“Hide and Seek” is a song released in February 1984 as the third single from the debut album, “Human’s Lib”. The track reached No. 12 on the UK Singles Chart and stands out for its darker, gothic-inspired tone, contrasting with Jones’s typically upbeat style. The song was released in multiple formats, including a Limited Edition 10” vinyl and picture disc, featuring an extended mix and a live recording from High Wycombe Town Hall. The 7” vinyl included the inscriptions “This Time No. 1” and “The Brilliant Town Hall” on its sides.
Lyrically, the song explores existential themes, referencing the origins of the universe and urging listeners to reflect on a time when there was “nothing at all, just a distant hum.” The song metaphorically traces the journey of a being seeking meaning, starting alone with nothing but the work of creation and contemplation. Over time, the being hopes to find purpose in every aspect of existence, as reflected in the recurring lyric, “Hope you find it in everything, everything that you see.”
The narrative shifts to a second character, a woman who builds a life symbolized by her elaborate home. Initially fulfilled, she becomes distracted by life’s pleasures and loses touch with her true self, representing how people can become disconnected from their core identities. The refrain, “Hope you find me in you,” underscores the yearning for reconnection with the deeper self and the recognition of shared humanity.
The music video complements the song’s celestial and introspective vibe, featuring Jones performing against space-themed backdrops enhanced by early green-screen technology. The track’s heavy synth sound aligns with its cosmic and contemplative theme.
Jones famously performed the track at Live Aid in 1985 using Freddie Mercury’s piano, though he humorously noted that the magic of the performance came from his own interpretation rather than the instrument itself.
16.1.25
MAMA CASS WITH THE MAMAS AND THE PAPAS - DREAM A LITTLE DREAM OF ME
Estrena: juny de 1968
Llistes: EUA: #12 Regne Unit: #11
“Dream a Little Dream of Me” és una cançó de 1931 composta per Fabian Andre i Wilbur Schwandt amb lletra de Gus Kahn. Originalment gravada aquell mateix any, s’ha convertit en un estàndard popular amb més de 400 versions enregistrades. El 1968, The Mamas & the Papas la van incloure al seu àlbum “The Papas & the Mamas”, amb Cass Elliot com a veu principal. El grup solia interpretar-la de manera informal, ja que Michelle Phillips la coneixia a través de la connexió de la seva família amb el coautor Fabian Andre.
Va ser Mama Cass Elliot qui va suggerir gravar “Dream a Little Dream of Me” al líder del grup, John Phillips. Tot i que Phillips recordava que Cass estava descontenta amb el que considerava un aire massa ‘camp’ durant la gravació, Elliot va explicar més tard a Melody Maker que la va interpretar com si fos 1943, intentant capturar una actuació fresca i autèntica.
Quan l’àlbum es va publicar el 1968, The Mamas & the Papas estaven a punt de dissoldre’s, una situació agreujada pel fracàs del seu senzill anterior, “Safe in My Garden”. Dunhill Records, veient una oportunitat de promocionar Cass Elliot com a solista, va llançar “Dream a Little Dream of Me” com a single el juny de 1968, una decisió que va frustrar John Phillips.
A la versió de l’àlbum, es pot sentir Cass Elliot parlant de fons i aclarint-se la gola abans de començar a cantar, amb una introducció de John Phillips que diu: “And now, to sing this lovely ballad, here is Mama Cass.” A la versió del single, només es manté el so de l’aclariment de la gola. Cass també va fer ella mateixa el xiulet que s’escolta abans que la cançó s’esvaeixi.
El single es va publicar als EUA com a “Mama Cass with the Mamas & the Papas” i al Regne Unit simplement com a “Mama Cass”. Es va promocionar amb una foto d’Elliot estirada sobre un camp de margarides. La cançó es va convertir en el seu últim gran èxit, assolint el número 12 al Billboard Hot 100 dels Estats Units i el número 11 al Regne Unit.
MAMA CASS WITH THE MAMAS AND THE PAPAS - DREAM A LITTLE DREAM OF ME
Released: June 1968
Charts: US: #12 UK: #11
“Dream a Little Dream of Me” is a 1931 song composed by Fabian Andre and Wilbur Schwandt with lyrics by Gus Kahn. First recorded in 1931, it became a popular standard with over 400 versions. The Mamas & the Papas included it on their 1968 album The Papas & the Mamas, featuring Cass Elliot on lead vocals. The group often sang the song informally, as member Michelle Phillips was familiar with it through her family’s connection to co-writer Fabian Andre.
Mama Cass Elliot suggested recording “Dream a Little Dream of Me” to group leader John Phillips. Although Phillips recalled her being unhappy with the song’s ‘campiness’ during recording, Elliot later explained to Melody Maker that she approached the song as if it were 1943 and she was singing it for the first time, trying to capture a fresh and authentic performance.
By the album’s 1968 release, the Mamas & the Papas were on the verge of disbanding, heightened by the failure of their previous single, “Safe in My Garden.” Dunhill Records saw an opportunity to promote Cass Elliot as a soloist and released “Dream a Little Dream of Me” as a single in June 1968, which frustrated John Phillips.
On the album version, Cass Elliot can be heard speaking in the background and clearing her throat before singing, with John Phillips introducing her: “And now, to sing this lovely ballad, here is Mama Cass.” On the single version, only her throat clearing remained. Cass did her own whistling before the song fades.
“Dream a Little Dream of Me” was released in the US as “Mama Cass with the Mamas & the Papas” and in the UK as simply “Mama Cass.” Promoted with a photo of Cass Elliot lying in daisies, the song became their last major hit, reaching #12 on the Billboard Hot 100 and #11 in the UK.
15.1.25
HOWARD JONES - NO ONE IS TO BLAME
Released: March 3, 1986
Charts: US: #4 UK: #16
“No One Is to Blame” is a contemplative ballad exploring themes of unfulfilled desire and the acceptance of life’s limitations. Originally appearing on his 1985 album “Dream into Action”, the track was re-recorded in 1986 with Phil Collins and Hugh Padgham. The single became Jones’ most successful U.S. hit, peaking at #4 on the Billboard Hot 100 and reaching #1 on the U.S. Adult Contemporary chart. It also charted in the UK (#16) and Australia (Top 10).
“No One Is to Blame” underwent a transformation that turned a modest album track into an international hit. The original version had a faster tempo and heavily-reverbed percussion, which some felt clashed with the song’s reflective tone. For the 1986 remix album “Action Replay”, Jones re-recorded the track with producers Phil Collins and Hugh Padgham. This version slowed the tempo, stripped back the percussion, and emphasized Jones’ emotive vocals and piano. Collins’ contributions, including subtle drumming, helped create a more elegant, radio-friendly rendition. Ironically, the original version—with its louder, more pronounced drums—sounds more like Collins’ typical style than the understated re-recording.
“No One Is to Blame” delves into the universal theme of longing for unattainable relationships. The song was inspired by a comment Jones heard in San Francisco when someone remarked, “You can look at the menu, but you don’t have to eat,” sparking the idea for its lyrical content.
HUMAN LEAGUE - THE THINGS THAT DREAMS ARE MADE OF
Llançament: 16 d'octubre de 1981
Àlbum: Dare
"The Things That Dreams Are Made Of" és una cançó de The Human League, gravada originalment per al seu àlbum de 1981 “Dare”. Produïda per Martin Rushent i enregistrada als Genetic Studios, va ser la cançó d'obertura de l'àlbum. Décades més tard, l'any 2008, la cançó es va remesclar, remasteritzar i llançar com un EP, arribant al número dos del UK Dance Chart el febrer d'aquell any.
Els cors van ser interpretats per Susan Ann Sulley i Joanne Catherall, que aleshores tenien 18 anys i acabaven de sortir de l'escola. Actualment, continuen com a membres principals de The Human League juntament amb el cantant Philip Oakey, mantenint la formació original de “Dare”. La cançó s'ha convertit en una peça clau en les actuacions en directe de la banda i va ser la cançó d'obertura de la gira “Dare '07”.
"The Things That Dreams Are Made Of" és una cançó animada que celebra els plaers i les ambicions que donen sentit a la vida. Philip Oakey llista coses preferides, des de plaers simples com el gelat fins a referències culturals com Norman Wisdom i els Ramones, simbolitzant tant interessos personals com aspiracions més àmplies. Descrita com una metàfora de les ambicions de la banda l'any 1981, la cançó posa èmfasi en la importància de perseguir somnis, amor, aventura i seguretat financera, suggerint que aquests elements creen una vida plena. Amb la repetició de "les coses de les quals estan fets els somnis," la cançó subratlla que aquestes experiències—tant les conegudes com les aventureres—són ingredients essencials per a la felicitat i la realització personal.
"The Things That Dreams Are Made Of" va guanyar popularitat de nou gràcies a diverses remescles i una reedició el 2008. La primera remescla de la cançó va aparèixer a l'àlbum de 1982 “Love and Dancing”. El 2003, Richard X va produir una versió mash-up anomenada “Finest Dreams”, que combinava la instrumental amb la lletra de SOS Band i comptava amb Kelis com a cantant; aquesta va arribar al número 8 de les llistes del Regne Unit. Noves remescles van aparèixer el 2007, incloent-hi un "More of Mix" i una remescla de Tommy Bisdee, amb una versió de Groove Armada per al seu àlbum recopilatori “Late Night Tales”. Reconeixent el potencial de la cançó en l’escena de clubs, Hooj Choons va fer un llançament comercial a principis de 2008, guanyant ràpidament popularitat entre DJs i a la BBC Radio One, arribant finalment al número 2 del UK Dance Chart i al número 17 del UK Indie Chart. Això va marcar el retorn de The Human League a les llistes després de sis anys, encara que la banda no va participar en la promoció d’aquests llançaments.
HUMAN LEAGUE - THE THINGS THAT DREAMS ARE MADE OF
Released: October 16, 1981
Album: Dare
"The Things That Dreams Are Made Of" is a song by The Human League, initially recorded for their 1981 album “Dare”. Produced by Martin Rushent and recorded at Genetic Studios, it served as the album's opening track. Decades later, in 2008, the song was remixed, remastered, and released as a dance EP single, where it climbed to number two on the UK Dance Chart in February.
Backing vocals were provided by Susan Ann Sulley and Joanne Catherall, who were 18 years old and recently out of school at the time. Today, they remain core members of The Human League along with lead singer Philip Oakey, preserving the original “Dare” lineup. The song has become a staple in the band’s live performances and notably served as the opening track for their “Dare '07” tour.
“The Things That Dreams Are Made Of” by is an uplifting song that celebrates the pleasures and ambitions that make life meaningful. Philip Oakey lists favorite things, from simple joys like ice cream to cultural references such as Norman Wisdom and the Ramones, symbolizing both personal interests and broader aspirations. Described as a metaphor for the band's ambitions in 1981, the song emphasizes the importance of pursuing dreams, love, adventure, and financial security, suggesting that these elements create a fulfilling life. Through its repetition of "the things that dreams are made of," the song underscores that these experiences—whether familiar or adventurous—are essential ingredients for happiness and personal fulfillment.
"The Things That Dreams Are Made Of" gained renewed popularity through multiple remixes and a 2008 re-release. The song’s first remix appeared on the 1982 “Love and Dancing” album. In 2003, Richard X produced a mash-up version titled "Finest Dreams," blending the song’s instrumental with SOS Band's lyrics and featuring Kelis; it reached #8 on the UK charts. Further remixes appeared in 2007, including a "More of Mix" and a Tommy Bisdee remix, with British big beat group Groove Armada creating a version for their compilation album “Late Night Tales”. Recognizing the song's renewed club appeal, Hooj Choons issued a commercial release in early 2008, and it quickly gained traction with DJs and on BBC Radio One, eventually hitting #2 on the UK Dance Chart and #17 on the UK Indie Chart. This marked The Human League’s first chart return in six years, even though the band was not involved in promoting these releases.
14.1.25
HOWARD JONES - LIKE TO GET TO KNOW YOU WELL
Released: August 11, 1984
Charts: UK: #4
“Like to Get to Know You Well” is a single that reached #4 on the UK Singles Chart. While not initially part of an album, it was included on his remix album “The 12″ Album” and later as a bonus track on the CD version of “Dream into Action”.
The single was released during the 1984 Summer Olympics and carried the dedication: “Dedicated to the original spirit of the Olympic Games.” The extended “international remix” version featured Jones singing in English, German, and French, reflecting a global theme. Some versions of the single sleeve featured translations of the title in various languages. In Japan, the title’s translation caused a stir, as it was loosely interpreted as “I would like to force myself upon you.”
Two music videos were created for the song. The first, made for the UK release, features Jones walking through the streets of London with his bandmates Trevor Morais, Martin Jones, and backing vocal group Afrodiziak. Notable locations include the Sphinx statue and Cleopatra’s Needle on Victoria Embankment, Trafalgar Square, and the Sun Luck Chinese restaurant in Soho. The video highlights Jones interacting with members of the public. For the US release, a new animated video was produced to cater to that market. This animated version offers a creative visual interpretation of the song and is included on the Last World Dream video compilation.
Howard Jones’ “Like to Get to Know You Well” explores themes of connection, authenticity, and unity. The lyrics convey a desire to move beyond superficial interactions to form deeper, meaningful relationships. The chorus emphasizes this intention, with lines like “Like to get to know you well, so we can be one together,” underscoring the importance of trust and understanding in achieving unity. The song suggests overcoming fear and past insecurities to reveal one’s true self, fostering genuine emotional connections.
