RhoDeo 2041 Grooves

 Hello, as Trump expects to win the tv show townhall ratings, and let's face it, it's more fun to see a cracy guy go off, then to watch a sensible grandpa speaking softly. The sad case is the US public has been fed a constant flow of violence and cracy people, what is real, what is not, the distinction has been blurred for decades, confusion leading to fear, leading to bad decisions, let's hope they come to their senses....


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.
.........N Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

 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.


xxxxx xxxxx xxxxx xxxxx xxxxx

This release finds Daryl and John in 1976, the year before the revolution of Punk. This is a lush recording in the vein of The Silver Album, with lots of strings and the Fender Rhodes at the fore of the mix. The opening number, Back Together Again, is a fine example of what one will find on this release.The immortal Rich Girl follows to splended effect. If you dig sing-songy songs, then this is for youl. Hell, this is probably the track which led you to find this record in the first place! My only complaint is that at 2.25, Rich Girl is far to short. I could sing it for days. An Oates-y piece, Crazy Eyes is a nice song. Reminicent of his work on Abandoned Luncheonette, and it is followed by Do What You Want, Be Who You Are. This is a mellow torch song that bleeds Philly. From there, the album goes down hill with weak cuts. These include Kerry (which, not surprisingly is a song by Daryl and some bootleg dude), London luck & Love, Room To Breathe, and You'll Never Learn. Thankfully, we have Falling, the final cut. This is a masterful song in which the album is redeemed and finally brought to absolution with the listener. While a trifle indulgent at over 6 minutes, we can be happy to know that it's a splendid listen! BTW This album is exceedingly hard to come across.




<a href="https://mir.cr/FYVW2YTL"> Daryl Hall n John Oates - Bigger Than Both Of Us (</a>  (flac   244mb)

01 Back Together Again 3:23
02 Rich Girl 2:23
03 Crazy Eyes 3:07
04 Do What You Want, Be What You Are 4:35
05 Kerry 3:47
06 London, Luck, and Love 2:56
07 Room to Breathe 4:09
08 You'll Never Learn 4:12
00 Falling 6:13


xxxxx xxxxx xxxxx xxxxx xxxxx

Beauty on a Back Street isn't quite as accomplished as its two predecessors, yet it is more ambitious and diverse, as Hall & Oates begin to add some arena-rock conventions to their sound, particularly distorted guitars and anthemic choruses. On War Babies they had tried a similar attack, but on Beauty on a Back Street, the duo's songwriting was stronger, which meant that the instrumental approach didn't overwhelm the actual songs. Don't Change starts off the album, a bluesy R&B soul number sung with much earnest, followed by another soul song. You must be good is pretty bland, sounds more like an XTC song. The Empytness tells us that John Oates could sing, a decent song, followed by another soul/Jazzy song. Bigger Than both of us is probably the best song here and Bad habits has pretty much everything, rock, soul, jazz. Winged Bull is a salute to Led Zepp in my opinion, heavy and with pretty strong rhythms. The album closes with a John Oates song, sung as a ballad and is a good closer. Overall inconsistent, a bit heavy sound for a H&O album, with a lot of experimentation.  They definitely prove here that they aren't a one-trick pony. Hall & Oates have depth in both their hits and albums.



<a href="https://bayfiles.com/j9acTcf6p1/Drl_Hll_n_Jhn_Ots_Bt_On_A_Bck_Strt_zip">Daryl Hall n John Oates - Beauty On A Back Street</a> (flac   238mb)

01 Don't Change 3:30
02 Why Do Lovers Break Each Other's Heart? 3:13
03 You Must Be Good for Something 3:28
04 The Emptyness 3:32
05 Love Hurts (Love Heals) 3:08
06 Bigger Than Both of Us 4:30
07 Bad Habits and Infections 6:00
08 Winged Bull 4:37
09 The Girl Who Used to Be 4:10

xxxxx xxxxx xxxxx xxxxx xxxxx

Even in their 80s heyday, when the popular hipster viewpoint was that these guys were formulaic slaves to the hit, people in the know considered them one of the greatest live acts in the business. That's probably why they have so many live albums commercially available. Think about it, if the guys couldn't deliver the goods, would there really be so much live product out there? Which brings me to "Livetime." I know even H&O have distanced themselves from this, deriding it as having poor sound quality and characterizing it as an early-career embarrassment. Well, I beg to disagree. From the first vinyl copy I found in the cutout bin to the Japanese CD import I bought six years ago, I've always held this as one of best live albums I've ever heard. I understand that the vocal mic can sound a little thin, but it's not in that tinny, bootleg-sounding way. It actually makes this sound more intimate, like the small club it was recorded in. It gives the listener the feeling of being in on something that's about to explode all across the music world. And the band performances are committed, passionate and technically proficient - everything you'd want from a live performance. The guitars sound great. It's my belief that this album is home to the definitive versions of "I'm Just a Kid" and "The Emptyness," plus glorious romps through "Abandoned Luncheonette" and "Do what you Want" and a positively blistering take on "Room to Breathe." It's kind of funny that the "hits" shine the least, although the 8-minute version of "Sara Smile" is a nice curiosity.
 


<a href="https://multiup.org/75726c7ac72771a6838f036fbff82694"> Daryl Hall  n John Oates - Livetime</a>  (flac   278mb)


01  Rich Girl 3:36
02 The Emptyness 3:53
03 Do What You Want, Be What You Are 6:54
04 I'm Just a Kid (Don't Make Me Feel Like a Man) 5:27
05 Sara Smile 8:00
06 Abandoned Luncheonette 6:15
07 Room to Breathe 4:45

xxxxx xxxxx xxxxx xxxxx xxxxx  

The bombastic Philly Soul and West Coast rock flavours of the leading side draw ready comparisons with the earlier Bigger Than Both of Us, yet I think ...Red Ledge is not only a step towards their platinum-plated early 80s sound but also represents their most varied and best-balanced 70s collection. Ironically, the decision to forego session hands in favour of the duo's touring group has coincided with a sharper, slicker sound - shades of Steely Dan preoccupy Oates' immaculately-sculpted 'Melody for a Memory', while the glacial synths and staccato piano chords of the album opener set the aural agenda for hits like 'Kiss On My List' and 'Private Eyes'. It's not only the arrangements that turned a corner: a bitter, snarky streak having taken hold of Hall's lyricism of late - something that would become an overlooked facet of their appeal. This divine assholery is starkly illustrated in the glorous 'It's a Laugh', which is in some ways a more bitter, twisted 'She's Gone': where the pomp and circumstance of the earlier song seemed entirely earnest, here the Broadway-scope production is used to deliciously ironic effect. Oates isn't immune, either - 'Serious Music' is one of the most direct, vicious indictments of "art music" aesthetics ever put forth by a "Pop" artist. Add to these the Spector pummel 'The Last Time', the slow-burn of 'Have I Been Away too Long' and the flawlessly-built (if perhaps a trifle edge-less) Philly Soul of 'I Don't Wanna Lose You', and you have as good a first side as any. While, like Abandoned Luncheonette and Bigger than Both of Us before it, Red Ledge is ultimately front-loaded, the fall off is far less precipitous than earlier incidents and the now-standard "experimental" side (barring myopic "punk" misfire 'Alley Katz') generally vindicates itself well. Even pleasant filler like 'Pleasure Beach' and 'August Day' are worked up with such attention that the record remains quite convincing to the very end. Their most carefully-measured, confident 70s LP, highlighted by tight rock musicianship and excellent hi-fi production.



<a href="http://www.imagenetz.de/HvCX6 ">  Daryl Hall n John Oates - Along The Red Ledge</a> (flac   262mb)

01 It's a Laugh 3:49
02 Melody for a Memory 4:50
03 The Last Time 2:47
04 I Don't Wanna Lose You 3:45
05 Have I Been Away Too Long 4:19
06 Alley Katz 3:03
07 Don't Blame It on Love 3:53
08 Serious Music 4:07
09 Pleasure Beach 3:08
10 August Day 3:03

xxxxx xxxxx xxxxx xxxxx xxxxx