In “Keeping Up With Howard Jones,” (March 1986), Craig Anderton caught up with the pop star soon after the release of his second album, Dream Into Action, which included the monster hits “No One Is to Blame” and “Things Can Only Get Better.” Jones shared his perspectives on everything from his synth rig to stage show to songwriting process; read more of this interview at emusician.com/HowardJones.
EM: You approach the studio and your concert quite differently, yet the overall sound is consistent. I don’t think people would be disappointed hearing you live after hearing the record.
Jones: I do approach it differently, although I try and be as authentic as possible with the actual sounds. I think things like reverb perspective should be accurate. I take a lot (of parts) out for live performance, because you can’t fit all that in—you just end up cluttering the sound. There’s nothing worse than a big blob of sound. It often takes a lot more nerve to strip things down—it gives you confidence to have tons of things all playing behind you. But I think it’s much more effective if you make sure that the song is very well arranged, and that everything has its place in the sound spectrum.