GQ Editor, journalist and author Dylan Jones talks about the New Romantics, but who would headline his Sweet Dreams fantasy festival?

Dylan Jones, long time editor of GQ, writer and father, picks out his favourite New Romantic tracks as part of his “Sweet Dreams Festival” fantasy setlist.

Dylan Jones has been Editor of the UK fashion and lifestyle magazine GQ since 1999. Alongside that he has become an established author and journalist of culture and politics. Since Jones joined GQ, the magazine has won numerous awards. Dylan himself has received the Mark Boxer Award for lifetime achievement, honouring him not only for his work on GQ but for his career in journalism. Jones was appointed OBE in 2013. A man of impeccable taste, he also happens to be a Song Sommelier fan too, so we invited him onto The Fantasy Setlist podcast.

Sweet Dreams is Dylan’s latest and 10th music focused book. Dylan has been on a fascinating journey documenting the period of New Romanticism and “the decade that taste forgot”, reclaiming the period as one of great bohemian and entrepreneurial spirit. As such, we asked him to reflect on his revelations in writing it and also talk about his favourite tracks of the period. Plus of course a few musings on what a ‘Sweet Dreams Festival’ line up might look like.

Dylan Jones can be found on Instagram @dylanjonesgq and Sweet Dreams is available now. This is his selection and some brief thoughts on each track.

“The Model”, Kraftwerk
If the Sex Pistols are the north star of the post-punk world, so Kraftwerk are the north star of this period, the most influential band since the Beatles, and the first true synthpop act.

“Are ‘Friends’ Electric?”, Tubeway Army
Gary Numan was vilified by the press, but this is one of the greatest pop songs of the era, a hardy perennial. 

“Ashes to Ashes”, Bowie
Bowie was the reason that a lot of the people from this period convened, so it was perhaps only fitting that he paid homage to the New Romantics by involving them in this record. 

“Vienna”, Ultravox
It meant nothing to Midge Ure, and it meant nothing to other people. But the fact that it was lyrically ambiguous didn’t stop this from being a truly innovative record. 

“Chant No.1 (I Don’t Need This Pressure On)”, Spandau Ballet
The counter-narrative to “Ghost Town” by the Specials, and a great dance record.

“Don’t You Want Me”, the Human League
Perhaps the most perfect pop single of the era.

“Tainted Love”, Soft Cell
A genuine global hit, although Marc Almond and Dave Ball would have made much more money if they had written the b side of this cover. 

“Save A Prayer”, Duran Duran
This could have been a massive hit in any decade as it had such a beautiful melody.

“Love Is A Stranger”, Eurythmics
Boy meets girls, looks like boy, who looks like girl. Repeat till fade.

“Smooth Operator”, Sade
She came out of the Blitz and went on to conquer the world.

“The Look of Love”, ABC
The Lexicon of Love was a concept album and this was its best single.

“Behind the Mask”, Yellow Magic Orchestra
Little heard but rather brilliant. Even covered by Eric Clapton!