Entertainment Music Top Howard Jones Songs of the '80s Print Music Pop Music 80s Hits Basics Reviews Top Picks Top Artists 90s Hits Rock Music Alternative Music Classical Music Country Music Folk Music Rap & Hip Hop Rhythm & Blues World Music Punk Music Heavy Metal Jazz Latin Music Oldies Learn More By Steve Peake Updated on 04/03/19 During the early '80s, the synthesizer certainly became a fast-growing part of mainstream pop music. Among its practitioners during the new wave era, however, English singer-songwriter Howard Jones holds a firm place as a member of the elite. Composer of several classic synth pop hits of the era, Jones explored the capabilities of his signature instrument while always focusing his efforts on strong melodic hooks and specific yet universal lyrical themes. Here's a chronological look at the best Howard Jones songs of the '80s, a solid array of well-crafted, singular pop gems. 01 of 05 "What Is Love?" Michael Putland/Getty Images Jones immediately became a chart threat in his native U.K., notching two consecutive Top 5 pop hits there in late 1983 prior to the release of his 1984 debut LP. In the U.S. both tracks were less successful, stalling in the lower portion of the Top 40. Still, while lead-off single "New Song" lacked elements of distinction, this follow-up tune displays Jones' first truly memorable melodies. It may serve merely as a precursor to the all-time classics that would soon follow, but this is a song that showcases Jones' gift for vocal exuberance and the promotion of keyboards as dominant instrumental contributors. 02 of 05 "Things Can Only Get Better" Single Cover Image Courtesy of WEA/Elektra Jones seriously amped up the sophistication for this sparkling lead-off single from 1985's, and his reward was a U.S. Top 5 showing and worldwide success. The addition of horns certainly helps to broaden the artist's sonic palette, but the song's primary gifts squarely stem from the moving hooks Jones employs: "And do you feel scared? - I do - but I won't stop and falter. And if we threw it all away, things can only get better." Aided by the payoff of one of the best "whoa-oh" nonsense choruses of the '80s, the song rises to an unexpected level of effectiveness. 03 of 05 "Life in One Day" Single Cover Image Courtesy of WEA/Elektra Jones' quick evolution into an artist full of pep seemed to come to fruition with this song, a positively infectious lyrical exploration of the concept of living for the moment. Musically, it manages to be uplifting and soulful in equal measures, complemented particularly well by the backing vocals of British duo Afrodiziak. However, Jones' unique talent for composing undulating melodies in the verses serves him well once again here, and ultimately the whole package takes on the feel of an odd but pleasant fusion of British folk and calypso-laced dance music. As a single, it's really quite the revelation. 04 of 05 "No One Is to Blame" Album Cover Image Courtesy of WEA/Elektra This exemplary '80s soft rock classic first emerged in the form of a spare recording on 1985's, but it didn't become a hit until released as a non-LP single in a remixed, increasingly percussive version in March 1986. Undoubtedly Jones' signature masterpiece, the piano ballad veers convincingly into the dark romantic territory, chronicling in an ambiguous but affecting way the pain of conflicted mutual attraction. Though ultimately noncommittal as to whether the narrative's characters have actually acted upon their impulses (a fine literary touch), this track is musically straightforward in its lovely, haunting piano melody for the ages. Essential '80s listening. 05 of 05 "The Prisoner" Album Cover Image Courtesy of WEA/Elektra Jones' final '80s album, 1989's, came up quite short commercially - especially in the U.K. Nevertheless, it contains some substantial charms well beyond its No. 12 U.S. pop single "Everlasting Love." This track, by surprising contrast, effectively makes use of a guitar-oriented rock arrangement to create one of the artist's finest efforts. The intense vocals and muscular instrumental heft of the tune beg favorable comparisons to the best work of Tears for Fears, and in this sense, it's an appropriately versatile way for Jones to round out his most successful decade as a major pop/rock artist.