso fsco tch tape hodownthe curls. There'dbe peoplein acircle doing s


10/74

There were nobands, only records andthiswaseverySaturday night.

This was the golden age. Itstill happens insmal ltowns, in finishe d basem ents. And Daryl adds, Thefirsttime Imade itwithagirlit was in herp arents finishedbasement. We got carried away and broke one of herfather's bowling trophies.

Surprisingly though, John Gates, the little, dark-haired Mediterranean-looking punk, later go t into folkmusic. Heevenwent on to college, studying ournalismand picking folk guitar. After meeting Daryl he playedoccasionally with th e soon-to-disband Gulliver. .

In1969, the twodecidedtowork seriously togePrior to this they had only written songs together.they began to play arou nd Ph iladelphia, estab lishsubstantial local following. In 1972, they signed Atlantic Records, and with Arif Mardin producingand released Whole Gates in October. It wacompendium of their best material to date and wsimple,straig htforw ard album. Just raw mate rial Daryl now.

1973. however, brought the classic AbandoLuncheonette. Th ealbumwas astep forw ard, theyadded a rhythm section onstage, and introd


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electronic new sounds from mellotrons. synthesizersand such. Arif Mardin once again produced with theass istance of Chris Bond, a talented Philadelphia friendof the duo. 'What we tried to do then was to fuseprogressive music with soul music" says Mr. Hall.

"War Babies," their next effort, came in1974andwas quite a departure from the mellow soulfulness of"Abandoned Luncheonette." It was extreme,progressive rockwith Todd Rundgren producing. SaysDaryl, "It was cold, metallic, nihilistic. It was all ourconflicts coming out.It wasvery naked music.We haduprooted ourselves, come to New York and picked up onalljhe madness around us."

The upshot of the whole thing was a completereassessment for the two. They changed recordcompanies, moving to RC A andbeganto change theirfocus and their sound.With"W ar Babies" they had gone to their youthfulextremes. "Daryl Hall and John Gates," the "SilverAlbum" was a reconciliation, peace upon the wate rs.Featuring the beautiful lyricism of "Sara Smile" thealbum brought them a larger and more devotedfollowing.

Now, "Bigger Than Both Of Us" continues their

evolution.They're riding high; strong, successful andstillaspassionate. Theyareextending themselveseverybody else once again.JohnGatessays it best: "Everyone is drawing fthe same wells today. It's all out there to choose fromblues, the Beatles, the Everly Brothers, StockhauAnyone can use old styles but fusing them individual perceptions is tough. What comes out synthesis.""You see, we 're not a group. We're a duo;comfrom different places. In agroup the focus isdiffuWhat results is often just a muddy consensus. Wtighter and more centered."They have identical Greenw ich Village apartmesee each other eve ry day and work together cons taDaryl smokes thick cigarsand is a keen studentometaphysical and the occult. John races sports and reads a lot. There are similarities anddifferenbut out of all of it a whole, a sound, has been creaTwo sensitive, highly trained, aware musicians hplugged into themagic, taken it all astep forward finally, released the seventies from its bondage topast.They've emerged as rock and roll gone to finisschool and the endproductis"Bigger Than Both Of


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Words Music byJOHNGATESModerately

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yeah, he could sing,_ he could sing,. he could sing.. He s back_ to -

Copyright 1976byUnichappellMusic Inc.andHot-Cha MusicCo.Unichappell Music Inc. administrator

International Copyright Secured Made in U.S.A.ALL RIGHTS RESERVED including public performancefor profitAny copying arrangingoradapting ofthis work withouttheconsentof theownersis aninfringementofcopyright


15/74

Dm

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16/74

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17/74

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Words & Music byJOHN OATESHe s back together againYeah,everyone is glad thathe s together againJust like the old days, old daysYeah,hecould sing, he could singHe s back together againYou know he s still got themovesYouknow the groove s still thereJust like the old days, old daysYeah,he could sing,he could singListento him sing ~Chorus:Backtogether again, back together againSingingthesame oldstoryBack together again back together againTheold songs never endAndthat s somethingto believe inRemember '65Youknow thekids are all grown upBut their records are still aliveJustlike the old days, old daysYeah,he could sing, he could singHe's back, he sriding highThecharts are full of love andHe's on everybody s dialJust like the old days, old daysYeah,he could sing, he could singJustlisten to him singChorus


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20

Words Music byDA RY L HALL

A m 7

Moderately

Yo u ' r e a rich girl, bu t you 've gone to o fa r ' cause you

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know it does-n't mat - ter an - y-way._ You can re-ly on the old man's mon - ey,

you can re-ly on the old man1s mon -ey . It 's a bitc h, girl, but it 's gone too far 'cause you

Copyright 1976 byUnichappell Music,Inc. and Hot-Cha Music Co .Unichappell Music,, Inc., administratorInternational Copyright Secured Made inU.S.A.AL L RIGHTS RESERVED including public performance for profitAn y copying, arranging or adapting of this work without the consent of the owners is an infringement of copyright


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Dm 7 F (Cbass) F (Abass )

know it does - n ' t mat-ter a n - y - w a y Say, mon - ey,mo n-e y won t get you too far,Gm7 G m 7 Am 7O O P

get you too far. _ Don t you

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G m 7 A m 7 Dm7 Gm 7 Am7 Bl>maj7O O P p p p P Gm 7

take what he s giv-en you. So far g o n e , on your own, but you could


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get a- long_ if you tried to be s trong,_ but you 11 n ev - er be stro ng

r ich girl andyou 'vegone too far 'causeyou know it does -n ' t mat-ter a n - y - w a y

You can re -ly on the old man 's mon-ey, you can re -ly on the oldman ' s mon - ey. It's a

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fi^Fl r*bitch, girl, but it's gone

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to o far 'cause you know it does-n't mat-ter an - y - w a y

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Say,mon - ey, mon-ey won't get you too far, get you too far High and

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dry, out of the rain,

eas - y_ to hurt others when you can't feel pain.

r : . : that a love can't grow..

It's so

Don't you

Bu t it's


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24 Dm? Gm7 BkCbass)

to omuch to give causeyou d rath - er live for the thrill of it all.

Repeat fade

richgirl andyou've gone too far 'causeyou know it does- n't mat - ter an -y -w ay .

You can re -ly on the oldman'sm o n - e y , you can re-ly on the oldman's m on-ey. It's a

bitch, girl, but it's gone too far 'cause you know it does-n't mat-ter an - y - way


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Say,mon - ey, mon - ey won't get you too far, Say, mon - ey,mon-eywon't get you too far,

Say , mon - ey, mon-ey w o n ' t get you too f a r , get you too far.. And you say

you can re -ly on the old man's mon - ey, you can re - ly on the old man's mon-ey.You're a


27/74

Words Music byDARYL HALL

You re arich girl and you ve gonetoo farCause you know itdoesn t matter anywayYou can rely on the old man s moneyYou canrely ontheoldman s moneyIt sa bitch girl but it s gonetoo farCauseyouknow it doesn t matter anywaySaymoney, money won t get you too farGet you too farDon t youknow that it s wrongto take what he s givenyouSofargoneonyour ownYoucould get along if you tried to be strongButyou ll never bestrongHighand dry out of the rainIt s so easy to hurt others when you can t feel painDon tyouknow that love can t growCauseit s too much to give'causeyou d rather liveForthethrill of it all


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Moderately fastAmWords &Music byJOHN GATES

C (Gbass)0 0

t-J Par - don the era - zy way_Cloud-y days , say it looks like rain. I be - have and the thingsWhat sthe use, know i t s all_

I say._th esame.. Ma y - be I m too young.Read a mag - a -zine,. to knowe - lee th e score,trie light _

F (Gbass) Am

Jbutthere'ssome-thing in-side not right..

is keeping me fr om _ my dreams, Wish I couldHo w do I vo -sound

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Copyright 1976 byUnichappellMusic, Inc.andHot-ChaMusicCo.Unichappell Music, Inc., administratorInternational Copyright Secured Made in U.S.A.ALL RIGHTSRESERVED including public performancefo r profitAny copying arrangingor adapting of this work without theconsent of the ownersis an infringemento fcopyright


29/74

C iGbns0

:cal-izeto you? If I screamed would you reLike a fool, lit - tie cuck oo - oo

/

Feel-ing like a childOn - ly wish I knew. with - out .what I _ his toys , .should do, _ But e

F Gbass)x Cma 7O Q Q Emo OOP

I just want to tell you e v - r y - thing s al llieve me when I tell you e v - r y - thing s all

right.right. I I m just

look-ing at you throughera


30/74

L x F1 1l l


31/74

Bl>6.^n ~

look- ingtt

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trough era - zy eyes.

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ae , Wish I cou

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3 -o-he blame on some - one,

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some - one . Ev - 'ry - thing's right,.

P


32/74

efx o Bm7

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33/74

Words & MusicbyJOHN GATESPardonthecrazyway IbehaveAndthethings I sayMaybeI'm tooyoungto knowthescoreBut there's som ething inside notrightWish1could vocalizeIf Iscreamed wouldyourealizeFeeling likeachildwithout histoysButIjust w anttotellyou...Chorus:Everything'sall rightI'm just looking at you throughcrazyeyes tonightSo if I'macting kind ofstrangeI'm just looking through craz y eyesCloudyday say it looks like rainWhat'stheuse,Iknow it'sall thesameReadamagazine, electric l ightis keeping me from m y dream sHow do Isoundtoyou?Likeafool,a little cuckootooIonly wishIknew whatIshoulddoBelievemewhen I tell youChorusEverything seemstohave changedIdon'teven knowmynameIwish Icould placetheblameonsomeonebut there's nooneChorus


34/74

Words byDARYL HALL JOHNOAT ES/Music byDARYLHALL.... .M. .,. ,,

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ModeratelyFm7 ;;_v

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gj^JiTD o what you want , lieve in hot cars.l

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> Be what youm ov - ie stars.- Is that what's _ / -=-=;3

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arereal?_

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There ain't no right or wrongwayPay - in' dues, . earth shoes, Chi - ca-go blues,ff-T? S 1 1

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j u s t play f r o m the heart..Is that how you feel?. It ain't aYou_ signcan. of

Copyr ight e 1976 byU nichappeHMusic,Inc.and Hot-Ch a Music Co.Unichappel l Music.Inc.,adm inistratorInternationalCopyrightSecured Made inU.S.A.ALLRIGHTSRESERVEDincludingpublic performance forprofit

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35/74

G m 7 B b (Cbass) C m ? B f c A t

weak- ness,girl,.change

to give your-self a - wa y , .but you can'tcon-ceal_

Fm7 Gm 7 F (Gbass)X ~

Be-causethestronggive up and move on while the weak, the weak give up andwhat's deep in - side you, It's your game, it's your

stay.deal. So, do what you wan - na, do what you wan - na, do what yo u

fn\i r

3 g

y u yi . J y J

Cm7 (Bbbass) Abmaj?

wan - na do what you wan - na d o _ but be what you are.


36/74

D b ? - 5 Cm7

_g a

j, __JJ=4^ L^ s1-~. a z: ~r. ^ D i i -iii-i7 ^ |^B e what you are . . D o what yo u

wan-na, do what you wan - na, do what you wan - na do, but be what you

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D o you be - are..

f


37/74

Fm7 Gin/ A b m a j / Fm / G m / A b m a j T

Fm7 G m 7 A b m a j V D l? 7 - 5 Cm7Repeat an d fade

So, do what you Lead Imp rovise)Bf J*3g p P

Cm7 (Bbbass)

Jwan - na do. D o what you wan - na do, but be what you rAl?maj7 Db7-5

^ f jare, B e what you are.

m j. j5


38/74

W o r d s by D A R Y LHALL JOHN OATES/MusicbyDARYL HALLDo what you want girl, but be what you areThereain t norightorwrongwayJust a play from the heartItain tasignofweaknesstogive yourself awayBecausethestrong giveup andmoveon,While the weak give up and stayChorus:So do what you want to doBut bewhatyouare...Do you believe in hot cars,leather bars,o rmovie starsIs that what s realRavin dues, Earth Shoes, Chicago bluesIs that how youfeel?You canchange,but youcan t concealWhat s deepinsideyouIt s your game, It s yourdealChorus:So dowhatyouwantto doButbewhatyou are...


39/74

38

Words&MusicbyDARYL HALL &STEPHEN DEES

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cool and so clev -zy to think

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^i 4 r^1 . _ _ _ _ _p.r, T know

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-P = b'causeyoutold me so. You'vegot it bad for your -self,findyouwhenyouwerelost. Girl,you don'tknow whatyou're say- ing when you

i-i F F&n U U r-^1 , , J ^

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-rir i ^T^ J> rCopyright 1976 by Unichappell Music,Inc. and Hot-Cha Music Co.UnichappellMusic,Inc., administratorInternational Copyright Secured Made inU.S.A.-ffI LJ

1 k

=HALL RIGHTSRESERVED including public performanceforprofitAny copying, arrangingoradaptingofthiswork without the consent of the owners is aninfringement of copyright


40/74

tltt ' :

Nn hod y plsp ran hold aslip a -way. Tell me,

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ran - di p t< > yii s T 'm toldba - by, is it worth the cost?

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give your-self a chance, you're e-nough as you are.

might be o - kay,

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41/74

D GOOP Gmaj9

Oh,_ Ker You can car - ry on, jus t don t get

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car -ried a - w a y oh, Ker - ry, O-kay to car - ry on,. bu t don t gett f f*^c

. 6G (Bbass) C G (B b a s s ) Am Bm G

P car-ried a-way, Watch it now, Kay. Oh, Ker - ry.

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42/74


43/74

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ry, you can car -

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44/74

Words &MusicbyDARYLHALL&STEPHEN DEESKerry,socooland socleverI know 'causeyoutoldme soYou vegot it bad foryourselfAnd nobody elsecanholdacandleto youSoI'mtoldWon tyougiveus abreakDon'ttakeit too farWon tyougive yourself achanceYou'reenough as you areYeah,youmight beO.K.Andit might be all wrongTocarryonOh Kerryyou cancarryonJustdon'tgetcarriedawayOhKerry, it s O.K.tocarryonButdon'tgetcarried away,watchitnow,Kay ohKerryImust have been crazytothinkthat Icould findyouWhenyouwere lostGirl,youcan'tknow what you re sayingWhenyouslipawayTellmebaby,is itworththecost


45/74

44

WordsbyDARYLHALL,JOHNOATES &SARAALLEN/MusicbyDARYLHALL

Moderately

m f

CaddD ( Gba s s )00 0

0 4 tJr v A1^fi^ *j?Jy *1 1 if J1 0 ^1 *e l 'W a l k - ing in timeLon - don ar

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y* IT *^ 4

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toHue

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k were in your eyes, -. 00

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I t =n r IA..A - M ~ *

W a - r ^ f - stains whereluckcame the mo -ment

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\

the rain we re

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Q - , ....-- .. .

D ( G b a s s )GS O O O P G

j f i s r --drops fell.- al -

on an is - land ofgreen_ in the cit - y s e a .that morn-ings are bet - ter spent in b e d ,

WhereA nd

Copyright 1976 by Unichappell Music, Inc. and Hot-Cha MusicCo .Unichappell Music, Inc., adm inistratorInternational Copyright Secured Made in U.S.A.ALL RIGHTSRESERVED including public performance for profitAn ycopying, arranging or adapting of this work without the consent of the owners is an infringement of copyright


46/74

CaddD( G b a s s )o - f D ( G b a s s ) G

'if^-r >5_traf - fie sou

some thir

> ff p ffp pnd brak- ings rol

f P } Jiin to me. ,- J^=

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Am7add Doo D7(sus4)

5 n F IT r^luckand love,

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_ i* ' ' 'n " T V ff r v v F U 1 1 1 1 -i What else r.nnlri T be d

L i K K jj 3t r~*'v**i iA A9 9 . . - E p / / Nreqm-ing of. The1 ** 7 nE r fAm7 add D

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place, the chance,/O d i r - i-*~- -4--fe / * * j

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If===iFf rr feel- ing of

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48/74

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49/74

co o Do

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T5 1 Jrf 1 ) 1 '' 1 y JLon - don, luck and love,_

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50/74

Words by D A R Y LHALL, JOHN G A T E S S A R A A L L E N / M u s i c by D A R Y LHALL

Walk ing int im eto theringing b el lWatersta ined wherethe raindrops fel lOn anislando fg r e e nin acityseaAnd tra f f i c -sou nd b reakers roll in to m eI neverthoughtI'd be upthis mo rningBut Londoniscal l ingto meAndInever thought thatI'df ind somebodyNever becaugh ts oeas i lyLondonLuck, &LoveWhate lse could I bedreamingofTheplace,thechance,thefeel ing ofLondonLuck,&LoveWhat else could I bedreamingofLondonandLove w ere inyour eyes Luck 'causeth e momentw e realizedThat m ornings arebetter spent in bedAndsome things arebetter leftunsaidIne ver feltsocloseso quickly'Cause no onegetsthiscloseto meI never thought thatI'dfind somebody never be caught so easily


51/74

WordsbyDARYLHALL&SARAALLEN/MusicbyDARYLHALL

iV-iuue-Lciieiy

mf

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33

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itknow-now_

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that it's no placetostand What if 1so muchlight - er tobear If youdeal. did- n't call you to - mor -with it ev - er so loose -

j^J\r AJ M EEj i PPP^ ^^Copyright 1976 byUnichappell Music, Inc.and Hot-ChaMusic Co.

UnichappellMusic, Inc., administratorInternational Copyright Secured Made inU.S.A. RIGHTSRESERVEDincludingpublic performanceforprofitAny copying, arrangingoradapting ofthis work without theconsentof theownersis aninfringement ofcopyright


52/74

Dm? (Cbass)

F Em C

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ry keep il

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A i ^ t|fc CThere s no ro

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53/74

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62/74

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63/74

62 Eadd9 D(Ebass) Bm7sus4ISPlay 6times

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ain't itr 3~_

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gain

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71/74

70 F (A bass) Gm0 Dm? F (Abass)

v_ _ m LJ L.rFall

Gm Dm7(sus4)o F (Abass) Gmo Dm?o ^I I t>~9I

fall ing.

JE b m a j? Btmaj9 E t m a j ?

JBl>maj9 E\> F


72/74

w I


73/74

Words Music byDARYL HALLStart anywayyou can in thecompany ofgifted and mad menSome voteto go on andsome fall awayMaybe growing past the pain, maybe going insaneormaybe it's just that youdon'tfeellike singing againand you know but you go onFallingI'm down on the groundbut I'm fallingAllez. . .Allons. . .Floating through theclouds, going downItseemsastrange pointof calmwith nopast,nofuture, just thewingand thewindwhen the wheels touch the groundafloodoffeelingsweepsaroundand the wheels of my life start turning againIfIcould stayin the skysuspended in time


74/74

happellmusi company^tj $A POLYGR MCOMPANY

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Book - Hall & Oates - Bigger Than Both of Us (Piano) Sheet Music