Daryl Hall & John Oates ‎– Voices

RCA Victor ‎– AQL1-3646
Vinyl, LP, Album, Indianapolis Pressing

Tracklist Hide Credits

A1 How Does It Feel To Be Back
Lyrics By, Music By – John Oates
A2 Big Kids
Lyrics By – John OatesMusic By, Lyrics By – Daryl Hall
A3 United State
Lyrics By – John OatesLyrics By, Music By – Daryl Hall
A4 Hard To Be In Love With You
Lyrics By, Music By – Daryl Hall, John OatesMusic By – Neal Jason*
A5 Kiss On My List
Guitar, Soloist – Jeff SouthworthLyrics By, Music By – Daryl Hall, Janna Allen
A6 Gotta Lotta Nerve (Perfect Perfect)
Lyrics By – John Oates, Sara AllenLyrics By, Music By – Daryl Hall
B1 You've Lost That Lovin' Feeling
Lyrics By, Music By – Barry Mann, Cynthia Weil, Phil Spector
B2 You Make My Dreams
Lyrics By, Music By – Daryl Hall, John Oates, Sara Allen
B3 Everytime You Go Away
Lyrics By, Music By – Daryl HallOrgan – Ralph Schuckett
B4 Africa
Lyrics By, Music By – John OatesSynthesizer – Mike Klvana*
B5 Diddy Doo Wop (I Hear The Voices)
Lyrics By, Music By – Daryl Hall, John Oates

Companies, etc.



Inner sleeve has following text at bottom back: AQL1-3646 | TMK(S) ® Registered ● Marca(s) Registrada(s) RCA Corporation ● © 1980, RCA Records, New York, N.Y. ● Printed in U.S.A.

RCA Records Pressing Plant, Indianapolis pressing denoted by "I" stamp in runouts.
First pressing with "Masterdisk" stamp in runouts with Robert Ludwig's "RL" mastering signature beside them.

Embossed top-loading cover: Image on front features a light-haired Daryl Hall - compare with Daryl Hall & John Oates - Voices.
Issued with custom lyric / credit inner-sleeve

Some copies came with a post-manufacture sticker placed over the RCA/His Master's Voice logo on the labels, as seen at the end of the images.

Barcode and Other Identifiers

  • Matrix / Runout (Matrix A, on label): AQL1-3646-A
  • Matrix / Runout (Matrix B, on label): AQL1-3646-B
  • Matrix / Runout (Runout A etched / MASTERDISK I A3 W3 stamped, Variant 1): AQL1-3̶6̶4̶2̶-3646-A2 MASTERDISK RL I A3 Q W3
  • Matrix / Runout (Runout B etched / MASTERDISK (EDP) I stamped, Variant 1 ): AQL1-3646-B-11 MASTERDISK RL (EDP) I A1
  • Matrix / Runout (Runout A etched / MASTERDISK I A3 W3 stamped, Variant 2): AQL1-3646-A I MASTERDISK RL
  • Matrix / Runout (Runout B etched / MASTERDISK (EDP) I stamped, Variant 2): AQL1-3646-B I MASTERDISK RL A3
  • Rights Society: BMI

Other Versions (5 of 69) View All

Cat# Artist Title (Format) Label Cat# Country Year
AQLI-3646, RCHC-409 Daryl Hall & John Oates Voices(Cass, Album) RCA, Rock Records & Tapes AQLI-3646, RCHC-409 Taiwan 1980 Sell This Version
RCLP 20212, MAL-RCLP 20212 Daryl Hall & John Oates Voices(LP, Album) RCA Victor, RCA Victor RCLP 20212, MAL-RCLP 20212 Greece 1980 Sell This Version
AQL1-3646 Daryl Hall & John Oates Voices(LP, Album, RE, Col) RCA Victor AQL1-3646 US 1981 Sell This Version
APL1-3646 Daryl Hall & John Oates Voices(LP, Album) RCA Victor APL1-3646 New Zealand 1980 Sell This Version
82876 58614 2 Daryl Hall John Oates* Voices(CD, Album, RE, RM) BMG Heritage 82876 58614 2 US 2004 Sell This Version


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December 3, 2018

Hall & Oates, who during their first two albums had produced some of the most sophisticated, original and unexpected pop songs of all time, songs that were infused with real depth of character, along with musicianship and quality that was far from anything anyone was doing back in 1972 and ’73. “Fall In Philadelphia” was not at all what the world guided by Neil Young, or any of the hippie harmony groups could ever have envisioned, and it resonated with serious music listeners, in the same manner that first Bruce Springsteen album did.

The album Whole Oates was followed by the staggering and quiet progressive release Abandoned Luncheonette, an album that sincerely captivated me with its easygoing shrewdness and light handed swagger, where I sat poised for more of this, though that more never materialized, as the duo began going sideways for some reason, as if in their short lived career, they’d run out of gas.

Of course they released a series of albums that led to this point, and on the way they did leave behind the elegant Along the Red Ledge. Yet listening back to Red Ledge, it’s quite impossible not to hear the direction Hall & Oates were taking, moving away from the more heady, more sophisticated, more emotionally and intelligently constructed songs, and into a pop format that was rather lightweight, less considered and at times rather goofy.

There is one reason, and one reason only that Voices was the mega hit it was, and that revolved around MTV, which was the perfect vehicle for the pair, much like the movies “A Hard Day’s Night” and “Help” were the perfect vehicles for the Beatles. Though while the Beatles were moving forward from their pop singles past, Hall & Oates were moving headlong into that popularity of singles fluff, completely forgetting those who embraced their initial outings, where we saw something wonderful, though by now, all of that was such a distant memory for these two, that those releases might just as well never have existed.

Critics were no calling Voices their breakthrough album, as if these guys didn’t already have ten years of recordings under their belts. The album was defined as their most collaborative, a project that found Daryl and John writing and recording together along with their new crackerjack band, with Oates saying, ”We made this record in a very traditional, old school style. We had a great band and were just dove into the studio and cut tracks.” From my point of view, knowing the history of Daryl and John, that pretty much sounds like what they did … and yes, the move changed the power of Hall & Oates forever, it solidified them as true pop music stars, embracing and delivering lightweight anthems for teenagers and the afterwork social club bars that were springing up everywhere, often themed as libraries and living rooms.

Instruments began disappearing in favor of drum machines and things that sounded like pianos, where due to MTV these songs got TV airplay, then radio airplay, then the songs took on a life of their own, their albums climbed the charts, they got richer, the songs became less sincere, their presence on MTV as guest DJ’s in cardigan sweaters and goofy smirks got them even more acclaim, and the songs become more and more forgettable. Go ahead, hum more than one song from this album and tell me I’m not right.

This wasn’t the blue-eyed soul fused with R&B rock magic that spawned these brilliant artists, this was all pure Andy Warholism, crash commercialism that at its best left a hole in my heart as I was finally forced to turn and walk away from whats been called, ”… their distinctive style.” I looked at these two in 1980, both were my age, yet they were dressing and trending themselves to high school kids, embracing every cliche they could find.

Without a doubt Voices was a hit, though it broke with all of their Philadelphia traditions. Hall & Oates were running at a mile a minute just to keep up with themselves … and that does not lead to a considered productive masterpiece. What it did lead to was a collection of ramped up pop songs that played on in the background of our lives during that year, where Hall & Oates were on a money making journey into oblivion.

*** The Fun Facts: The album’s title comes from the song “Diddy Doo Wop” because in the chorus they sing, “I Hear the Voices.” It was about a mass murderer who was circulating in New York subways at the time. He was hitting people in the head with an axe. Daryl and John asked themselves, “What could be going on in someone’s mind to do something as crazy and horrible as this?” Then answered their own question by suggesting, ”You know how sometimes you get a song in your head and you can’t stop singing it over and over again. We made up in our minds that he got stuck on a doo-wop song. He couldn’t get a doo wop song out of his head and this is what was drove him to do these things. I know it sounds crazy, but I thought it was kind of cool.”

Review by Jenell Kesler