Hello, as Corona proofs to be nastier and more difficult to get rid of, without ruining the economy and in a free society, and with scientists making blatantly wrong judgement calls considering aerosols largely irrelevant, when it turns out to be the main infection route only hindered by fresh air conditioning and masks the only form of personal protection as well as preventing sharing your own germs, somehow these experts didn't get it, in fact their doubts caused a widespread resistance against waring a mask, well no longer, that is if president Nincompoop doesn't get re elected....
Today's Artists had a partnership that produced some of the most unimaginably wonderful, melodic rock-pop and unabashed blue-eyed soul music it was the '70s and '80s fortune to experience. They may be thought of today as nerdy and radio-friendly, baby boomer, mullet head icons, but their strongly crafted songwriting talent, tight musicianship and Daryl's sweet and powerful vocals are a true listening joy.
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From their first hit in 1974 through their heyday in the '80s, Daryl Hall and John Oates' smooth, catchy take on Philly soul brought them enormous commercial success -- including six number one singles and six platinum albums. Hall & Oates' music was remarkably well constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them, incorporating elements of new wave and hard rock.
Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured Gamble, Leon Huff, and Thom Bell, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late '60s before disbanding.
After Gulliver's breakup, Hall concentrated on session work again, appearing as a backup vocalist for the Stylistics, the Delfonics, and the Intruders, among others. Oates returned to Philadelphia in 1969, and he and Hall began writing folk-oriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records. On their first records -- Whole Oates (1972), Abandoned Luncheonette (1973), War Babies (1974) -- the duo were establishing their sound, working with producers like Arif Mardin and Todd Rundgren and removing much of their folk influences. At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit -- the number 60 "She's Gone" in the spring of 1974.
After they moved to RCA in 1975, the duo landed on its successful mixture of soul, pop, and rock, scoring a Top Ten single with "Sara Smile." The success of "Sara Smile" prompted the re-release of "She's Gone," which rocketed into the Top Ten as well. Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The record took off in early 1977, when "Rich Girl" became the duo's first number one single.
Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-'70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul. The combination would finally pay off in late 1980, when the duo released the self-produced Voices, the album that marked the beginning of Hall & Oates' greatest commercial and artistic success. The first single from Voices, a cover of the Righteous Brothers' "You've Lost That Lovin' Feeling," reached number 12, yet it was the second single, "Kiss on My List" that confirmed their commercial potential by becoming the duo's second number one single; its follow-up, "You Make My Dreams" hit number five. They quickly released Private Eyes in the summer of 1981; the record featured two number one hits, "Private Eyes" and "I Can't Go for That (No Can Do)," as well as the Top Ten hit "Did It in a Minute." "I Can't Go for That (No Can Do)" also spent a week at the top of the R&B charts -- a rare accomplishment for a white act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, "Maneater," as well as the Top Ten hits "One on One" and "Family Man." The following year, the duo released a greatest-hits compilation, Rock 'N Soul, Pt. 1, that featured two new Top Ten hits -- the number two "Say It Isn't So" and "Adult Education."
In April of 1984, the Recording Industry Association of America announced that Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one "Out of Touch." Following their contract-fulfilling gold album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & Oates went on hiatus. After the lukewarm reception for Daryl Hall's 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988's Ooh Yeah!, their first record for Arista. The first single, "Everything Your Heart Desires," went to number three and helped propel the album to platinum status.
However, none of the album's other singles broke the Top 20, indicating that their era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it featured only one Top 40 hit -- the number 11 single "So Close." The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful; far better was 2003's Do It for Love and the following year's soul covers record Our Kind of Soul.
The issuing of "greatest-hits" albums reached a fever pitch during the 2000s, with no fewer than 15 different collections seeing the light by 2008. Live records proliferated as well, with the A&E Live by Request release Live in Concert hitting stores in 2003, a reissue of their Ecstasy on the Edge 1979 concert (titled simply In Concert this time around) in 2006, and the Live at the Troubadour two-CD/one-DVD set in 2008. As far as proper studio albums go, the 2000s were lean, with only three releases -- the aforementioned Do It for Love and Our Kind of Soul, topped off by Home for Christmas in 2006. A career-spanning box set appeared in 2009, titled Do What You Want, Be What You Are: The Music of Daryl Hall and John Oates.
During the 2010s, the duo were very active, both together and separately. Several Hall & Oates tours were mounted, and they performed together on American Idol and The Voice. In 2011, Hall released his fifth solo album, Laughing Down Crying, on Verve Forecast, and that same year Oates released a blues tribute album titled Mississippi Mile. Three years later, Oates drafted contemporary pop stars including Ryan Tedder and Hot Chelle Rae for Good Road to Follow. Also in 2014, the duo were inducted into the Rock & Roll Hall of Fame.
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Private Eyes solidified Hall & Oates' status as one of the most popular acts in America in the early '80s, and with 1982's H2O, they capitalized on its success, delivering an album that turned out to be bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with "Maneater," "One on One," and "Family Man." Bigger isn't necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too serious, with its ambitions just being a little too evident. Take the claustrophobic, paranoid "Family Man" -- covering an art rocker like Mike Oldfield suggests a far different agenda than crafting a tribute to the Temptations, and while "Family Man" isn't as key to the album as "Looking for a Good Sign" was to Private Eyes, it does indicate the relatively somber tone of H2O. Not that the album is a tortured dark night of the soul -- how could it be, when John Oates kicks off the second side with the proudly silly "Italian Girls"? -- but the production and performances are precise and deliberate, effectively muting the pop thrills that spilled over on its predecessor. Even if the album was recorded with Hall & Oates' touring band -- something that the duo and their co-producer Neil Kernon confirm in the excellent liner notes by Ken Sharp in the 2004 reissue -- H2O feels as if most songs were cut to a click track, and are just slightly too polished for their own good; when the productions open up a bit, the band still sounds terrific, but they never are given the opportunity to sound as big and bold as they do on Private Eyes. This, coupled with a few drawn-out duds (such as the vaguely atmospheric "At Tension") means H2O isn't quite as sharp and bracing as anything the duo had released since X-Static, and the fact that two of the best moments are huge hits -- the prowling "Maneater" and "One on One," perhaps the most seductive song Daryl Hall ever wrote -- may suggest that this is closer to singles-plus-filler than it really is. The best of the rest of H2O reveals that Hall & Oates are at a near-peak in their creativity, writing tuneful, soulful fusions of pop, soul, and new wave. "Crime Pays" has an appealing robotic synth pop groove, "Art of Heartbreak" rides a tense guitar line to a great horn line on the chorus, the jealous anthem "Open All Night" slinks by on a stylized late-night groove, "Go Solo" hails back to Hall's arty Sacred Songs, and "Delayed Reaction" is a sterling piece of propulsive near-power pop. Even if they don't gel into an album as strong as Voices or Private Eyes, they're pretty terrific pop in their own right. They're not just evidence that Hall & Oates' popularity in the early '80s was earned and well deserved, they hold up very well decades after H2O ruled the charts.
<a href="https://multiup.org/3898c98dbaa03109d08780cf66d1a428"> Daryl Hall n John Oates - H2O(</a> (flac 437mb)
01 Maneater 4:34
02 Crime Pays 4:32
03 Art of Heartbreak 3:43
04 One on One 4:16
05 Open All Night 4:34
06 Family Man 3:25
07 Italian Girls 3:18
08 Guessing Games 3:15
09 Delayed Reaction 3:59
10 At Tension 6:16
11 Go Solo 4:34
12 Family Man [12" Version / Rock Mix] 5:47
13 Maneater [12" Version / Special Extended Club Mix] 6:00
14 One on One [12" Version / Club Mix] 5:31
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Released at the peak of Hall & Oates' popularity in the early '80s, 1983's Rock 'n Soul, Pt. 1: Greatest Hits effectively chronicles the time when the duo could do no wrong -- namely, the period between 1980's Voices and 1982's H2O, which includes only one other album, 1981's excellent Private Eyes. While this reaches back to their early-'70s work for Atlantic for "She's Gone," the only big hit they had at the label, and also has their two other big hits from that decade, "Sara Smile" and "Rich Girl," the bulk of Rock 'n Soul, Pt. 1 derives from those three albums: "Kiss on My List," "You Make My Dreams," "Private Eyes," "I Can't Go for That (No Can Do)," "Maneater," and "One on One." That's a long list of singles, but it still misses some terrific singles from this era, including "How Does It Feel to Be Back," "Did It in a Minute," "Family Man," and "You've Lost That Lovin' Feeling" (the latter two were included as bonus tracks on RCA/Legacy's 2006 reissue). As good as those songs may be, Rock 'n Soul, Pt. 1 doesn't necessarily miss them: with the exception of a live version of "Wait for Me" (good, but not essential), this is the cream of the crop of Hall & Oates' best period, and it makes for a tight, excellent listen, and it's bolstered by the sublime "Say It Isn't So" and the good rocker "Adult Education." Latter-day compilations like 2001's Very Best of Daryl Hall & John Oates and 2004's Ultimate (which was reissued a year later under the title Essential) may cover their entire career in more detail -- and the duo certainly made great music before and after this era -- but as a snapshot of Hall & Oates at their finest, Rock 'n Soul, Pt. 1: Greatest Hits can't be beat.
<a href="http://www.imagenetz.de/imr5t"> Daryl Hall n John Oates - Rock 'N Soul Part 1 </a> (flac 324mb)
01 Say It Isn't So 4:16
02 Sara Smile 3:08
03 She's Gone 3:26
04 Rich Girl 2:24
05 Kiss on My List 3:52
06 You Make My Dreams 3:07
07 Private Eyes 3:27
08 Adult Education 5:23
09 I Can't Go for That (No Can Do) 3:45
10 Maneater 4:31
11 One on One 3:56
12 Wait for Me (Live Version) 6:03
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Big Bam Boom is the last of the big Hall & Oates albums, the one that closed their period of greatest commercial success and artistic achievement. Parting from Neil Kernon, their engineer/co-producer for Voices, Private Eyes, and H20, the duo hired Bob Clearmountain as a co-producer and engineer, bringing in hip-hop pioneer Arthur Baker for additional mixing and production, and the change behind the boards is evident on the record. As the title none too subtly implies, this is a bigger, noisier record than its predecessors, with its rhythms smacking around in an echo chamber and each track built on layers of synthesizers and studio effects. Hall & Oates' crack touring band are credited in the liner notes as playing on each track, but this is one of the first mainstream records of the '80s records where it sounds as everything was sequenced and run through a computer -- the sound that came to define the latter half of the decade. There's undeniably interesting things going on in the mix on each of the nine tracks -- frankly, there's too much going on, and the production weighs down many of the songs on this sprawling, diffuse album; it also obscures the dark undercurrent to many of the tunes, several of which seem to foreshadow the duo's long hiatus following this record. Some songs cut through on the strength of their craft, and these are usually the singles: the excellent "Out of Touch," which rivals anything on Private Eyes or Voices; the silly yet engaging "Method of Modern Love"; the haunting "Some Things Are Better Left Unsaid," easily the best ballad on the record; then, the exception to the rule, the hard-rocking "Bank on Your Love," which is one time the production works in the favor of the song, adding muscle instead of diluting its impact. These songs, matched with the ambition of the rest of the record, makes Big Bam Boom an interesting, worthwhile listen, but coming after a trio of records that had very few flaws, it feels like a disappointment, and it was no great surprise that Hall & Oates took a lengthy break a year or so after its release.
<a href="https://bayfiles.com/H6R1T1kfp2/Drl_Hll_n_Jhn_Ots_Bg_Bm_Bm_zip"> Daryl Hall n John Oates - Big Bam Boom</a> (flac 480mb)
01 Dance on Your Knees 1:27
02 Out of Touch 4:22
03 Method of Modern Love 5:34
04 Bank on Your Love 4:17
05 Some Things Are Better Left Unsaid 5:27
06 Going Thru the Motions 5:40
07 Cold Dark and Yesterday 4:41
08 All American Girl 4:29
09 Possession Obsession 4:40
10 Out of Touch (12" Version) 7:39
11 Method of Modern Love (12" Version) 7:50
12 Possession Obsession (12" Version) 6:31
13 Dance on Your Knees (12" Version) 6:39
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This 14th album, a live set released in 1986 is probably the best live recording on that year. With Daryl in his prime singing with all the soulfulness you could ever imagine, this is a can't miss for anyone wanting to hear masterful vocals all around. Hall & Oates resurrected the fading careers of ex-Temptations stars David Ruffin and Eddie Kendricks. H&O took them on tour, paid them regularly, and arranged a record deal for them with RCA, but the relationship soured for unknown reasons. It's been rumored that Kendricks thought they were being used to boost H&O's career, which couldn't be true because H&O were already hot; it was Ruffin and Kendricks who had been reduced to playing bucket-of-blood, inner-city nightspots. Or perhaps Kendricks just tired of singing "Get Ready" so often. His voice sounded like it would tear when he sang "Ready" with H&O, while David Ruffin tempted in the background. Ruffin sounded better, much better; he still had some voice, but the electricity had gone out of it. Kendricks sounded better on the rollicking "The Way You Do the Things You Do," and acted like he enjoyed singing Smokey Robinson's metaphoric gem. An ordinary performance of "My Girl" ended the Temptations segment of the H&O show. Things really picked up, though, when Hall & Oates stood alone with band and did their current chart-toppers. Daryl Hall shows his blue-eyed soul roots by biting into "When Something Is Wrong With My Baby"; not to be denied, John Oates rips off a stinging guitar solo, helping Hall polish off Sam & Dave's classic in style. Their performances of "I Can't Go for That," "One on One," "Possession Obsession," and "Adult Education" have to be heard to be believed. They work a crowd like few can, and their harmonies are impeccable. It's truly a masterful recording and great live performance, not to be missed by any Hall & Oates fan!
<a href="https://mir.cr/OHHHGGRY "> Daryl Hall n John Oates - Live at the Apollo: With David Ruffin & Eddie Kendrick </a> (flac 370mb)
01 Apollo Medley ( with Eddie Kendricks (vocals) & David Ruffin (vocals)) 12:33
- Get Ready
- Aint Too Proud to Beg
- The Way You Do the Things You Do
- My Girl
02 When Something Is Wrong with My Baby 4:50
03 Everytime You Go Away 7:08
04 I Can't Go for That (No Can Do) 7:24
05 One on One 5:13
06 Possession Obsession 5:33
07 Adult Education 6:05
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