Howard Jones - New Song (WEA)

Candifloss synthi-pop. Producer Colin Thurston, man at the controls of Duran Duran and Kajagoogoo, spins out lots of sweetness and light. About as substantial as the fluffy pink stuff on a stick. (Lynn Hanna, No 1, August 20, 1983)

Another in the long line of pretty-boy popsters, Howard is apparently rather big in High Wycombe. This first offering is produced by the same man as Duran Duran and Kajagoogoo and will probably be MASSIVE. It's squeaky clean disco pop with lots of whoops and woos in the background. You can't fault it. (Eleanor Levy, Record Mirror, August 20, 1983)

Missed A Sitter: Smash Hits failed to review 'New Song' which reached number 3 in the pop charts.

Howard Jones - Hide And Seek (WEA)

So many artists seem to do two fast ones and then a slowy. This is a big, soft, slow, slushy ballad that sounds incredibly like Barry Manilow at times. I don't like this as much as his uptempo stuff but it's still up to his usual standard. I would think a chart cert. (Limahl, Smash Hits, February 16, 1984)

The strength of the new solo stars like Paul Young and Howard Jones is that they're not over-keen to impress. "Hide And Seek" builds ever so slowly from a few gentle drumbeats and synth doodlings into a stately and controlled masterpiece which harks back to Japan's "Ghosts". No.1 in a month. (Martin Townsend, No 1, February 18, 1984)

Howard Jones - Things Can Only Get Better (WEA)

Years from now, when the '80s are but a memory, I will still detest Howard's "New Song" as much as the day I first heard it, and squirm every time anyone mentions 'mental chains'. But ever since that rather ropey opener, he's been making increasingly likeable pop songs. This is no exception. The bubbling uptempo arrangement (especially good on the 12") masks a rather slight main tune, but the real killer bit is the chant. For the next two months the milkman, the hairdresser, the window cleaner and just about everyone else important in your life will be driving you barmy with their out-of-tune renditions of "woah-oh woah-oh-oh woah-oh, woah-oh, woah-oh-oh, woah-oh". A massive hit. (Chris Heath, Smash Hits, January 31, 1985)

Song construction kit: take two Squezy bottles, some sticky back paper, an outtake from Finland's entry in last year's Eurovision Song Contest and a smidgeon of garden fence philosophy. Then, get in some real fine musicians, beef it up a bit and smile. (Jim Reid, Record Mirror, February 2, 1985)

Never having succumbed to the Howie `I'm just an ordinary guy with a daft haircut' charm, this one totally passes me by. He sounds as optimistic as ever (how can anyone be that chirpy?), but has dropped the synth dependence for bass and brass and a chorus of "woh woh woah woah woh" which gets more than a touch irritating. 'Things. . .' bounces along merrily enough but there's nothing to convince me that I'd like to get to know him well. (Karen Swayne, No 1, February 2, 1985)

Howard Jones - No One Is To Blame (WEA)

Move over Sigue Sigue Sputnik! Howard Jones never had to be hyped or wear fishnet tights over his head to get noticed. He just wrote brilliant songs - like this one. And he's had a spot of help with this reworked version of "No One Is To Blame" by a man who needs no introduction - Mr Phil Collins - who plays drums, sings and produces. This is a rich and romantic, arm-waving toe-tapping ballad that could give Ho-Jo (as we call him in the trade) his first Number One. And if it doesn't - I wanna know why! 5/5 (Debbi Voller, No 1, March 8, 1986)

The credit speaks a 1,000 words. "Produced by Phil Collins and Hugh Padgham." You expect 'slick' and slick is what you get. Less offensively happy than some of Howard's past offerings, he even sounds like vintage Elton John in parts, which can't be bad. One for mums and dads I think, and those who still believe in Father Christmas. (Eleanor Levy, Record Mirror, March 8, 1986)

Undoubtedly the best Howard Jones song since "Hide & Seek". Taken from the Dream Into Action album, this recording (produced by Phil Collins) sounds a bit like an early Elton John ballad, just some light piano and a few guitars. It's nice to see that old Howie has given up trying to save the world and is now concentrating on writing better songs.  (Simon Braithwaite, Smash Hits, February 12, 1986)

Howard Jones - What Is Love? (WEA)

So you thought "New Song" was good? Well just wait until you hear this gem. It's all about love, about when you love someone but still doubt them - and it's spot on. The bouncy synths are still there and Howard is definitely carving out a niche of his own. We need this sort of warm and happy music. (Paul Bursche, No 1, November 19, 1983)

I've always thought Howard was a far-sighted, intelligent man ever since he said he liked my single on Roundtable. This is a well-produced song that sounds great loud. On the back of the sleeve one is invited to send off for Howard's magazine "Risk", the title of which I hope bears no relation to his thoughts on the chances of his single. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

It's obvious from seeing Howard Jones play that "New Song" was more the exception than the rule in the High Wycombe Wonder's repertoire. "What Is Love?" is a lot smoother, more melodic and much less immediate, but is sure to feature on many an 'Our Tune' and 'First Love' in the future. That doesn't make it a great record through, and for all Howard's emotion and sincerity it only left me cold. (Eleanor Levy, Record Mirror, November 19, 1983)

Note: The B-Side is the wildly poppy multi-ethnic tour de force "It Just Doesn't Matter".

Howard Jones - Pearl In the Shell (WEA)

The fourth and weakest single to be taken from the Human's Lib LP, "Pearl In The Shell" is an album track that had no idea it was going to be made into a single until the record company tapped it on the shoulder. Mine came enclosed in a fold-up poster instead of a sleeve. But what do you do with the record when you put the sleeve on the wall? Could it be a insidious plot by WEA to make you keep playing it? (Frank Hopkinson, No 1, May 19, 1984)

I tend to think of Howie as a puppy dog (mongrel, I think) - something so bright-eyed and trusting that you can't bring yourself to smack him when he messes the living room with poop like this. Poor little fella - only doing what nature tells him etc. This time it's a brassier, more aggressive sound with the usual irritatingly catchy chorus and twiddly synth bits. Mind you, next time it's definitely the rolled-up newspaper... (Ian Cranna, Smash Hits, May 24, 1984)

Howard Jones - All I Want (WEA)

Hooray! He's back. And with a "new sound" too. This is the first single off his forthcoming third LP which is often the point where pop stars go off the rails a bit, but not Howard. He's returned with a harder, slightly electro-ish "sound", and one of the best songs he's ever written; a big sweeping melody and a rhythm that thumps along happily. Really very good. (William Shaw, Smash Hits, September 24, 1986)

Another chap who's had a bit of time off recently but the rest doesn't seem to have done Howie much good. The programmed synths, brassy sounds and falsetto chorus vocals are still there but unlike uplifting ditties such as "Like To Get To Know You Well", the result this time round is rather limp and a bit depressing. 2/5 (Andrew Panos, No 1, September 27, 1986)

Howard Jones - Look Mama (WEA)

Sure as eggs is eggs. Howard is a very nice chap and I think it's daft the amount of people who just can't stomach him and his music: after all it is only pop music and he's doing no harm, possibly even some good. That said, I'm not madly keen on this song - a bit too Genesis for my liking and the title gets on my nerves, but apart from that ifs full of the usual ultra-catchy bits and it'll sell in droves. (Peter Martin, Smash Hits, April 11, 1985)

Many said that Howard's last single "Things Can Only Get Better", was his best to date. Sadly "Look Mama" (also taken from the new album) is a disappointing choice for a follow up. Although it'll do well, I can't see it being the No.1 hit that's eluded him for so long now. Howard's lyrics are as clever as ever but what this lacks is the haunting heartfelt melodies that have made him so incredibly popular. I'd have released "Specialty" and finally got that No.1 tucked firmly under my belt! (Debbi Voller, No 1, April 13, 1985)

Again Howard has constructed another catchy ditty that'll have Radio One DJs wetting themselves with excitement. It'll slide easily over the airwaves but it hasn't got a twinkle of the melody of "What Is Love" and feels about as substantial as a plate full of candy floss. (Mike Gardner, Record Mirror, April 20, 1985)

Howard Jones - Little Bit Of Snow (WEA)

Howard Jones, the singing man's Bjorn Borg, delivers a heartfelt anti-drug plea. Simply done, with voice and piano, the song celebrates the joys of things like, oh, the sun and the rain over the perils of indulgence in evil substances. The absence of tub-thumping is most welcome, but tactful Howard almost comes a cropper in a sea of understatement. Blink your ears and you'll miss it. (Pete Clark, Smash Hits, February 25, 1987

Howard Jones - Life In One Day (WEA)

Howard and his synthesiser take a sprightly hop, skip and a jump through some fairly average pop and Howard's personal philosophy: Relax, enjoy life, be happy with what you've got, and don't wish the years away. Howard, you old hippy, you! (Maureen Rice, Smash Hits, June 5, 1985)

Yet another single culled from Howie's Dream Into Action. And it's a stinker. Howard Jones is one of that breed of pop star who imagines that if we all had flutes and held hands then the nasty things in life would vanish overnight. I've heard of escapism but this takes the proverbial biscuit. Howard Jones has as much worldly acumen as a rubber duck.
I'm supposed to say it has a nice tune but even that sticks in the gullet. (Max Bell, No 1, June 22, 1985)

In the cold light of day, Howard's philosophising makes the TV series Kung Fu sound like Satre. Usually, like Mary Poppins, he coats his medicine with a spoonful of energetic, addictive sugar. But despite the party atmosphere you feel he could have worked harder to disguise a poor song. (Mike Gardner, Record Mirror, June 22, 1985)