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In the Running

3 customer reviews

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Product details

  • Audio CD (30 Dec. 1996)
  • Number of Discs: 1
  • Label: East West
  • ASIN: B000024JI2
  • Other Editions: Audio CD  |  Audio Cassette  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 219,223 in Music (See Top 100 in Music)

Product Description

Howard Jones ~ In The Running

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Brien Comerford on 8 Sept. 2008
Format: Audio CD
"People" and "In The Running" are my favorite HOJO CD's even though they were not as financially succesful as his earlier recordings. "In The Running" contains several compelling songs with great lyrics, assuaging vocals and wonderful instrumentals. "Lift Me Up", "Two Souls", "Tears To Tell" and "Show Me" are captivating and philosophical gems. "Exodus" addresses environmental crises. "City Song" is a yearning, poignant and melancholic closing song with a message the world must embrace. Howard Jones has always been an optimist deeply concerned about our troubled world. He's a longstanding advocate of social justice, human rights, animal rights, vegetarianism and planetary peace. "In The Running" is a very worthy, refined and conscientious CD. Howard Jones is a profoundly talented man and a bona fide humanitarian.
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2 of 2 people found the following review helpful By P. Martin Elliott on 9 May 2009
Format: Audio CD
This album was issued in the early nineties when Brit Pop was about to explode; and any artist associated with the 1980's was out of fashion. And thus, this gem of an album was overlooked by the record buying public (you know who you are). Which is a pity, as its a great album and deserves a wide listernship.

The album, a favourite with many dedicated fans, retains the quality melodies and interpersonal lyrical motifs that made Jones a household name in the 80's. Direct pop gems such as 'Lift me up' and 'Two Souls' sit comfortably alongside rockier numbers such as 'Gun Turn on the world'and the bluesy 'Exodus.'

Jones bought the piano to the fore on this excellent collection of beautiful and sometimes plaintive tunes.

Its time to revisit this great collection of tunes from a master singer songwriter.
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By maria klein on 16 July 2015
Format: Audio CD Verified Purchase
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Most Helpful Customer Reviews on (beta) 8 reviews
3 of 3 people found the following review helpful
A good album 15 Nov. 2004
By sauerkraut - Published on
Format: Audio CD
Released in 1992, this is the fifth full-length album from Howard Jones, In the Running. Ten songs are contained. The material is in a pop musical direction. Overall, I find the songwriting to be worthy, the musicianship to be skilled, and the sound quality to be satisfying. The album sports an organic quality. Jones turns out a worthy vocal performance. Also, along with the keyboard work, the compositions contain piano playing--both instruments complement each other. Seven of the cuts provide female backing vocals, while a couple of them--the ballads "The Voices Are Back" and "One Last Try"--exhibit brass instrumentation. The album's guitar work is minimal. My favorite pieces are "Show Me," "The Voices Are Back," "Two Souls," and "City Song." "Show Me" and "The Voices Are Back" supply pleasing choruses. Pretty keyboard lines are furnished on "Two Souls," and the ballad "City Song" has a gratifying refrain. When it comes to the CD booklet, it includes the song lyrics and four black-and-white photos of Jones; in addition, the back of the CD jewel case displays a color photo of him. The disc is just over 51 minutes. In the Running gets the job done.
1 of 1 people found the following review helpful
Top of his form! 24 July 1998
By A Customer - Published on
Format: Audio CD
Howard Jones has entered the nineties in style with "In the Running." Temporing down the synths in favor of piano keys, he sounds like a mix between Bruce Hornsby and Peter Gabriel. From start to finish, this is an album I can enjoy over and over. Especially the magic of songs like "City Song," and the tenderness of "One Last Try." It's rare for an artist this last in their career to come back from the bottomless 80 s to the sensitive 90's.
Musically Succeeds Despite Its Presumed Intent 21 Nov. 2013
By Andre S. Grindle - Published on
Format: Audio CD
Reading the editorial review of this album here really says it all for the environment in which this album was recorded. Howard Jones,respected synthesizer pop artist and successful hitmaker was releasing an album in 1992. All of a sudden the music world,whether it still wants to admit it or not,declared an all out cold war on anything associated with the previous decade. Out with tall,gelled hair and bright colorful clothing and in with the unwashed hair and distressed slacks and sweaters. It was the official end of the "get up and get involved" era and the beginning of the (apparently) long gestating "get real" era that American society hasn't yet fully moved past even today. Some of the 80's most successful synthesizer oriented new wave artists such as Thomas Dolby and Howard Jones here were,in all honesty facing a possible extinction akin to what happened to silent cinema when the first talking motion pictures came out. And this wasn't a technological extinction either: it was a generational one. Almost like the children throwing their parents out of the house-a metaphor for the relationship between Generation X'rs and baby boomer musicians at the time. Just how would Howard Jones be able to maintain a career?

With members of the band Little Feat participating instrumentally the album begins with "Lift Me Up",which showcases a stomping uptempo soul oriented sound. "Fallin' Away" and "Show Me" both showcase a gentler,more atmospheric musical sound with Jones' melodic (and yes very Bruce Hornsby like) piano playing taking more of a presidents. "The Voices Are Back" begins slowly but builds into a more rhythmically uptempo jazzy pop style-telling a rather sad tale of a a man whose institutionalized for having either PTSD or paranoid schizophrenia-all because he thought he heard people saying the building he worked at was on fire and than acting on it. "Exodus" is a tougher rocking blues type number relating a modern day Noah's Ark relating to the current environmental crisis. After a return to the gentle atmosphere on "Tears To Tell" there's two more uptempo soul influenced numbers in "Two Souls" and "Gun Turned On The World"-both relating to different ends of the complexity of modern romance it would seen. The album closes out with two numbers with a strongly jazz oriented harmonic flavor with the ballad "One Last Try" and the beautiful closer "City Song".

Soul and R&B had always been a strong component in Howard Jones' music since his debut Human's Lib came out in 1984. What a lot of Howard Jones admirers might not realize is that this album didn't represent a drastic change in sound. As the 80's progressed Jones' music began to slowly move in a different direction from the heavy synthesizer use on that debut. First horns and stronger bass/guitar interactions entered into the equation and gradually began to replace the electronic strains of his music first with electric piano and than live pianos. So if one had been following his music consistently from the beginning of his career to this album,the changed probably seemed a totally natural progression. Which seemed appropriate because at this point the words "natural" and "real" became more buzz words in pop culture than anything with a hugely significant meaning. Always a strong lyricist,Howard Jones took the time on this album to express the uneasiness that a musician of his age bracket might've been feeling during this era. By bumping up the soul and jazz touches in his music,he made these lyrics and strong melodicism evident to those who may not have noticed it before. Also by eliminating synthesizers from the production since this particular pop music era was simply refusing to accept them anymore,it allowed him to be both acceptable to the era and write and play songs that had the chance of enduring on at at least some level.
With the synths gone, Howard's now a British Bruce Hornsby 20 Oct. 2001
By 34-year old wallflower - Published on
Format: Audio CD
Most musicians who were famous in the 1980s often faced an impasse. If they stuck to the synthesized sound that they became popular with, they'd be considered out of touch & old-fashioned. If they tried to change & update themselves for the times, they'd be considered sell-outs or out of their range. Howard Jones faced that kind of problem. His biggest hits like "What Is Love" & "Things Can Only Get Better" were some of the better-conceived synth-pop hits of the decade. But he was smart enough to realize that the sound wouldn't be popular forever & did the right thing by moving on with the years. The only problem was that the public didn't want him to change & as a result, his audience is now down to a cult following, at least in the U.S. Howard's last album of any note in America was 1992's IN THE RUNNING. Despite having hits post-synthesizers like "No One Is To Blame" & "Everlasting Love", they weren't the major successes of his more upbeat computerized tunes. With IN THE RUNNING, Howard had his last top 40 hit to date with the uptempo "Lift Me Up". There are still some synths in the mix, but they aren't as intrusive & the result is one of Howard's most underrated singles ever. Elsewhere, he tries his best to use actual keyboards on songs like "Fallin' Away", "Tears To Tell" (a minor hit single that barely went anywhere) & the closing epic "City Song", which is another hats-off to Howard's biggest idol, Elton John. The results are surprisingly successful, proving that he is actually quite a good keyboard player even when he isn't plugged in. But the rest of IN THE RUNNING can best be called Howard Jones going through the motions. "Gun Turned On The World" is actually very likeable, it's just hard to grasp its meaning when you hear it the first time. "The Voices Are Back" is much hated by Howard's fans & it is quite surreal, one you'll want to read the lyrics to while you hear it. "Exodus" has Howard contributing his own brand of social commentary, but perhaps he hasn't really understood the meaning of "too preachy" just yet. "Show Me" & "One Last Try" are run-of-the-mill love songs that could have come from anyone, even 1990s Elton John. After IN THE RUNNING, Howard Jones' American appeal disappeared & even now his major fan base remains in his homeland of Europe. 1997's ANGELS & LOVERS was another excursion into acoustic keyboard territory which was later released in an "Americanized" version called PEOPLE in 1998. So while Howard may now be considered more of a cult favorite since he's affirmatively non-synthesized, that doesn't mean his music has gone bad. It's just turned away from the demands the public wants for music nowadays. But let's hope Howard keeps this new sound alive as much as possible. And if he must return to synthesized territory, let's hope it's to the level of IN THE RUNNING which, while it was not a classic in any sense of the word, showed that a former synthesizer wizard could indeed make good.
Job Vink 17 Oct. 1999
By A Customer - Published on
Format: Audio CD
I've listened to this album, being one of - I believe - a few Dutch Howie fans, with on my mind the sound of his previous albums. I didn't expect it to match so little, but I loved it immediately! I like when he plays the piano like he did on "The Voices Are Back", sings a love song like "One Last Try" and puts a great instrumental solo in "Fallin' Away" or rocks in "Exodus". I'm looking forward to the should-be-great albums "Live Acoustic America" and "People". I don't understand why Howard wasn't so popular in Holland at his top days in the 80's. I cannot understand why I have to go on the internet to find info on him, instead of going to record-stores where they don't even know him anymore. IT'S JUST GREAT MUSIC!!!
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