Mike Mettler

To borrow a song title, things can only get better for Howard Jones. Known for such indelible synth-driven ’80s hits like “What Is Love?,” “No One Is to Blame,” “New Song,” and “Everlasting Love,” Jones has focused his efforts in recent years on his inherent talents as a songwriter and arranger, not to mention his knack for creating multimedia-driven live experiences. All of his musical gifts are on fine display with Engage (dtox music and arts), a two-disc CD/DVD set that features a vibrant 5.1 mix on DVD by Robbie Bronnimann, Jones’ longtime sound designer. Jones, 60, and I connected across the Pond to discuss the Engage project, the possibility of future high-resolution remixes of his storied catalog, and his thoughts on vintage analog gear. Jones is one man who knows how to put his dream into action.

Kiefer Sutherland called us before heading out to a band rehearsal to discuss the songwriting process for his fine new album Reckless & Me, his love of vinyl, how playing music live has informed his subsequent acting choices, and what kind of music Jack Bauer and Tom Kirkman might have on their personal playlists.

There are blues legends and there are blues masters, and then there’s John Mayall. Long acknowledged as the father of the British blues scene that emerged in the heyday of the ’60s and the man who helped school the guitarslinging likes of Eric Clapton, Peter Green, Mick Taylor, Coco Montoya, and Buddy Whittington, the 80-year-old Mayall shows no sign of slowing down anytime soon. “You have no other choice, really,” he says matter-of-factly. “You set your feet on your path, and that’s what you stick with. It’s the only thing that you know to do.” His latest album, A Special Life (Forty Below), carries on the rich blues tradition, thanks in no small part to Mayall’s rapport with his band, led by a Texas-born guitar ace (Rocky Athas) and anchored by a Chicago-bred rhythm section (bassist Greg Rzab and drummer Jay Davenport). “Never plan to fade away,” Mayall sings in the title track. Dear John: We’re going to hold you to that.

“The best way to listen to Led Zeppelin is off of the analog tapes, but unfortunately, I can’t invite you around to listen to them.” That’s Jimmy Page, answering my question about whether vinyl is still the benchmark for experiencing Led Zeppelin music at a press conference following a listening event he hosted in New York City back in May. But now that Page has personally remastered all nine of Zep’s formidable studio albums in 96-kHz/24-bit, high-resolution digital audio appears to be the ideal format for hearing every detail and nuance put forth from the collective hammer of the gods.