One record at a time: 537. Howard Jones - One To One

This record came into my possession a couple of years ago, though I had completely forgotten where I bought it from until I pulled it from the shelves and spotted the charity shop sticker still proudly clinging to the sleeve proclaiming the sale price of £1.15. As I have lamented before on this blog, charity shops are not exactly awash with treasures these days, so finding something like this feels less like crate-digging and more like encountering a unicorn. There is not a mark on the record and it plays perfectly, so whoever owned it before me clearly treated it with more respect than I treat most houseplants. The median price on Discogs for this album is £2.66, which means I am already more than £1.50 in the black and can enjoy a brief, financially unjustified moment of smugness.

By 1986, Howard Jones had already scored hits around the world and secured his place as an international act. Produced by the legendary Arif Mardin, this album sees Jones using the Fairlight for the first time and aiming for a bigger, glossier sound. Or, depending on your point of view, making a slightly ill-judged bid for the attention of American radio.

The album kicks off with the lead single "You Know I Love You... Don't You?", which was something of a commercial disappointment on release. Personally, I like the song, although I can see why its less-than-fluid lyrics might have slipped past radio programmers with barely a ripple. Second track "The Balance Of Love (Give And Take)" brings in some deep, funky bass, and once the distinctive sound of the DX7 appears, it starts to feel almost perfect from an eighties production perspective.

As the first side progresses, we get a run of well-produced and perfectly competent tracks, but several are missing the little hook that would have pushed them from album-track territory into hit material. The backing vocals on "Where Are We Going?" could not be cheesier if they had been dipped in fondue, while the proto-electro of "Don't Want To Fight Anymore" is so out of place it is almost irresistible. One thing that stands out in Mardin's production is the deeper bass, which gives the record a different feel from Jones's earlier work. The trouble is that bass, however splendidly upholstered, cannot always carry a song on its own.

Side two opens with "Step Into These Shoes", which has a spring in its step but "Pearl in a Shell" it is not. "Will You Still Be There?" is gentler and more reflective, but boy does it go on, and on, and on. "Good Luck, Bad Luck" is one of the more immediate tracks here, with a brisker pulse and the sort of neatly clipped chorus that reminds you HoJo had not entirely mislaid his pop instincts. "Little Bit Of Snow" closes things on a more delicate note, complete with string arrangement and a sense that everyone in the studio had briefly looked up for Page R on the Fairlight and wandered outside to touch grass.

Overall, "One To One" is not Howard Jones at his most dazzling or immediate, but it is far from the misfire some might suggest. It is slick, occasionally over-polished and sometimes a little too keen to sound grown-up, but as a charity shop find for £1.15, it delivers considerably more than the purchase price demanded, which is all one can reasonably ask in this day and age. 3/5

One record at a time: 220. Howard Jones - Dialogue

When I noticed this album was being released as a limited edition that was individually numbered, I contemplated buying it. However, I decided I would continue to economise and just listen to the album digitally. 

Not long after Christmas I received a little red card from Royal Fail to say I had missed a delivery and I should go and pick it up. When I finally got the package I was very surprised to find this record inside. It seemed that I had pre-ordered this at quite an early stage (I received number 0015) but I then completely forgot about it. I am pleased to own this record, so let's give it a spin.

"Celebrate it together" is another one of those upbeat songs that Howard seems excel in writing nowadays. There are great lyrical nods to the past with the, "things will only get better" refrain that is backed by dance beats. I like "Formed by the stars" as it is a dreamy and reflective piece, but it a features a bit too much vocal processing to be truly great. "My One True Love" is well produced but is a little bit nondescript as a composition. "Be The Hero" uses pretty much the same sounds as previous tracks but has a funky, almost Kraftwerk like syncopation that rescues it.

On the flip side things stray into Giorgio Moroder territory with the driving arpeggios of "What You Really Want To Be" before the mesmerising sounds of "You Are The Peacemaker". By the time "To Feel Love" and last track "I Believe In You" come around I am beginning to tire a little of the same sounds being constantly recycled. There are only eight tracks on this record and that feels about right as I sense the ideas were running a little short by the end. 3/5

One record at a time: 219. Howard Jones - Transform

From 1985's "Dream Into Action" we skip forward 34 years to "Transform" (it seems I have some holes to fill in my HoJo collection). I bought this record when it was released and was pleased to see that three tracks were collaborations with electronic/dance artist Brian Transeau.

"The One To Love You" is a great opening track that successfully combines elements of contemporary dance music with a healthy dose of eighties nostalgia. This is undoubtedly one of the album's highlights.

After such a triumphant start it's inevitable that the second track "Take Us Higher" sounds a little less impressive. Whilst his is a highly competent production by HoJo's long time collaborator Robbie Bronnimann, it lacks some of the fairy dust that BT sprinkles on his tracks. 

On the vinyl "Hero In Your Eyes" comes next and is one of those songs that reminds me of something else, but I can never put my finger on it. The lush sound of the title track instantly singles it out as having been produced by BT and it feels a cut above some of the songs that surround it. Side one ends with the highly electronic "Beating Mr. Neg" which sees Howard fleetingly dead panning in a weird mock cockney accent before exploding into an uplifting chorus. 

"Tin Man Song" ticks along nicely before the reflective "At The Speed of Love" slows the pace to provide some contrast to the electronic beats. Things kick up again with "Eagle Will Fly Again" and the closing track "Stay With Me" sounds like it caught all involved in a party mood. I'm thankful that so many artists I first heard in my youth continue to release music like this; I'd love to hear a whole album of BT and HoJo. 3/5

One record at a time: 218. Howard Jones - Dream Into Action

This copy of HoJo's second album is in great condition and was bought from a second hand record store just over a year ago.

The single "Things Can Only Get Better" opens things up with its catchy call and response chorus and Emulator bassline. Unfortunately second track "Life in One Day" moves away from a synth-pop sound and as it doesn't sound good as a result. I can appreciate that there is a good hook in this song, but the instrumentation really lets it down.

Unfortunately, the title track sounds a bit like tuneless industrial music and isn't very entertaining. Things improve drastically with "Nobody Else Is To Blame" which finds Howard at the peak of his songwriting abilities. My copy of the album contains the original mix but some later pressings carry the single version. If you are more accustomed to the single version produced by Phil Collins and High Padgham, the original album version can sound a bit strange, but it remains a brilliant composition.

I have always felt "Look Mama" was a bit incongruous as it seems to be a coming of age tale that is full of teenage angst being sung by a 30 year old man. Again, it is a good tune, but just doesn't hang together quite right. Side one rounds out with "Assault and Battery" which has some great synth sounds running alongside the piano and is worth listening to.

"Automaton" has a predictably machine like arpeggio sequence running in the background as Howard sings a fairly pointless tale about meeting a robot. There's some nice DX7 sounds on "Is There Any Difference?" and "Elgy" is a torch song that gives you a chance to go to the bar. The last three songs seem to be an amorphous mass typical eighties sounds with only the occasional "rap" or organ solo penetrating the mediocrity. 2.5/5

One record at a time: 217. Howard Jones - The 12" Album

For whatever reason, I have never got round to buying Howard Jones's debut album on vinyl so "The 12'' Album" is the first HoJo record on my shelf. This record was a surprise find at a car boot sale in 2019 and it's in pretty good condition to say it only cost £1.

Things kick off with "Always Asking Questions" which sounds so good my memory says it must have been a single; but the internet tells me it was not. This is not the first time my memory has lied to me.

The "New Version" of "New Song" is a little more sparse than the hit single version but it is really interesting to hear Howard's vocal and his electric piano in a different context. The organ licks are especially spectacular.

Side one rounds out with another top ten single in the form of "What Is Love? [Extended Mix]". As far as I can tell this is the same mix found on the original 12" and it offers a classic eighties approach to remixing. For the first three minutes things sound much like the single but then the DX7 "BASS 1" preset is heard in isolation before the song gradually re-builds back to its grandeur.

Side two opens with the non-album single "Like To Get To Know You Well" which is presented as the "International Mix" from the original 12" single. I'm not a massive fan of this track as it doesn't really flow well and the production sounds a little flat. Things pick up with the excellent "Extended Mix" of "Pearl In The Shell" and an new version of album track "Conditioning" titled "Total Conditioning".  

I love old school 12" mixes and miss albums like this being released. Yes, remix albums were a marketing tool, but this one still offers great entertainment 38 years after it was released. 4/5