Howard Jones was one of the first songwriters to embrace the electronic
keyboards instead of the guitar. He was in many ways an heir to the
generation of the 1960s, to the hippies and the melancholy minstrels, but
his music sounded as modern as Brian Eno's Before And After Science.
New Song and What Is Love are the sugary hits from
Human's Lib (Elektra, 1984).
Like To Get You Know Well and
Things Can Only Get Better are the standout ballads on
Dream Into Action (Elektra, 1985).
No One Is To Blame highlights One To One (Elektra, 1986).
Cross That Line (Elektra, 1989) was too ambitious and ended up
showing Jones' limits as a musician.
Briefly a star, Jones was quickly forgotten as synth-pop took over the
British charts. In the 1990s, Jones released the much humbler albums
Working In The Backroom (Dtox, 1993) and
People (Ark 21, 1998).
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(Translation by/ Tradotto da Matteo Gentile)
Howard Jones è stato uno dei primi cantautori ad aver imbracciato le tastiere
elettroniche anziché la chitarra. Egli era per molti versi un erede della
scuola anni '60, quella degli hippy e dei malinconici “menestrelli”, tuttavia
la sua musica suonava moderna proprio come Before And After Science di
Brian Eno. New Song e What Is Love sono i fiori all'occhiello di Human's
Lib (Elektra, 1984). Like To Get You Know Well e Things Can Only
Get Better sono le magnifiche ballad di Dream Into Action (Elektra,
1985). In No One Is To Blame risalta One to One (Elektra, 1986). Cross
That Line (Elektra, 1989) era troppo ambizioso e finì per svelare i limiti
di Jones come musicista. Divenuto ben presto una star, Jones fu però presto
dimenticato quando il synth pop conquistò le classifiche britanniche. Negli
anni '90 Jones pubblicò i più umili Working In The Backroom (Dtox, 1993)
e People (Ark 21, 1998).
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