RhoDeo 2042 Grooves

 Hello, as Trump really made an effort to behave tonight he did allright, i suspect he's already thinking of a dynasty but first a re-election...


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

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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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X-Static finds Daryl Hall n John Oates at a stylistic crossroads. The folk and soul sounds that made up their early records vanish here as they try to keep up with recent trends. 1979 finds them caught in the crosshairs of new wave and disco. As such, these are the guiding styles of the album, save for the very minor hit "Wait for Me," which was representative of their radio-friendly fare (a diluted kind of R&B) at this juncture. For X-Static, they enlisted the services of upstart producer David Foster, who would later become a master of Cheez Whiz in the 1980s, resurrecting the godawful band Chicago and making them adult contemporary superstars. Here, Foster turns up the grooves. The bass is especially prominent, and funky. Foster's production is actually a saving grace for the album, as it is ultimately the duo's best sounding album.

The strange musical tension on the album is what makes it stand out from the rest of the pack when considering Hall & Oates albums. Let's face it: albums have never really been their strong suit. They get close, though, on Abandoned Luncheonette (1972) and Daryl Hall & John Oates (1975). Add X-Static, their most critically derided album from this phase of their career, to the list! By fusing their eclectic musical direction with new wave and disco, they churn out shit here that is so goofy that not only is it endearing but it kinda swings. Things don't get started in this direction until "Portable Radio," a song given new life in the second episode of the Yacht Rock web series. It doesn't really work as a hard rock song or as a disco tune. However, its goofy energy manages to work all on its own. Side One ends with their most direct take on disco in "Who Said the World Was Fair." While not great, it's certainly not embarrassing like so many rock acts' attempts at the disco sound in the late 1970s (see Rod Stewart's "Do Ya Think I"m Sexy"). Side Two opens with the slap bass odyssey "Running from Paradise." "Number One" is the only straight-up derivative track on the album, owing its sound to The Police. "Bebop / Drop" adopts a similarly approach to "Portable Radio." While not quite as successful, it still manages to capture an awkward but relatively infectious pose, edging a little closer to hard rock than "Portable Radio." The album closes with its two silliest, damn near avant-garde numbers in "Hallofon" and "IntraVino." Yes, "IntraVino," the album's best stab at new wave, is about somebody who loves wine so much they shoot it up.

While X-Static is no masterpiece by any stretch of the imagination, it gets credit for attempting to capture the sounds of contemporary popular relevance but missing by so wide a gap that it actually produces its own momentary aesthetic. It is kitschy, certainly, but it's the kind of kitsch that rewards multiple listens. In fact, the album's saving grace is that it constantly surprises the listener. It never quite gives you what you're expecting, and, unlike many albums, actually seems to get better as it goes along. In John Oates' forthcoming memoir, he actually singles this album out from among the duo's pre-"Kiss On My List" RCA albums as a noteworthy one despite the fact that it was basically a total flop when it was issued and its critical reception has never been positive. It makes sense why he would single out X-Static. It is probably their quirkiest album.



<a href="https://1fichier.com/?jqoq38isp07502c214y9"> Daryl Hall n John Oates - X Static(</a>  (flac   325mb)

01 The Woman Comes and Goes 3:48
02 Wait for Me 4:06
03 Portable Radio 4:44
04 All You Want Is Heaven 4:00
05 Who Said the World Was Fair 4:08
06 Running from Paradise 6:35
07 Number One 3:43
08 Bebop / Drop 3:56
09 Hallofon 1:17
10 IntraVino 3:33


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In what must be the most bizarre coupling ever, Hall is accompanied by none other than King Crimson figurehead Robert Fripp on production and, of course, on guitar. This record suffered at the hands of record company mismanagement. Originally recorded in 1977, Sacred Songs wasn't granted a release until 1980. RCA worried about Hall's lack of commercial vision. However Hall and Fripp's creativity strangely works. Sure, there are pieces that wouldn't do as singles, but for an album regarded as being so uncommercial, there are plenty that could have been: the wacky title song, "Something in 4/4 Time," "Farther Away," and "Why Was It So Easy" (the latter being one of Hall's best ballads). Most bonkers of all is "Babs and Babs," a straight-ahead Daryl Hall track until a Fripp soundscape kicks in from nowhere! Fripp's own "Urban Landscape" shows him having withdrawal symptoms from Bowie's infamous Heroes sessions. The onward march of studio technology means that the sound here is slightly dated. Still, it's a must-have purchase, ending with another killer ballad "Without Tears" -- Earth magic indeed.




<a href="https://multiup.org/659ccc0f1a5b7d4e52edb7a9f0158003"> Daryl Hall - Sacred Songs  </a> (flac   395mb)

01 Sacred Songs 3:18
02 Something in 4/4 Time 4:26
03 Babs and Babs 7:50
04 Urban Landscape 2:23
05 NYCNY 4:35
06 The Farther Away I Am 2:53
07 Why Was It So Easy 5:31
08 Don't Leave Me Alone With Her 6:25
09 Survive 6:41
10 Without Tears 2:54
11 You Burn Me Up I'm a Cigarette [bonus track] 2:20
12 North Star [bonus track] 3:10

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At the close of the '70s, Hall & Oates began inching toward a sleek, modern sound, partially inspired by the thriving punk and new wave scene and partially inspired by Daryl Hall's solo debut, Sacred Songs, a surprising and successful collaboration with art rock legend Robert Fripp. While 1979's X-Static found the duo sketching out this pop/soul/new wave fusion, it didn't come into fruition until 1980's Voices, which was their creative and commercial breakthrough. Essentially, Voices unveils the version of Hall & Oates that made them the most successful duo in pop history, the version that ruled the charts for the first half of the '80s. During the '70s, Hall & Oates drifted from folky singer/songwriters to blue-eyed soulmen, with the emphasis shifting on each record. On Voices, they place their pop craftsmanship front and center, and their production (assisted by engineer/mixer Neil Kernon) is clean, spacious, sleek, and stylish, clearly inspired by new wave yet melodic and polished enough for the mainstream. Thanks to the singles "Kiss on My List" and "You Make My Dreams" (and, to a lesser extent, their remake of the Righteous Brothers' "You've Lost That Lovin' Feeling" and the original version of the heartbreaking ballad "Everytime You Go Away," later popularized by Paul Young), the mainstream enthusiastically embraced Hall & Oates, and the ubiquitousness of these hits obscures the odder, edgier elements of Voices, whether it's the rushed, paranoid "United State," tense "Gotta Lotta Nerve (Perfect Perfect)," the superb Elvis Costello-styled "Big Kids," the postmodern doo wop tribute "Diddy Doo Wop (I Hear the Voices)," or even John Oates' goofy "Africa." Apart from the latter, these are the foundation of the album, the proof that the duo wasn't merely a stellar singles act, but expert craftsmen as writers and record-makers. The next few albums were bigger hits, but they topped the charts on the momentum created by Voices, and it still stands as one of their great records.
 



<a href="http://www.imagenetz.de/3n4D4"> Daryl Hall n John Oates - Voices</a>  (flac   366mb)

01 How Does It Feel to Be Back 4:35
02 Big Kids 3:38
03 United State 3:09
04 Hard to Be in Love With You 3:38
05 Kiss on My List 4:24
06 Gotta Lotta Nerve (Perfect Perfect) 3:34
07 You've Lost That Lovin' Feeling 4:36
08You Make My Dreams 3:10
09 Everytime You Go Away 5:22
10 Africa 3:38
11 Diddy Doo Wop (I Hear the


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Hall & Oates were in the middle of recording Private Eyes when Voices suddenly, unexpectedly broke big, with "Kiss on My List" reaching number one not just on the Billboard charts, but in Cashbox and Record World. As the album's producer, Neil Kernon, admits in Ken Sharp's liner notes to the 2004 reissue of the album, everybody knew that the new record would have to do better than Voices, but even if Hall & Oates were under a lot of pressure, they were in the fortunate position of not just having reintroduced their modernized, new wave-influenced blue-eyed soul on their previous record, but they already had much of the material nailed down. In other words, the sound and songs on Private Eyes were essentially conceived when the group was confident of the artistic breakthrough of Voices but not swaggering with the overconfidence of being the biggest pop act in America, and the result is one of their best albums and one of the great mainstream pop albums of the early '80s. Hall & Oates don't repeat the formula of Voices; they expand it, staying grounded in pop-soul but opening up the stylized production, so it sounds both cinematic and sharp. Lots of subtle effects are layered on the voices, guitars, and pianos as they mingle with synthesized instruments, from the keyboard loops that give "Head Above Water" a restless momentum to the drum machine that lends "I Can't Go for That (No Can Do)" a sexy, seductive groove.

Though the production is state of the art for 1981, what keeps Private Eyes from sounding robotic is that it never gets in the way of the kinetic energy of Hall & Oates' touring band, who give the music muscle; they are what keeps the album sounding vibrant 20-plus years after its release, since while elements of the production have dated, it still captures a real band working at a peak. These are the elements that make Private Eyes a sterling example of the sound of mainstream pop circa 1981, but the record was a hit, and has aged well, because both Hall & Oates, along with regular songwriting collaborators Sara and Janna Allen, were at a peak as writers. Yes, Oates' "Mano a Mano" is dorky (arguably in an appealing way), but apart from that there are no duds on the record. "Private Eyes," with its sleek surfaces, widescreen hooks, and unforgettable, handclap-propelled chorus, and "I Can't Go for That (No Can Do)" were the number one hits and the best-known songs here, but the insistent smaller hit "Did It in a Minute" deserved to reach the Top Ten too, as did the album tracks "Head Above Water" and "Looking for a Good Sign," a tribute to the Temptations that is the great forgotten Hall & Oates song. But it isn't just the hits and should-have-been singles; the rest of Private Eyes is filled with strong tunes, such as the reggae-tinged "Tell Me What You Want" and the paranoid vibe of "Some Men," making this a record that improves on Voices in every way, from its sound to its songs. Though they continued their streak of excellent hit singles, Private Eyes was the culmination of the sound they'd been developing since Along the Red Ledge, and it stands as the pinnacle of their time as the biggest pop act in the U.S.A.



<a href="https://mir.cr/PS6GEVFC ">  Daryl Hall n John Oates - Prrivate Eyes</a> (flac   378mb)

01 Private Eyes 3:29
02 Looking for a Good Sign 3:55
03 I Can't Go for That (No Can Do) 5:07
04 Mano a Mano 3:53
05 Did It in a Minute 3:37
06 Head Above Water 3:34
07 Tell Me What You Want 3:50
08 Friday Let Me Down 3:33
09 Unguarded Minute 4:08
Bonus
10 Your Imagination 3:32
11 Some Men 4:15
12 Your Imagination (12" Version) 5:46
13 I Can't Go For That (No Can Do) (12" Version) 6:05
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