I’m in the middle of a weekend that has included gathering with friends and a rousing game of Ultimate that was in no way ruined by a little rain. Now I’m going to write a music review and then spend a quiet evening playing boardgames with my favourite person. Life is good.
Disc 1561 is…. Dream Into Action
Artist: Howard Jones
Year of Release: 1985
What’s up with the Cover? I have a vintage bathrobe that looks a lot like Howard’s jacket but unlike his, mine does not summon the spirits of the Neon Five.
Jones’ thoughtful expression shows that he’s come to realize that invoking the powers of the Five while initially gratifying, has become a curse, as they bring his dreams to life by siphoning off the energy of those closest to him.
Some people would say I’m reading an awful lot into this album cover, but some people have a lot of growing up to do.
How I Came To Know It: I knew a few of these songs as a teenager, but I didn’t like any of them. Sheila is a fan, however, and asked me to find this album for her on my CD shopping journeys, and so here it is.
How It Stacks Up: We have two Howard Jones albums, this one and 1984’s “Human’s Lib” (reviewed back at Disc 892). Of the two, I put “Dream Into Action” in at #2.
Ratings: 3 stars
I did not like Howard Jones back in 1985. The music felt artificial and directionless to me, with a metallic-sounding eighties production that was hard to swallow. However, many decades have passed since I was a lad, and having the opportunity revisit his work as an adult has been a pleasant surprise.
Those elements of Jones’ sound that I didn’t like when this was first released haven’t gone anywhere but I now see how for the most part they fit well with the overall vibe he is creating. Case in point the opening track, “Things Can Only Get Better”. This thing is thumping around with keyboard, drum machine and all manner of dubious additions, but it all works well together. I also find it mystifying how the teenage me couldn’t get behind the infectious “whoa-whoa-whoa” that serves as the intro to the chorus. If you don’t want to ‘whoa whoa whoa’ along with Jones in those moments something is seriously wrong with you.
The record’s best song (also a hit) is “No One is to Blame” which showcases something else I never noticed in the day: Howard Jones’ vocals. He sings with a light and easy power that infuses that that hollow production with emotional resonance. Here he reminded me favourably of Blue Rodeo’s Jim Cuddy.
Both those songs were hits (the record had several) but I didn’t love all the commercially successful songs. “Look Mama” has an “aimless orchestra” feel to it where it all the various sounds had me imagining a big band where everyone was playing a different tune. “Life in One Day” has that scourge of so much mid-eighties music, the steel drum. Like the saxophone, a little steel drum goes a long way, and “Life in One Day” features a lot of steel drum. The song also has a Disney musical quality to it that felt a bit too “destined for Broadway” for my liking.
Elsewhere on the record we are treated to the frantic syncopation of “Automaton” and the overwrought “Elegy”. The former seems feckless and insincere. The latter’s mix of synth and sincerity lands in the No Man’s Land between early Enya and eighties Queen, while failing capture the magic of either.
The CD release of the album features two bonus tracks. First up is the weird pseudo-rap of “Bounce Right Back” that feels about as authentic as instant coffee.
Much better is “Like to Get To Know You Well” which was released originally the year prior as a single (and radio hit). This song has aged beautifully and while it is synth forward, there is no denying the energy of this tune, that had me wanting to eighties-dance around the room (I may have briefly succumbed to the temptation).
Overall, “Dream Into Action” is a mixed bag. It features some tracks that are true classics of eighties New Wave, but these are mixed in with overly clever songs that fall down under the weight of directionless production. On balance, I still enjoyed the experience, and must politely disagree with my overly critical teen self.
Best tracks: Things Can Only Get Better, No One is to Blame, Like to Get to Know You Well
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