The 1980s brought about change for Hall & Oates. They had determined that the biggest problem was that their music was being filtered through outsider producers and studio musicians who were not familiar with their own tastes and thoughts. They also wished to capture the sound of New York City, which by then had become their home. Instead of recording in Los Angeles like they had done previously, they decided to record at Electric Lady Studios in New York, just five minutes away from their apartments. They also began producing their own records, using their touring band in the studio, and enlisting Hall's girlfriend Sara Allen (and also her sister Janna) as a songwriting collaborator. Voices was written, produced and arranged by Daryl Hall & John Oates in one month according to their authorized biography Dangerous Dances (by Nick Tosches). The result was a clearer style and a better sound, and beginning with the Voices LP in 1980, Hall & Oates had found the missing link in their formula for hits. The first two singles from the album charted fairly well, with How Does It Feel to Be Back charting at #30 and the well-received cover of the Righteous Brothers' You've Lost That Lovin' Feelin' just missed the top ten, peaking at #12, but spent fourteen weeks in the top forty. The third single, Kiss on My List, hit number one in April 1981 and remained there for three weeks. The follow-up single, You Make My Dreams, reached number five in July of that year. The other well-known single from Voices, apart from those four hits, is the emotive ballad Everytime You Go Away, with powerful lead vocals by Hall, who wrote it. British singer Paul Young had a Billboard number-one hit with a cover of the song in 1985. Though the Hall & Oates original (recorded in a Memphis soul style) was never released as a single, it remains a favorite on the duo's greatest hits albums, was featured on their Apollo Theater CD in 1985, and is frequently featured in their live set lists to this day. The Voices album firmed-up the duo's working relationship with Neil Kernon, an engineer on the Voices set who would work as co-producer on the succeeding two albums that would ensure their status as music fixtures. (*)