Customer Reviews

Sacred Songs

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Reading the various reviews of "Sacred Songs," it is easy to spot the "Hall" fans and the "Fripp" fans. Hall's fans are surprised by the experimental nature of the album, while Fripp's are surprised at Hall's experimentation. Personally, I have a dichotomous investment in "Sacred Songs." As a kid with a single-speaker record player in 6th grade, the first record I ever owned was H2O, and the subsequent tour was the first concert I ever went to. However, my musical tastes grew through the years, and by the time I graduated from High School I was a dedicated King Crimson fan. In short, I am an honest fan of both Fripp and Hall, and the potential of their collaboration both confounded and fascinated me.

The difficulties associated with the release of "Sacred Songs" is well-documented elsewhere, but let it be said that the world is a better place because this album is available. Hall's incredible musicianship and vocal prowess shines though on this album in ways that was absolutely impossible in the confines of his collaboration with Oates. However, Hall's ability to collaborate reveals unexplored common ground with Fripp. The result is an album with the "blue-eyed soul" that Hall's vocals epitomize driven by Fripp's chunky, riff-driven musical conception.

In some ways, this is a "missing link" album between "Red" and "Discipline." It always seemed that the steps that it took to get from Greg Lake to John Wetton were relatively small. However, the steps from Wetton to Belew seemed to be large. Hall's vocal approach on "Sacred Songs" sits beautifully between the two. For reference, check out "Something in 4/4 Time," "Why Was It So Easy?" and "Without Tears." These tunes cause the mind to reel at the potential of a `78 Crimson with Hall on vocals. His song-driven approach and soulful singing undoubtedly influenced Fripp's lineup choices in the early 80s, resulting in the fortuitous inclusion of Belew.

The Lowdown: This is a great album for fans of both Hall and Fripp. While it does not have the same degree of experimentalism that is usually associated with Fripp, it also does not have the same polished pop sensibilities that define Hall's work. Instead, it lies right in the middle of these two, like some long-lost David Bowie album. For me personally, it's a match made in heaven.

Well, you really can't listen to this album without understanding the background of it: they had the big #1 hit, "Rich Girl," the record company wanted more, Daryl and John hated the 1977 follow-up (which I actually like a lot; so much for taste), and Daryl decided to record this one for himself alone, which caused the record company to shelve it until Hall & Oates had hits again. (Funny how I bought this AND Sophie B. Hawkins "Timbre" in the same trip to the store....)

Robert Fripp is such an interesting partner for him in this; we don't ordinarily think of Hall & Oates and prog-rock in the same breath. That a prog-rock supergroup featuring Fripp, Tony Levin, Brian Eno, and Jerry Marotta, with Daryl at the helm, was considered, blows my mind, and tells you all you need to know about the respect they had for him. All the details are in the CD....

It's interesting the way that Daryl really opened up on this one, lyrically and in his singing. He wanted something deeper here, and I think he got it. "Sacred Songs" is a killer romp, and a reminder that he actually used to play a pretty mean piano. My favorite is "Why Was It So Easy?" which I've been walking around and singing for a week, since I bought this again. You can't get it out of your head. "Survive" is a lot more cruel than it seems at first.

I had "Sacred Songs" on vinyl, but I haven't hooked up a record player in years, so I probably hadn't heard this in almost a decade, I guess. One wonderful thing is that I owned this album as a teenager, and really didn't appreciate it then. Now, at 29, going back to this album is absolutely wonderful. If you're ready to see a more eclectic side of Mr. Hall, you won't be disappointed.

Recorded in 1977, 'Sacred Songs' came relatively early in the career of Hall and Oates and, as produced by Robert Fripp, presented an entirely different Daryl Hall that, had the album been properly handled, could have launched him into a very different area other than the recycled 'soul music' of his work with the duo. 'Sacred Songs' presented a Hall with Balls, barking out the lyrics to edgy songs, way removed from any kind of mock soul, tetering delicately on the fringes of punk, and pushed right over the edge in the Fripp controlled songs like 'You Burn Me Up,' 'Babs and Babs,' and 'NYCNY,' especially - All balanced by the beefy rock ballads scattered throughout, like 'Why Was it So Easy,' 'Survive,' and 'Without Tears'.

Intended as part of a Fripp produced trilogy (along with Fripp's 'Exposure' and Peter Gabriel II), 'Sacred Songs' was held up for release until 1980 by image conscious record monsters, severely lessening its impact, and consequential publicity, both as part of the Fripp triology, and as a solo break from the by then outrageously successful Hall and Oates.

If you are a really big fan of Hall and Oates, this is probably not for you. If you like Hall's voice and style, but not the H & O material, try this out for a HUGE surprise of what could have been.

Hall & Fripp sounds a lot different than Hall & Oates. Maybe it's the ambient soundscapes, the backward guitar loops, the "Starless and Bible Black"-style monster riffs. This is a very interesting recording and probably more enjoyable to Fripp fans than H&O fans - all of the songs sound like Daryl Hall but the arrangements are decidedly Frippian. Plus there's two Robert Fripp tracks from "Exposure", including "North Star" which sounds a lot like a certain "Matte Kudasai" by another Fripp project. A very interesting addition to both Hall's and Fripp's respective catalogs.

What happens when music is created solely for artistic and personal reasons? The answer, according to Robert Fripp in his incisive, cynical liner notes accompanying this remarkable record, is that the record gets shelved for almost three years. As Fripp observes, "there's only one thing worse than a record company that takes no interest in your work: a record company that takes an interest in your work."

This challenging collaboration is a fine bookend to the creative work Hall and Oates did with Todd Rundgren and Utopia on the slightly superior War Babies. Coming off the record company pressures and compromises that resulted in Beauty on a Back Street, Hall sought out former King Crimson guitarist and music renegade Fripp to reawaken his muse -- boy did it work.

Fripp's guitar loops and effects are an acquired taste, but their songwriting efforts produced several stand out tracks: the record company indictment, "Something in 4/4 Time," could have been a hit, but the boys purposely spiked it with Fripp's angular, experimental guitar break. Oddly, the song would not have worked without it.

More typical Hall efforts include "Why Was It So Easy," a Philly soul ballad with beautiful vocals; "Survive," with great guitar and hooks (again slightly skewed by Fripp's loopy effects in the background); and the introspective, very personal final track, "Without Tears."

Also included are two protopunk tracks off of Fripp's Exposure, the highlight being "You Burn Me Up I'm A Cigarette," with the line up that would ultimate morph into early 80s Crimson.

The record company had no reason to bury this record for three years. Again, Fripp is instructive: "The main feature of business interests surrounding a successful artist in control. The creative impulse cannot be controlled by business, but the artists can. And also their work. So, when an artist moves into creative process, business gets nervous: creativity unsettles the status quo, and the status quo gets threatened."

Bravo to Hall and Fripp for unsettling the status quo; and thank you Buddha for pulling this one out of the vaults.

Hall & Oates was my first concert way back when in '83. Since then my musical tastes have matured somewhat (though I've re-bought most of my old H&O LP's). Oates' absence is relatively conspicuous: he seemed to be the one that was responsible for the occasional odd phoneticism (i.e. mano a mano, no can do, etc.) or the random quirky chord structure. Fripp fills in the gap quite nicely with his flair for the experimental; the polyrhythmic "Something in 4/4 time" and ambient "Urban Landscape" have his name written all over them. So what's the end result? An excellent experimental pop album, which is a difficult thing to pull off. It's impressive that Fripp was willing to work with someone as commercial as Hall - the same way that it's impressive that Hall was willing to work with someone as avant-garde as Fripp. It's easy to tell that this wasn't made with mainstream pop audiences in mind, but that doesn't detract from its musical or historical importance. Or - more importantly - its listenability.

I remember a friend of mine's mom had this record. She wasn't a big fan and told me I could have it...no cover, just a record. It was quite scratched but not so mch to keep me from enjoying it right away. This album is great because it keeps the soulfulness that is Hall and Oates but shows a different side to Daryl Hall's writing. My favorite song is "Why was it so easy". I love the lyrics as well as the creative chord progression. I'd recommend this to Hall and Oates fans who, particulary, enjoyed the War Babies album or the more rocking tunes. I'd also recommend it to those who wish Hall and Oates were a little more cutting edge.

I have to disagree with the review below. This is the most interesting work Mr. Hall has committed to tape. Robert Fripp does a fine job blending his tape-delayed guitars to Hall's soul singing - not a match made in heaven on paper. But it works here. The song writing is mostly top-knotch; Babs & Babs is my favorite Hall tune. The reissue benefits from the inclusion of two tracks from Fripp's "Exposure" which feature Hall's vocals. "North Star" is certainly one of Hall's most beautiful moments - a must for his fans.

Daryls 1st Solo Album, rec. in '77 and shelved for 3 years! Produced by Robert Fripp (King Crimson), and is part of a triology by Fripp:exposure-Robert Fripp and Peter Gabriele (nails cover).This album will throw you off, if your keen to hall and oates.There is No Commercial Music here!, works for the best though with fripps odd but good selection of rythem.Title track will Really puzzle you, might even anger you, because of how different it is from Anything daryl ever did! Not one weak track...wait let me take that back, track 11 and 12 were ADDED to this from Exposure, and even though daryl sings on these tracks it sounds like fripps music and not Daryl's, if you know what i mean.Look for the '92 "Japan Only" release of sacred songs, it has the original 10 tracks and is recorded Better.It's hard to say this is Daryl Hall's best Album, even if I did rate it Highest,out of all his albums... this sound would never be recorded again by hall and its a shame, but it was also a side project only at the time.If You Never heard this before and you plan to buy it - It will take some getting use to to understand and enjoy this Great Gem!

I came upon this album through my love of Fripp, and small affection for Hall and Oates. When I first listened, I was stunned at the perfect meld, featuring unique production, legendary guitar work, and unusual lyrics. "Babs and Babs" isn't your typical Hall/Oates number, with the subject along the lines of schizophrenia. After this, I began listening to Hall and Oates much more (If you like this, you may like Along The Red Ledge, which features Robert on guitar), but can't say any of their work tops this!