RhoDeo 2044 Grooves

 Hello, it took more time then expected, but despite Trump kicking and screaming and bleeting non sense, his time in the oval office is over, despite getting more votes then 4 years ago, 70 million hicks and religious nutters decided that me first is that unique selling point Trump spouts they completely support (and most orf these people dare to call themselves Christians). Anyway Biden got 4 million more votes and this time spread a little better. The US isn't a real democracy, it has a 18th century constitution with a totally skewed division of power and obviously those enjoying this easy powerbase in the thinly populated states are the socalled Republicans who feel threatened by diversity and new ideas and the inevitable violent end of their selfish reign, alas these bullies have convinced themselves they have the godgiven right to tell you what to do yes        like the Taliban, expect terror in the US the coming decade and Trump will go to jail.



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.



you'll find the links beween the quotations

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Arriving just at the end of Hall & Oates' phenomenal streak of success in the early '80s, 3 Hearts in the Happy Ending Machine, Daryl Hall's second solo album, was viewed as the first overture in a solo career but, in retrospect, its kinship with his first solo effort, 1980's Sacred Songs, is apparent. There is some indication that Hall had to make, or wanted to make, some concessions to bring it onto the charts -- how could he not, he was one of the most popular musicians of his era -- but that's not particularly evident on the tremendous lead single, "Dreamtime," a swirling slice of arty new wave psychedelia that stands in direct contrast to anything Hall & Oates sent into the Top Ten -- it might have belonged on Sacred Songs or X-Static, but it could only have been cut in the mid-'80s when Hall had the freedom to make a record like this. And this is a result of an artist who is given the freedom to make close to the record that he wants, with a few commercial concessions, plus a desire to make a modern record. That does mean 3 Hearts is a bit tied to the time, particularly in its production with its clean synths and cavernous drum machines, but that's not necessarily a bad thing since it's primarily of interest as a portrait of where Hall was in 1986. He's not as insistently melodic as he is with Oates, nor is he as experimental as he was on Sacred Songs, and that does mean that 3 Hearts falls in a middle ground that's a bit neither here nor there. And that means it's not particularly cohesive, but it does have its moments, the brightest of which is "Dreamtime," one of his greatest achievements. There are other songs here that aren't quite as good, but it does take a bit of searching to find them, particularly because some of the cuts are either failed experiments or just fall flat. But those moments that do work illustrate that Hall had ambitions that couldn't fit Hall & Oates, and needed an outlet like this, even if he couldn't quite pull it all together all the time.



<a href="https://multiup.org/b3b2768e9a226b11844af3873dc0f69c ">  Daryl Hall - Three Hearts In The Happy Ending Machine</a> (flac   513mb)

01 Dreamtime 4:46
02 Only A Vision 4:33
03 I Wasn't Born Yesterday 4:24
04 Someone Like You 5:33
05 Next Step 4:52
06 For You 5:48
07 Foolish Pride 3:57
08 Right As Rain 4:22
09 Let It Out 3:51
10 What's Gonna Happen To Us     5:40
11 Dreamtime (Dance Mix) 7:55
12 I Wasn't Born Yesterday (John Morales & Sergio Munzibai Remix) 8:10
13 Foolish Pride (Shep Pettibone Extended Remix) 7:24

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 "Ooh Yeah!" picks off where Big Bamm Boom left off in 1984 and kicks off with one of the best songs I've ever heard from them.  I'm surprised the song wasn't a #1 hit.  With beautiful harmonies and catchy lyrics, and sound "Downtown Life" is easily a #1 in my book!  The next song was the biggest hit on the album: "Everything Your Heart Desires".  Another good song but not quite as good as "Downtown Life".  "EYHD" probably hit the middle of the top 10 I don't remember but it was another hit.  "I'm in Pieces", "Missed Opportunity", "Soul Love", "Real Love", and "Keep on Pushin' Love are all well done being "Missed Opportunity" my favorite out of those five.  "Rocket to God" and "Talking All Night" are great songs with some excellent background music!!!  "Missed Opportunity" was released as a single and it was on the charts but I'm not sure of where it charted.  In several ways this album may remind you of Big Bamm Boom.  "Downtown Life" has an "Out of Touch" sound to it and and the songs and rhythms can be compared as some of the best I've heard.  It took a few listens to realize just how good the album was and I recommend it to all music lovers and Hall and Oates fans.  Because it is another must have in my opinion.  I'm listening to "Missed Opportunity" right now!  Yep!  You guessed it!  "Ooh Yeah!" is spinning in that CD player right now!  In the Big Bamm Boom sense "Missed Opportunity" is sort of like "Method of Modern Love" in its sound.  Anyway this album defines "Rock n' Soul" as Hall and Oates' best album since Big Bamm Boom that I've heard.  Again A MUST HAVE!!!  Check your local pawn shops.  I found 3 copies of it at our local pawn shop!!!  So despite one slight place in "Missed Opportunity" where it skips for one quick second it works fine!   Hope I don't scratch it any more after playing it so much!!!



<a href="https://mir.cr/MBHAAGXT"> Daryl Hall n John Oates - Ooh Yeah!(</a>  (flac   344mb)

01 Downtown Life 4:27
02 Everything Your Heart Desires 5:00
03 I'm in Pieces 4:50
04 Missed Opportunity 4:47
05 Talking All Night 4:34
06 Rockability 4:45
07 Rocket to God 5:49
08 Soul Love 4:25
09 Realove 5:24
10 Keep on Pushin' Love 5:20

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You can sort of tell that it was the end of an era when this came out,it was the start of a new decade and Hall & Oates were old news and had stopped having big hits by this time,they needed time off from each other I guess by this time, which to me says it all in their own song "Starting All Over Again",yes I know it's probably about two lovers who have fallen out but if you consider that they went on a 7 years sabbatical after this and other songs on here carry on the hidden meaning of the duo going onto solo work.

Take "Sometimes a Mind Changes" or "Change of Season" "Give It Up(old Habits) well I think so anyway.

Anyway this is a great record Daryl sounds great on here some of the duo's best work is on here "So Close" "Starting All Over Again" open up the record great,yes it does sag a little in the middle but overall it's a decent record,it's not one that I'm going to keep playing for weeks on end or even in my top 100 records but whenever I do get round to a listen I thoroughly enjoy it,which is what music is all about right?



<a href="https://bayfiles.com/N9C8i3n1pb/Drl_Hll_n_Jhn_Ots_Chng_Of_Ssn_zip"> Daryl Hall n John Oates - Change Of Season </a> (flac   420mb)

01 So Close 4:39
02 Starting All Over Again 4:06
03 Sometimes a Mind Changes 4:09
04 Change of Season 5:42
05 I Ain't Gonna Take It This Time 3:54
06 Everywhere I Look 4:24
07 Give It Up (Old Habits) 4:01
08 Don't Hold Back Your Love 5:13
09 Halfway There 5:30
10 Only Love 4:36
11 Heavy Rain 5:26
12 So Close (unplugged) 4:53

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This is Daryl Hall's very best solo album and there are certain moments when it's even better than some of his work with John Oates. "Soul Alone" is like the title suggests-all about soul. When I first got my hands on this album I couldn't believe that white guy has so much "soul" in his voice. When most of R&B artists at that time were exploring New Jack Swing style Daryl Hall went for classic, Philly sound of the 70's and gave it a bit of early 90's spin for good measure, creating one of the better soul albums of the decade. After just one listen I was amazed by the strength of this material, which at times recalls Barry White's and Teddy Pendergrass' legendary style. But Hall doesn't imitate them, he does it in his own, beautiful way. "Power of Seduction", "I'm In A Philly Mood" or "Borderline" are R&B, top notch numbers, better than most of Top 40 at that time-deliciously produced and sung, bringing back the passion to the robotic soul of the early 90's. This album should have given Daryl Hall a Grammy or maybe a few. It's classic, even though only few know about it.



<a href="http://www.imagenetz.de/NuAFU ">  Daryl Hall - Soul Alone </a> (flac   390mb)

01 Power of Seduction 5:50
02 This Time 4:58
03 Love Revelation 4:35
04 I'm in a Philly Mood 5:15
05 Borderline 6:16
06 Stop Loving Me, Stop Loving You 4:41
07 Help Me Find a Way to Your Heart 4:50
08 Send Me 4:56
09 Wildfire 4:58
10 Money Changes Everything 4:51
11 Written in Stone 5:02


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