Feb 2, 2018 - Hall and Oates have sold an estimated 40 million records throughout. Greatest Hits – Rock'n Soul Part 1.rar – 91.1 MB Greatest Hits Live.rar. Livetime Beauty On A Back Street Along The Red Ledge X-Static Voices. X-Static Hall & Oates. Released 1979. X-Static Tracklist. The Woman Comes and Goes Lyrics. Wait for Me Lyrics. Portable Radio Lyrics. All You Want Is.

Daryl Hall & John Oates – Voices (1980) [MFSL 2013]
PS3 Rip ISO SACD DSD64 2.0 > 1-bit/2.8224 MHz 44:02 minutes Scans included 1,78 GB
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Mobile Fidelity Sound Lab # UDSACD 2114 Genre: Rock

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.

To get full access to the site e.g. Deposit funds, download files you have to create an account. You will get 2 track for free after confirming your account! Apr 07, 2019 Hall & Oates released a song titled 'Bigger Than Both of Us' on their Beauty on a Back Street album one year later. 'Do What You Want, Be What You Are' was covered by The Dramatics in 1979. Jul 13, 2017 - HALL And OATES - Past Times Behind LP 71 72 76 w Whole Oates LP. W Along The Red Lodge LP 78 w Livetime LP 78 w X-Static LP 79 w. “Wait For Me” – X-Static (1979) The last release for the band before the eighties rolled in was a cornucopia of styles, most of the songs being somewhere in between awkward or overdone. “Wait For Me” begs to differ, however, with its amazing mix of soul, rock, and pop balanced out for a fantastic listening experience.

Tracklist:
01. How Does It Feel To Be Back
02. Big Kids
03. United State
04. Hard To Be In Love With You
05. Kiss On My List
06. Gotta Lotta Nerve (Perfect Perfect)
07. You’ve Lost That Lovin’ Feeling
08. You Make My Dreams
09. Everytime You Go Away
10. Africa
11. Diddy Doo Wop (I Hear The Voices)

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD ISO

mqs.link_HallatesVices1980MFSL2013SACDIS.part1.rar
mqs.link_HallatesVices1980MFSL2013SACDIS.part2.rar

FLAC 24bit/88,2kHz

There's one thing wrong with The Very Best of Daryl Hall & John Oates, and it's minor -- the promotional 12' mix of 'Adult Education' is included in favor of the 7' version. This isn't a big deal and it doesn't mar what is the best overview of Hall & Oates' RCA years, the era when they became the biggest-selling duo in the history of rock. If the Atlantic years were more adventurous, dabbling in folk and album rock, The Very Best of demonstrates the virtues of consistency, since these blue-eyed soul songs rank among the very finest singles (and songs) of their time. And Hall & Oates weren't unadventurous, either, since they deftly blended elements of new wave, contemporary soul, and soft rock into their signature sound. Most impressively, smaller hits like 'Wait for Me' and the splendid 'Did It in a Minute' (easily one of the greatest songs they ever cut) more than hold their own alongside familiar items like 'Sara Smile,' 'You Make My Dreams,' 'Private Eyes,' and 'Maneater.' Hall & Oates may not have been hip, but they made addictive soul-pop that not only rocketed to the top of the charts but has stood the test of time as some of the best pop made during the early '80s.

Hall & Oates Tour

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Popular success has a way of skewing the assessment of any artist. For highly popular performers, less popular albums tend to be viewed as intrinsically less worthy, regardless of the artistic significance. This phenomenon manifests itself most obviously on compilations, which default to more popular songs even when it gives an incomplete picture of their work. With a trio of strong albums under-represented on — or sometimes completely absent from — most collections, Daryl Hall and John Oates are among the most prominent examples of this. Considering the volume of hit singles the duo achieved, this disconnect is unsurprising but also unfortunate for the way it shortchanges some of their best fusions of rock and soul.

Related: “Hall & Oates: 5 Songs That Should Have Been Hit Singles”

If the platinum-selling albums Voices, Private Eyes, and H2O represent Hall & Oates’ commercial apex, the three studio albums that preceded them live somewhere on the other end of the spectrum. After reaching the Top 40 with three songs from 1976’s Bigger Than Both of Us — including their first number one, “Rich Girl” — neither of the singles from 1977’s Beauty on a Back Streetcame close to becoming a hit. Singles from the albums Along the Red Ledge and X-Static performed better, with “It’s a Laugh” and “Wait for Me” each making the Top 20. They’re also the only songs from this period that consistently feature on compilations.

Both songs appear on the 2001 release The Very Best of Daryl Hall and John Oates, and 2004’s Ultimate Daryl Hall & John Oates (later reissued as The Essential Daryl Hall & John Oates) included those two and added the infectious “I Don’t Wanna Lose You.” Both releases, however, completely ignore Beauty on a Back Street. In comparison, the 2001 collection contains three songs from H2O and the later one features five from Voices.

Related: “A Quick Look At Blue-Eyed Soul”

Seen through a purely commercial lens, this makes sense. Voices, Private Eyes, and H2O were undeniably popular. Each of them featured multiple hits, with four #1 singles between them. However, the collections that draw so heavily from these albums aren’t billed as “greatest hits” but rather the “very best” and “essential,” suggesting that criteria beyond chart rankings factored into the song selection.

Personal feelings may have been a factor with Beauty on a Back Street, which John Oates reputedly hated. If that was the case, it says less about the album’s quality and more about the way artists are sometimes the worst judges of their work, since “Why Do Lovers Break Each Other’s Heart?” and “Bigger Than Both of Us” (weirdly not included on the album of the same name) are as appealing as many of the duo’s hits.

Oates felt very differently about Along the Red Ledge, citing it as his favorite among the duo’s “under the radar” records in a 2009 interview, a sentiment with which Daryl Hall concurred. In a later interview, Hall rightly observed that “It’s a Laugh” and “I Don’t Wanna Lose You” should have been bigger hits, but Oates’ “Melody for a Memory” had more passion and musical inventiveness than either of those songs. Likewise Hall’s “Have I Been Away Too Long” is one of his very best performances.

From a songwriting standpoint, 1979’s X-Static is the most uneven of the three albums but is also closest in sound to the records that made Hall & Oates major stars. “Wait for Me” is the song they still play in concert, but “The Woman Comes and Goes” is the one that could easily fit on Voices or Private Eyes. On the former point, it would be nice if more songs from these albums appeared in their current set lists. While the focus on crowdpleasers is understandable, they only paint a partial picture of the artistry that attracted those crowds in the first place.

Fans wanting to explore this period but not prepared to commit to the full albums (though all three remain available) may enjoy the box-set retrospective Do What You Want, Be What You Are. While it still ignores Beauty on a Back Street, the set puts Along the Red Ledge and X-Static on a more equal footing with the better-known albums. The Ballads Collection, one of their few compilations to forgo a chronological approach, is likewise an excellent showcase of their work. Its mix of signature hits and more obscure tracks, including Beauty on a Back Street‘s “Bigger Than Both of Us,” and “Melody for a Memory” from Along the Red Ledge, makes as strong a case for the duo’s talent as any hits-based collection. If only they’d play more of these songs in concert…

–Don Klees

Photo Credit: CIRCA 1970: Photo of Hall & Oates Photo by Michael Ochs Archives/Getty Images

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