Jones combined synthesizer music with comment on animal rights and life's excesses. Philosophy, spirituality and humanistic ideals were all lyrical themes.
In the summer of 1984, he released a single called "Like To Get To Know You Well", which he said was 'dedicated to the original spirit of the Olympic Games'. Although it was not an official Olympic anthem for the Games in Los Angeles that summer, it caught on and was a huge worldwide hit. The sleeve featured the song title in ten different languages; while Jones sang the title line in French and German on the extended version. The song appeared in the film Better Off Dead (1985) and the computer game Grand Theft Auto: Vice City Stories (2006).
Jones' second album was a 'remix' album. It contained six songs, all but one of which had been previously released, but which appeared in elongated formats, including the multilingual version of "Like To Get To Know You Well". The album was called The 12 Inch Album and the sleeve featured a miniature Jones standing next to a 12-inch ruler.
When he released his second studio album, Dream Into Action, in 1985 he introduced his own backing band, including female backing vocal trio Afrodiziak. Afrodiziak featured Caron Wheeler (who went on to greater success with Soul II Soul) and Claudia Fontaine (who became a renowned backing singer). Playing bass guitar, meanwhile, was Jones' own brother Martin, who had to have an extra string added to his instrument to play some of Howard's bass lines, which were originally played on a keyboard without regard for the range of a real bass guitar. One of the singles released from this album, "No One Is to Blame", was later re-recorded and featured Phil Collins as drummer and producer. Dream Into Action was a huge hit worldwide.
In July 1985, Jones performed at Wembley Stadium as part of the Live Aid concert, singing his 1984 hit "Hide And Seek" while playing a piano belonging to Freddie Mercury. He also embarked on a major world tour-hitting countries such as Japan, Australia and the US where Jones was selling out huge arenas.
Jones' recording contract with Warner Bros. Records/WEA was cancelled after the release of In The Running and The Best Of Howard Jones. He responded by starting his own record label, dtox, and producing an album, "Working in the Backroom", in his own studio The Shed which was made available only at gigs and through his website. Artists affiliated with Howard's Dtox label include Martin Grech, Dba, Shaz Sparks and The Itch (Robin Boult).
In 2001, Jones played keyboards for Beatles legend Ringo Starr on Ringo's All Starr Band tour. The 2001 All Starr Band line-up consisted of ex-Supertramp frontman Roger Hodgson, dance-music percussionist Sheila E., former Mott the Hoople singer Ian Hunter and King Crimson/Emerson, Lake and Palmer singer-bassist Greg Lake. Jones fulfilled two life-long ambitions on this tour: to play live in a band with a member of the Beatles and to play Karn Evil 9 live. Keith Emerson’s classic keyboard arrangement is regarded as one of the most difficult keyboard pieces ever written.
On 20 September 2003, Jones played a sold-out 20th Anniversary Concert at the Shepherds Bush Empire, London, commemorating the release of his first single. The gig, which drew fans from all over the world, consisted of four sets: Acoustic, Retro, Electronic and Full Band, featuring music from his 20-year career. He was joined by friends Midge Ure (Ultravox) and Nena, as well as his mime artist, Jed Hoile. A recording of this concert has since been released on DVD.
He has been busy in the past few years touring the world - playing gigs in the United States, Italy, Germany, Sweden and other countries. He has been putting the finishing touches to a new acoustic album, a second album of piano solos and remixing some tracks from his last album. He played a number of nights at the Edinburgh Festival in Scotland in 2006. The same year Jones did a vocal for the song "Into the Dark" by Ferry Corsten for L.E.F..
In 2006, he re-recorded his hit song "Things Can Only Get Better" in Simlish, the fictional language spoken by characters in Electronic Arts' The Sims 2. Jones is also featured on Katrina Carlson's remake of his hit "No One Is To Blame," which cracked the U.S. Adult Contemporary singles chart in the fall of 2007.
In October 2006, he released the song "Building Our Own Future" as a podsafe track, as one of several established artists looking to use podcasts as a new means of promoting their music and tours. The song debuted at #1 on the Pod Music Countdown (PMC Top10) October 29, 2006 and spent four weeks at the top of the chart. Howard's track "Revolution of the Heart" spent five weeks at #1 on the PMC Top10 during 2007 and finished the year as the #2 song in the annual countdown.
2005 seen the release of 'Revolution Of The Heart' - a ten track retro elctronic album. Although this did not achieve similar chart success as his previous albums it was aimed more at the loyal fan base Howard still has in the UK, the U.S. & many European contries.
In 2007 the 'Revolution Remixed & Surrounded' album featuring a bonus DVD & excellent remixes from John B, The Young Punx, DBA & the 'Sharooz' mix of 'Stir It Up' was followed in the November by the 'Live In Birkenhead' cd.
2008 began with the single release of 'Into The Dark' by Ferry Corsten for which Jones provided vocals. Later in the year, Jones' earlier 1983/84 UK top 10 hit 'What Is Love?' was covered by indie/rock band Audio1 (a clip of the track is available on Audio 1's Myspace page: http://www.myspace.com/audio1music)
Jones recently went into the studios of The Young Punx to record vocals for their forthcoming Summer 2008 release "And The Feel Goes On."
Jones' new studio album is scheduled for release around September 2008; a concert in London celebrating 25 years in music will be held to promote the release.
Jones is a member of the Japanese Buddhist lay organization Soka Gakkai, and is musical director of its choir, the Glorious Life Chorus. The chorus performs some of his songs in its repertoire, including "Building our own Future" and "Respected".
Many elements of Jones' style are identifiable on numerous tracks.
Many of his subsequent albums also have numerous tracks that employ this style. This technique may stem from limitations of early sequencers and synthesisers.
Some of Jones' tracks have little or no percussion/drums. This is to be expected on tracks that were essentially piano solos but also includes tracks such as: