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Voices

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Daryl Hall And John Oates

 
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Voices
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The album that established Hall & Oates as the biggest pop-rock duo of the rock era

  • We Say...

    Just how different was artist development back in the ’70s? Keep in mind that this was Daryl Hall and John Oates’s ninth album — and that they hadn’t been the most consistent of hit-makers during the ’70s, jumping around stylistically almost willy-nilly. But Voices — the first album on which Hall and Oates began producing themselves exclusively, using their road band in the studio and recording near their New York homes — changed that, beginning a hit streak that lasted through the middle of the ’80s and established them as the biggest pop-rock duo of the rock era.

    Voices is sonically very new wave: trebly guitars, Hall’s brightly recorded and multi-tracked voice, the jerky stomp of songs like “Big Kids” and “Gotta Lotta Nerve” and “Hard to Be in Love with You.” Though the cover of the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” hits its marks OK, it’s a bit too stuffy to comfortably fit among the more louche company here.

    “Lovin’ Feeling” went to No. 1, and so did “Kiss on My List,” one of the most emblematic records of the 1980s. A peerless advertisement of Hall as pop music’s ultimate bad boyfriend, “Kiss on My List” was gleaming and piano-driven, with the easy, breezy feel of the period’s West Coast radio pop. It’s a song you couldn’t help singing along to — and what you were singing was a deliberate slight. “I only smile when I lie,” Hall sings before capitulating that “your kiss is on my list of the best things in life” — hedging the whole time. There’s none of that on Voices’ third hit, though: “You Make My Dreams” (“come true”) has a very simple arrangement, centering on a dirty, strummed electric guitar, and a simple message that, after “Kiss on My List,” is a balm.

  • They Say...

    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. [In 2004, RCA/BMG Heritage reissued Voices in a sorely needed remastered edition, containing good new liner notes from Ken Sharp but no bonus tracks.]

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