RhoDeo 2045 Grooves

 Hello,  admittedly i made some mistakes last re up round, Clockwork Orange entered wrong link, Michelle Shocked Campfire too but worse i think are you lot, f.i the bonus cd with Campfire is life as are all Fall titles. Anyway as i am else where this long weekend and i forgot to take with me the most recent copy of my index, i can't do anything more now but wonder



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 today the final visit.
.........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.



you'll find the links beween the quotations

xxxxx xxxxx xxxxx xxxxx xxxxx

After a 7 year break, Hall & Oates return with a great album, their 17th overall. While not as good as their '80s albums, this is still one of their best, with some fantastic tracks on the disc. The best tracks for me are "Want To", "Throw The Roses Away", and "Promise Ain't Enough" (my personal favorite). This is adult contemporary/soft rock at it's finest. Daryl's voice sounds as smooth as ever, and the harmonies/melodies are really nice. Another must own disc for any Hall & Oates fan, or anyone who wants some of the best adult contemporary music out there!
 


<a href="https://mir.cr/1KETFHIF"> Daryl Hall n John Oates - Marigold Sky</a>  (flac   391mb)



01 Romeo Is Bleeding 5:04
02 Marigold Sky 4:58
03 The Sky Is Falling 4:42
04 Out of the Blue 4:23
05 Want To 4:53
06 Love Out Loud 3:56
07 Throw the Roses Away 5:40
08 I Don't Think So 4:04
09 Promise Ain't Enough 5:48
10 Time Won't Pass Me By 5:12
11 Hold On to Yourself 4:20
12 War of Words 4:39


xxxxx xxxxx xxxxx xxxxx xxxxx  

Daryl Hall and John Oates launched a comeback effort in 1997 with Marigold Sky, but few paid attention -- partially because the time wasn't right, partially because it wasn't the right album for a comeback. Six years later, the duo tried it again with Do It for Love and, remarkably, it all clicked. First of all, the climate was ripe for a Hall & Oates reunion, not just because the group was subjected to a flattering episode of VH1's Behind the Music, but because their longtime fans and '80s nostalgiaics alike were warm to the duo's hooky, sophisticated, effortlessly enjoyable blue-eyed soul. Then, there's the fact that Do It for Love is their best album in 20 years, even if it has very little to do with the sharply modern new wave-soul of Private Eyes and H2O. Although it sounds like neither, this hearkens back to the sensibility of both Abandoned Luncheonette and 1975's eponymous debut for RCA, where the emphasis was on the songwriting and the productions understatedly served the song. The big difference between Do It for Love and those records is that, musically, it isn't particularly adventurous; it is firmly settled in the blue-eyed soul tradition, sometimes blurring the line between that and adult contemporary. However, it shares with those records a strong sense of songcraft and consistently enjoyable songs and performances. It's true that nothing here will erase memories of their biggest hits, yet nearly all of these 14 songs hold their own against many of the album tracks and lesser-known hits from their golden period while also having a unified sense of sound and purpose, adding up to a thoroughly satisfying record, the kind that will please the faithful while winning back those listeners who haven't really listened to the duo since the '80s. A really fine, surprising comeback effort.

<a href="https://www.imagenetz.de/WQP6z" >  Daryl Hall n John Oates - Do It For Love </a>
 (flac   421mb)

01 Man on a Mission 3:44
02 Do It for Love 3:58
03 Someday We'll Know 4:28
04 Forever for You 4:37
05 Life's Too Short 3:29
06 Getaway Car 3:49
07 Make You Stay 3:41
08 Miss DJ 3:49
09 "She" Got Me Bad 3:16
10 Breath of Your Life 3:55
11 Intuition 4:10
12 Heartbreak Time 4:06
13 Something About You 4:02
14 Love in a Dangerous Time 4:56

xxxxx xxxxx xxxxx xxxxx xxxxx  

Considering that soul has been at the foundation of Hall & Oates' sound throughout their career -- even their early folk-rock records had soulful underpinnings -- it only made sense for the duo to eventually cut their own soul tribute album. As the title suggests, that's exactly what 2004's Our Kind of Soul is: Hall & Oates' spin on their favorite soul sounds. This includes, of course, heavy doses of Philly soul and Motown, along with other smooth soul of the '70s. Most of the album is devoted to covers -- usually familiar tunes like "Standing in the Shadows of Love," "I'll Be Around," and "Used to Be My Girl" -- yet there are a couple of more obscure entries and a heavily rewritten "I Can Dream About You" (in his excellent track-by-track liner notes, Daryl Hall reveals that Dan Hartman wrote the song with the duo in mind), but there is a handful of originals that fit into the vibe quite well, such as the lush "Soul Violins" and "Let Love Take Control." All the songs, whether they're covers or originals, are given a clean yet warm production similar to the pair's successful 2003 comeback effort, Do It for Love, but this is a little more laid-back and unassuming. Consequently, it doesn't make as big of an impression, but it's a friendly, mellow affair that finds Hall & Oates in good form. It's not quite as strong as Do It for Love, and its tasteful, relaxed vibe may strike some fans of their '80s hits as being a little sleepy, but for longtime fans who like the folky Atlantic material as much as their blue-eyed soul, this is a nice, enjoyable listen.



<a href="https://bayfiles.com/r2G5Zdo4p1/Drl_Hll_n_Jhn_Ots_Or_Knd_Of_Sl_zip"> Daryl Hall n John Oates - Our Kind Of Soul</a>  (flac   510mb)

01 Let Love Take Control 3:26
02 Standing in the Shadows of Love 3:58
03 I'll Be Around 4:02
04 Used to Be My Girl 4:00
05 Soul Violins 4:05
06 I Can Dream About You 3:15
07 Don't Turn Your Back on Me 4:50
08 Fading Away 3:46
09 Neither One of Us 4:19
10 After the Dance 4:12
11 Rock Steady 4:04
12 Love TKO 5:21
13 What You See Is What You Get 4:31
14 Can't Get Enough of Your Love 3:48
15 You Are Everything 3:55
16 I'm Still in Love With You 4:07
17 Ooh Child 3:51

xxxxx xxxxx xxxxx xxxxx xxxxx

I am always amazed and somewhat intrigued by how different Daryl Hall’s solo music sounds compared to his work with John Oates. Is the true Daryl Hall the consummate pop artist who is half of one of music’s most commercially successful duos of all time, or is he the edgy rocker of his early solo days? His new album, Laughing Down Crying, places him somewhere in the middle. Now in his mid-60s, Hall has traveled a long and largely successful musical journey, from scoring close to three-dozen hit singles with Oates – including six that reached Number One – to developing his own popular webcast, Live From Daryl’s House. Laughing Down Crying, Hall’s first solo effort since 2004’s Live In Philadelphia, reflects the many styles that have influenced and been a part of his career, as elements of rock, pop, soul, and even a little gospel combine to form a somewhat eclectic but ultimately satisfying album.

The title track gets it off to a good start as an acoustic approach and tight harmonies create a folk/rock vibe. “Talking To You (Is Like Talking To Myself)” is more uptempo and hook-laden in contrast, while “Message To You” sounds like it could have been plucked right out of the Hall & Oates catalogue. There are also some twists and turns along the way. With some deep bass lines laying its foundation, “Eyes For You (Ain’t No Doubt About It)” allows Hall to explore a funk sound. “Get Out Of The Way” assumes more of a modernized approach as programmed drums and layers of guitars combine with impeccable production. “Save Me” contains one of Hall’s better vocals on the album, as the track is almost a straight gospel tune backed by a chorus. And yet despite the various production and musical directions throughout, the album’s best track is the simple acoustic-pop ballad, “Crash & Burn.”

Laughing Down Crying is a fine effort from the fertile mind of Daryl Hall. His voice is still a formidable instrument, one which allows him to roam over the musical landscape. Consider this one a worthwhile addition to any music collection.



<a href="https://multiup.org/aad34043e80271d19ac17818a09a9a72"> Daryl Hall - Laughing Down Crying</a> (flac   451mb)

01 Laughing Down Crying 4:13
02 Talking to You (Is Like Talking to Myself) 4:27
03 Lifetime of Love 3:50
04 Eyes for You (Ain't No Doubt About It) 5:36
05 Save Me 4:18
06 Message to Ya 4:17
07 Wrong Side of History (So Cold) 3:48
08 Get Out of the Way 5:01
09 Crash and Burn 4:47
10 Problem With You (Bone's Last Ride) 4:39

xxxxx xxxxx xxxxx xxxxx xxxxx