Howard Jones, a revered figure in the music industry, has collaborated with numerous iconic artists over his illustrious career. However, during the early ’90s, the celebrated ’80s keyboardist faced significant criticism when he chose to release his rendition of Donald Fagen’s “I.G.Y. (What a Wonderful World).” This decision sparked a wave of skepticism among listeners and critics alike.

Reflecting on that time, Jones shares with UCR, “I came across the widespread sentiment that people were questioning, ‘Who do you think you are, covering [that song]?’ It was amusing to hear DJs express that sentiment directly.” His intent, however, was to pay homage to a fellow songwriter he deeply admired, a theme that recurs throughout his career. In the interview below, he recounts his collaborations with industry giants like Phil Collins, as well as memorable performances alongside legendary figures such as Mick Jagger, David Bowie, and Eric Clapton.

Jones has amassed a wealth of experiences in the music world, including a stint with Ringo Starr’s All-Starr Band and a notable encounter with fellow keyboardist Keith Emerson. These interactions often lead to fruitful collaborations, as seen when Jones appeared on Daryl Hall’s popular series Live From Daryl’s House. This appearance has now paved the way for an exciting series of tour dates that kick off tonight (Nov. 7), showcasing the dynamic chemistry between the two artists.

In a recent Zoom interview, Jones elaborated on what audiences can anticipate during the upcoming shows alongside Hall.

Reimagining Classics: Your Creative Approach on Live From Daryl’s House
Absolutely! While I predominantly tour with my electric band, which includes sequencers and a variety of keyboards and electronic instruments, there have been distinct periods in my career where I performed with a live ensemble featuring horns and strings, creating a unique collaborative atmosphere. For the Perform.00 album, I had the opportunity to conduct a live recording session in my Maidenhead studio, where I had already prepared arrangements for a more traditional band setup. When I presented these ideas to [Daryl] and the rest of the band, I was thrilled; it allowed me to play songs I regularly perform, but in an entirely fresh and invigorating manner.

Highlighting the Unique Brass Solo in “Things Can Only Get Better”
Exactly! It’s been a long-standing desire of mine to incorporate that long, Cuban-inspired brass solo into the arrangement of “Things Can Only Get Better.” However, I hadn’t played with a brass section for quite some time, which made me realize how much I missed it. This experience rekindled my passion for such arrangements, and I am eager to explore that avenue further in future performances.

Watch Daryl Hall and Howard Jones Perform ‘Things Can Only Get Better’

Insightful Songwriting Techniques: Understanding the Power of Simplicity
On Daryl’s House, one of the band members praised the pre-chorus of “Things Can Only Get Better.” You aptly noted that it’s constructed from just three chords, highlighting the importance of simplicity in songwriting. This lesson reinforces the idea that sometimes, less truly is more, and the impact of a straightforward arrangement can be profound.
Absolutely! It’s all about how you utilize those three chords. I recall a conversation I had with Phil Collins while we were working on “No One is to Blame.” He commented, “What I appreciate about your writing is your ability to introduce unexpected elements that catch listeners off guard.” This perspective has always been my guiding principle in songwriting. I aim to surprise the audience by taking them in a direction they didn’t anticipate, often incorporating multiple middle eights or unique transitions. The landscape of pop music has evolved over the years, and while my era adhered to a classic format, my goal has always been to innovate within that framework to create memorable tunes. The beauty of simplicity is that it allows for instant recognition, yet I strive to include surprising moments that leave a lasting impression.

Embracing Your Musical Roots: The Influence of Keith Emerson
Absolutely! Given my admiration for Keith Emerson, fans tend to be forgiving if I occasionally throw in adventurous elements into my compositions. [Laughs] It’s a delightful challenge to balance complexity with accessibility.

READ MORE: How Keith Emerson Inspired Synth-Pop Legend Howard Jones

The Joy of Collaboration: Reflecting on Phil Collins’ Musical Passion
Indeed, Phil Collins embodies the essence of a true musician who revels in the act of playing. My relationship with him blossomed during the Prince’s Trust concerts, where he was on drums while I handled the keyboards. Our chemistry was immediate, and I felt entirely at ease when I invited him to collaborate on “No One is to Blame.” His effortless approach to music-making is truly inspiring.

Creating Effortless Magic in the Studio
It’s a blessing when music comes together so seamlessly, as it does for many artists. Phil’s vast experience and genuine appreciation for the song enabled us to create a version that resonated well with radio audiences, which is always a positive outcome. The recording process was pure joy; we completed it in just two weekends—quick, efficient, and without unnecessary complications.

Memorable Experiences from the Prince’s Trust Concerts
Performing at the Prince’s Trust concerts allowed me to explore a variety of songs outside my own repertoire. The pressure was palpable since, as the keyboard player, I had to cover everything from brass parts to intricate organ solos. It was a challenging yet rewarding experience, especially when I had the honor of playing alongside legends like David Bowie and Mick Jagger during “Dancing in the Street.” Mick’s dedication to perfection was evident when he insisted on rehearsing the song, even though it had just been recorded and was a massive hit.

His professionalism was inspiring; we found ourselves backstage with just a keyboard and a single set of headphones. I could hear the piano while he sang through the headphones, allowing us to practice the chords together. This moment is a treasured memory—an exceptional experience that few get to enjoy. I also had the privilege of performing with Peter Gabriel on “Sledgehammer,” and the incredible moments from those gigs are simply endless. It was a truly enriching experience.

Watch Mick Jagger and David Bowie Perform ‘Dancing in the Streets’ at the Prince’s Trust Concert in 1986

Facing Nerve-Wracking Yet Rewarding Challenges on Stage
Indeed, the juxtaposition of bucket-list moments can be both thrilling and nerve-wracking. During another charity event, I had the pleasure of performing one of my own songs, “You Know I Love You, Don’t You?” with Eric Clapton. His extraordinary solo in the middle was utterly brilliant, yet unfortunately, it went unrecorded—only a cherished memory remains. It was surreal when Clapton approached me, asking, “What are the chords to your song?” Having a legend like him inquire about my song was an unforgettable experience.

Upcoming Tour with Daryl Hall: What to Expect from the Live Performances
As I embark on this tour with Daryl Hall, I am eager to recreate some of the spontaneous jamming that characterized our time on Live From Daryl’s House. The recording process was incredibly enjoyable; I spent several hours with Daryl after filming, engaging in deep conversations and getting to know each other better. This connection contributed to our decision to tour together. I immersed myself in his extensive discography, both with Hall & Oates and his solo work, which created a fascinating insight into his musical journey. I selected a few tracks I felt confident performing that I believed he would also enjoy, including “Let Love Take Control,” a lesser-known gem from the Hall & Oates album, Our Kind of Soul, which Daryl himself had nearly forgotten.

We had a blast performing that song together. Additionally, I chose to sing “I’m in a Philly Mood,” stepping outside my comfort zone to grow as a vocalist and explore new styles. The band accompanying us is incredibly talented, making it easy for me to focus on my singing and performance. This tour promises to be spectacular, featuring songs I rarely perform, such as “I.G.Y.,” the Donald Fagen classic, “Lift Me Up,” which is a rare choice for me, and “Tomorrow is Now.” I will also present “No One is to Blame” based on Phil Collins’ version, moving away from my usual acoustic rendition to create a fresh interpretation of the song. I’m excited about the incredible collaborations that await with Daryl during these shows.

Discovering Steely Dan’s Influence on Your Musical Journey
My journey into Steely Dan’s music began with their debut album, Can’t Buy a Thrill, particularly the track “Reelin’ in the Years.” This exposure laid the foundation for my appreciation of their evolving sound as their albums progressed, reflecting an increasingly complex musical landscape. As I honed my skills as a musician, I found myself captivated by their sophisticated chord progressions. It was crucial for my development as a musician and songwriter to grapple with music that challenged my understanding. I would replay their records repeatedly to decipher their chord changes, enhancing my musical education. A memorable moment was when I had the chance to spend a few hours with Walter Becker at A&M Studios in L.A. while working on a recording project; it was an enlightening experience that I cherish deeply.

Rediscovering “I.G.Y.”: A Personal Homage to Donald Fagen
Indeed, my version of “I.G.Y.” was a delightful discovery for many in the ’90s. However, it was met with skepticism, as I often encountered the dismissive sentiment, “Who do you think you are, covering [that song]?” [Laughs] It was amusing to hear DJs express that sentiment so directly. Yet, my intention was to pay tribute to an artist I deeply respect. I believe I did justice to the track with my rendition! [Laughs]

Listen to Howard Jones’ Version of ‘I.G.Y.’