Tom Jones swings '60s again on DVD

Maybe it's that deep, beautiful baritone that can shake a concert venue to the core. Or the way he wears those oh-so-tight pants -- well into his 60s. Or the way he curls his lip just so when he belts out the chorus of "She's a Lady." "Whoa-oh-oh-oh-oh," indeed. There is no maybe when it comes to Tom Jones because Jones, or should I say Sir Thomas Jones Woodward, knighted just last year, is a sure thing when it comes to entertainment. The Grammy-winning artist cut his chops more than 40 years ago and he's never looked back. Until now.

In the just-released DVD collection, "This Is Tom Jones," (Time Life), the singer is credited as executive producer of the three-disc set, a "highlights" retrospective of the hit television musical-variety series he hosted on ABC from 1969-1971. Disappointment alert: none of the featured episodes are presented in their entirety, and no explanation is provided.

That being said, the set is subtitled "The Rock 'N' Roll Legends," and boasts eight installments featuring some of the biggest legends in the entertainment world, some of whom were still on the cusp of superstardom. How cool is it to watch the Moody Blues perform "Ride My See-Saw," or the Who bring down the house with "Pinball Wizard" or Jones and Janis Joplin ripping into "Raise Your Hand." The set also features highlights of some of the best comedic talents in the business, including Peter Sellers as a used-car salesman and Richard Pryor pontificating on the meaning of religion.

And then there are all those far-out fashions, from bell-bottoms to hot pants to tie-dyed attire of all types to ruffled shirts that would put the Partridge Family to shame.

"This Is Tom Jones" wasn't groundbreaking television on par with some of its critically acclaimed contemporaries, but it was hugely entertaining and some of the musical performances would ultimately become once-in-a-lifetime events. Here's hoping Time Life (or another distributor) down the road sees fit to release the series in its entirety. Now would that be so unusual?

Miriam Di Nunzio Chicago Sun Times June 29, 2007

TITJ DVD Review: The Welsh Elvis Presley

Editor’s Note: The Crosby, Stills and Nash footage was pulled from the commercial version of this DVD due to licensing issues. It’s no accident Tom Jones used to look and sound so much like Elvis Presley. Growing up, the Welsh singer modeled himself after the boy from Tupelo. Presley admired Jones, as well. The King patterned his Las Vegas comeback in the ‘60s after Jones’ successful act at the strip’s Flamingo Hotel. Jones imitated Presley’s singing and hip gyrations only to have his virile style of performance copied by Elvis.

Female fans passionately adored both men. While the King had his gals swooning in the aisles, it was Jones that became famous for having women throw their panties on stage at him. However, Jones’ rise to fame occurred during the same time as the resurgence of the women’s liberation movement. This made his strong masculine persona seem archaic and conservative to young, hip viewers, while Presley’s original hipster fans saw him as wild and anarchic. This distinction is clearly evident in This is Tom Jones.

Considering the social and historical contexts from which the show emerged, Tom Jones’ TV series might be thought of as liberal entertainment. This is Tom Jones originally aired between February 1969 and September 1971, which was during President Richard Nixon’s first term in office. The variety show frequently featured women and black musicians and comedians, like Janis Joplin and Richard Pryor, whose presence positively conveyed messages about gender and race. Joplin soulfully sang with an ache in her voice that screamed louder than her precisely controlled volume. In color on the small screen she comes off larger than life and kicks serious butt. Pryor, joking about white Anglo-Saxon protestants and enjoying the sexual attention of the white models on stage with him, challenges the boundaries of broadcast comedy.

Still, like most TV programs from the era, this show tried to attract a wide demographic market. Jones’ guest stars also included acts meant to appeal to an older generation, like Bob Hope and Shelly Berman. Their tried and true shticks were conservative even for the time.

It’s one thing to have someone like Hope make tired, ribald comments about Jones being the answer to the woman’s movement. That’s to be expected. What’s more painful is to hear someone like the Oscar, Emmy and Tony Award winning actor (already in ‘70) Anne Bancroft read Judith Viorst’s “A Women’s Liberation Movement Woman”, which pokes fun at the notion of an independent woman. Viorst’s monologue may not have been intended to be reactionary, but its insistence that love means a woman should always give in to a man’s whim and wishes certainly comes off as so, and would at the time.

The thing is, her spiel fits in with the conceit of the show. Tom is continuously portrayed as a man’s man whom women can’t resist. This theme is set in the very first episode, when the first skit featured his TV producers sending him a gift box that contained “a box of birds”—a bevy of international beauties, that is. They can’t keep their bodies away from him, snicker snicker. Jones plays the humor broadly, ahem, but reinforces this image of himself as a chick magnet on every program. The entire live audience (the show was filmed both in Los Angeles and London and was initially broadcast both in the United States and England) was made up entirely of women. He sings live during every episode and offers kisses and hugs to his adoring fans who jump out of their seats to receive them. There is something old-fashioned and safe about the way it is done, as if he’s a politician kissing babies. That said, Jones is a genuinely gracious and charming host. He humbly demurs to all of his guests while introducing them. He flashes a bright smile when he addresses the camera and never seems to take himself too seriously. In ‘70, Jones was nominated for a Golden Globe award for Best TV Actor in a Musical or Comedy, and an episode from the same year that featured Mary Hopkins and Jose Feliciano received an Emmy award nomination for Outstanding Achievement in Music Direction of a Variety, Musical or Dramatic Program. The musical performances continually provide the programs most exciting moments.

The new 3-DVD set of selections (300 minutes) from the original program features many of these great musical performances. Jones has a strong baritone voice and uses it to full effect, especially on the R&B and Gospel tinged material like “In the Midnight Hour,” “Kansas City,” “Lucille,” and “Gonna Build Me a Mountain”. It’s during these songs that Jones’ debt to Presley seems most apparent. Jones’ phrasing and timbre, as well as his body movements, closely resembles the way in which the King performs tunes from the same genres. Watching with squinted eyes, it would be easy to imagine it’s Elvis on the screen.

Jones energetic enthusiasm also gives his renditions of Broadway and Hollywood showtunes, like “Hello Young Lovers” and “She Loves Me” some punch. These numbers usually feature an elaborate choreography of costumed dancers whose routines have little to do with the lyrics. However, the dancers wear sexy outfits and make sensual movements so they fit right in with the show’s larger zeitgeist. Jones also offers up his hits up to the audience, especially “It’s Not Unusual”, which he sings on several episodes included here.

This brings up the question of how the selections were determined. There doesn’t seem to be any particular rhyme or reason. It’s unclear whether several entire episodes were included with some partial ones thrown in the mix and whether this was someone’s idea of what was best, or representative of the whole, or they were picked according to some other rationale. The shows are not arranged in chronological order. With few exceptions, such as Richard Pryor, the comedy bits chosen are fairly lame.

The special guest musicians include some of the era’s best-known and loved artists. Needless to say, all of these musicians were relatively young at the time and physically charismatic. They look and sound great. They give wonderful performances and are worth the price of the set in themselves. In addition to the previously mentioned Janis Joplin, there’s Stevie Wonder, Crosby, Stills, Nash & Young, and Aretha Franklin singing and playing their hits live. Not only do these artists do at least one song by themselves, they are all joined by Jones for a number. He conducts himself very well. While it may seem strange to think of Jones and Joplin wailing together, their vocal duet on “Raise Your Hand” reveals a real shared love for the Blues. Their voices harmonize in inspired glory that causes them both to glow proudly. The same is true when he and Steven Stills join together on “Long Time Gone”, with Neil Young bopping in the background, or in the medley of each other’s hits that Jones and Stevie Wonder sing together, or when Jones and Aretha Franklin trade Soul licks on “Seesaw”.

However, the best musical moment here may be the one not performed live before an audience. The producers taped a rehearsal between Burt Bacharach and Jones and showed it during the episode in which Bacharach appeared. The footage reveals how the two approach a collaboration and meld Bacharach’s distinctive chord changes with Jones’ powerful voice. Jones, who had a big hit aggressively singing Bacharach’s “What’s New Pussycat” shows that the Welshman can also put across more tender material like “The Look of Love” and “What the World Needs Now”. Bacharach sparingly plays only the skeleton of the melody on the piano. It’s just beautiful. A few minutes later Jones belts the song with a full orchestra, but the tape illustrates that’s not the only way Jones could sing it.

The 3-DVD set is supposed to include a recent interview with Tom Jones, but that was not included in the promotional copy sent. According to Tom Jones’ website, another collection of material from the old television show is slated to appear. That should yield another treasure trove of material as Joni Mitchell, Johnny Cash, Dusty Springfield, Roy Clark, Ray Charles, Smokey Robinson, Wilson Pickett and many others appeared on the show. In the meantime, this one has plenty to offer.

Cry For Home

TomJones.com is pleased to announce the news that Cry For Home, a previously unreleased duet with Van Morrison is now due to be released as a single on 4th June 2007. The single will be a precursor to Van's new album release The Best Of Van Morrison Volume 3, released the following week on 11th June. Tom and Van have been firm friends since the mid 60s, when Tom was performing as "Tom Jones and the Squires" and Van was in "Them". Van and Tom also collaborated on Sometimes We Cry in 1999 for Tom's duets album Reload.

News Journal Online review - Daytona

DAYTONA BEACH -- Two types of women's panties flew at singer Tom Jones during his sold-out concert Tuesday night at Peabody Auditorium: sexy, sheer thongs the width of spaghetti, and a few granny panties the size of Nebraska. Which ones did the 1960s-spawned pop crooner deserve? For most of the night -- those thongs, though a few songs earned him those un-sexy bloomers. Back when the Beatles were changing the face of music and Elvis was shape-shifting into a dough-boyish crooner, Jones carved himself a niche as a sex symbol with a voice that was the crooner version of heavy metal -- a voice that could melt Barbie dolls at 50 paces. Amazingly, Jones' voice can still melt Barbies at 20 paces. But that's not always a good thing. Just like in his '60s heyday, the switch on Jones' power croon has two positions: off and 8,756 degrees. As it happens, Jones' flame-thrower voice was -- and is -- the perfect, magnificent tool for all those goofy, ridiculous, fun, bombastic, vaguely cabaret-like hits he wheeled out Tuesday: "What's New Pussycat?," "Delilah," "She's a Lady," "You Can Leave Your Hat On" and his signature theme, "It's Not Unusual." Clad in a purple suit with a gaudy silver cross on a necklace that out-blinged the rappers, Jones also scored when he turned on the thrusters on a rap version of "Resurrection Shuffle" and a surprisingly funky version of Prince's "Kiss."

But the vocal heat was incongruous and ineffective on a rocking Jerry Lee Lewis song and the blues song "If the Truth Be Told."

But never mind those missteps. Even the ever-grinning Jones seemed to realize those were necessary just to get him and his 11-piece band to the fun parts like "Pussycat" and his rousing 1990s club hit, "Sex Bomb."

And yes, that song was appropriate. After all, Jones busted many a move to thrill the giddy, panty-tossing ladies, many of them of the same generation as the 67-year-old singer. Yes, it was a bit campy when Jones smiled impishly and ran his hands outside his purple pants and south of his equator. And yes, his tongue was partly in his cheek.

But a good time was had by all, including those ladies who playfully threw those big bloomers at their idol, and were rewarded with a shimmy shake and some raised eyebrows from the Man -- their Man. Jones was mostly the bomb, in a good sense, this night.

Jones can still thrill the ladies By RICK de YAMPERT Entertainment Writer rick.deyampert@news-jrnl.com

The Devil in Mr. Jones

How Tom Jones made sexual innuendo the lingua franca of rock and roll. Long before the birth of modern boytoy crooners, long before Justin would volunteer to bring sexy back, long before sexy would need bringing back, women by the scores (pun intended) excitedly tossed bras and panties at a stage occupied by a curly-haired hunk of singing beef named Tom Jones.Do you, Mr. Jones? Sir Thomas Jones awaits your undies

Possessed of a raw, booming voice, Jones (born Thomas Jones Woodward) exudes an erotic toughness. Despite the sly smile and swiveling hips, and even though he's just two months shy of 67, Mr. Jones remains a he-man among he-men. But what stands out in my mind as his central achievement is this: He single-crotchedly baptized an entire generation of young men and women into the illicit pleasures of sexual innuendo. After all, we of a certain age — whose childhoods preceded today's open knowledge of sex — can still recall the songs Jones sang on his television show, and all the frilly underwear that came raining down on him.

Like Eartha Kitt, Jones offered throaty titillation — listening to his records felt like getting away with something. A track like "What's New Pussycat?" (so innocuous now as to be quaint) was to us kids of the Sixties and Seventies suggestive of activities we didn't quite understand. Whoa-oh-oh was just a hook, a cool sound that stuck in our heads. But the way he asked the titular question, and the sonic smirk of those sing-songy verses, made us close the bedroom door and lower the volume a bit.

Glen Campbell had cool hair and a cool guitar and cool songs, Sonny and Cher were weirdly funny, and Andy Williams was someone to goof on. Tom Jones, though — he was a high priest of the proto-horny.

This is putting aside his astounding musical versatility. Although he's written only two of his own songs, Jones has charted in a half-dozen genres during five different decades. ToJo is to his native Wales what his friend Van Morrison is to Northern Ireland: a chronic collaborator. (Naturally he and Van collaborated on the 1991 album Carrying the Torch.) Jones later teamed with Art of Noise to cover Prince's "Kiss," and took part in the Chieftans' confab, The Long Black Veil.

In 1996 he put out his most popular record, Reload, an assembly of duets featuring songs by Talking Heads, Iggy Pop, the Kinks, and Randy Newman. He sang with Pavarotti and made an album with Wyclef Jean. He worked on a documentary called The Blues and recorded a roots rock album with Jools Holland. Jones is the man who recorded "Sex Bomb" at age 60. He's both an archetype and an anomaly: craggy and dimpled, leathery smooth, blue collar but sophisticated, handsome but hardly pretty, soulful but square, macho but sweet. Married but, um, available.

But some historical reference, before we start, uh, gushing.

Jones made up a third of a triad that served music fans living outside the twin whirlwinds of Beatlemania and Elvisness: Jerry Lee Lewis was the trailer trash roughneck, Little Richard was where the boys were, and Jones represented a classy but rugged musical machismo. He was Engelbert Humperdinck with talent.

At his early-career gigs, Jones wore black leather, neck to toe. He continued to dress in the uniform of future clubland — boots, tight black pants, black button-down shirt — at a time when bell bottoms and paisley were the rage. He sported bling before the term had been invented. In 1965, after hitting the charts with the theme song to the James Bond movie Thunderball, he won a Grammy for best new artist. A year later, as his popularity waned, he switched to a tuxedo, his bow tie always unfastened, his pocket scarf employed to soak up facial sweat.

This is a guy whose story is such that his Website doesn't have a biography. It has a Tomography, which tells you that Thomas Jones Woodward — make that Sir Thomas, pal — was born in 1940 in Pontypridd, South Wales, where he grew up listening to cool American music on the BBC, quit school at age sixteen to work as a laborer, and fathered a son a year later.

Jones worked in a paper mill and drank like a fish. One night in 1963, the singer for the local beat band Tommy Scott and the Senators went AWOL and Jones, fortified by plenty of beer, sat in as guest vocalist at a YMCA gig. The Senators asked him to take over as Tommy Scott, which was soon enough changed to Jones, a winky allusion to Fielding's low-born stud of the same name. Jones and the Senators landed a deal with Decca in 1964. Alas, the mainstream wasn't quite ready for the Jones sexual revolution. His first single for Decca ("Chills and Fever") flopped, and the BBC refused to play the randy followup.

But a pirate station called Radio Caroline was only too happy to broadcast "It's Not Unusual," which became a hit, as did his cover of Burt Bacharach's "What's New Pussycat?" Jones soon began a stint in Las Vegas, where the tradition of throwing lingerie at him, born back in Great Britain, took hold. Then he went solo and the underwear showers continued on his TV show, which ran from 1969 to 1971 on both ABC and British television.

Jones has appeared in films and on The Simpsons, been awarded the Order of the British Empire, and invited by President Clinton to perform at the Lincoln Memorial during the millennium celebrations. In 2005 he was knighted. There's some irony in this last accolade, given that he's lived in America since the Seventies, reportedly to avoid paying British income taxes. (He has said that he doesn't consider himself an American, and feels guilty that he's unable to speak Welsh.)

Miraculously, Jones, allegedly given to many a dalliance over the years, remains to this day married to his first and only bride, Melinda. On March 2 they celebrated their golden anniversary.

His biographer has said that Mrs. Jones treats him as if he were a janitor or businessman. Jones himself once said the two met during a time when "you put up with your husband for better or for worse," and that the marriage has been strained on occasion by "show business," but that they are still in love and happy. Not so much husband and wife as man and wife.

The days of unadulterated adultery may be over for Jones, who is now, by the way, a grandpa. But if Jones wants the panties off, you can rest assured he'll get them off (again, pun intended). When it comes to wetting, or whetting, certain appetites — making the shiver shake and the quiver quake — Tom Jones remains your man. Miami New Times By Greg Baker Published: April 12, 2007

Tom Jones at the MGM Grand

Before I begin this review, I have to post a disclaimer: I write reviews and criticism for a living and at all times try to be objective. That is true here, too. But I have to let you know that I am a Tom Jones fan. Jones began playing here almost 40 years ago and his is a remarkable record, in that he is by no means an oldies act like so many others who came up in the 60s. He hit a dry patch in his career but came back strong about 20 years ago with his take on the Prince hit, “Kiss.” He began to record with the UK’s best and brightest — Van Morrison, Robbie Williams, among them — and continues to succeed, changing musical genres, always experimenting. OK, now that we’re caught up on the career, how about the show?

For 90 minutes Jones performs a mix of his hits, some standards and, best of all, R& B and blues (both of which he does phenomenally well). His voice today might lack the range it had years ago, but it still has more range than almost any singer around. And it’s got more depth. As was true of the late, amazing, Ruth Brown, Jones’ voice just gets richer with age.

It’s worth noting that his audience is of all ages, both genders and from around the world. Thus, his appeal is, apparently, ageless and universal. And he’s not the same “medallion man” you might remember. The 740-seat Hollywood Theatre at the MGM is the perfect size venue in which to see him.

Like other performers, Jones changes his set list every so often. I’d like to hear him do more of the stuff he recorded a couple of years ago with British pianist Jools Holland or on the soundtrack of the Scorsese PBS series,“Red, White and Blues” — kickin’ rock and roll, great blues. For a while he had more of those in this show than he does now and they are missed.

A trio of standards replaced some of the rock and roll. They reach back in time to his earliest act, put in now, he says, because “a lot of people are singing standards today.” They’re good, especially, “Here’s That Rainy Day,” but he doesn’t need them. Tom Jones was singing standards long before Rod Stewart or Barry Manilow and he has nothing to prove in this area.

He shines on Hoobastank’s “The Reason,” and on the Bill Withers tune, “Grandma’s Hands.” “Git Me Some” with it’s none-too-subtle lyrics is a perfect song for Jones who also makes Howlin Wolf’s “300 Pounds of Joy” his own, lopping off 100 pounds and playing up every innuendo in the lyric. Jerry Lee Lewis’ “End of the Road” gets a rousing treatment and this is clearly a genre he loves. It’d be great to hear more of that.

Jones’ hits receive a lot of time too, done full-length, not as a medley. Personally, I wouldn’t be at all upset if he’d replace “She’s A Lady” with “Daughter of Darkness” or “Love Me Tonight.” But, on the whole, this is what people come to hear and he hits each of them out of the ballpark.

He opens with “Raise You Hand,” the old Ike and Tina Turner tune and it’s kind of dated. One of his encore songs, “Resurrection Shuffle, “ is dated, too, but it probably wouldn’t hurt anyone to “make a peace sign” these days. The Bodyrockers’ “I Like the Way,” also an encore number, gets the entire house — even the MGM ushers — up dancing and singing along.

The backing in the show is by an eight-piece band and a trio of singers. They are first rate and deserve the kudos he gives them. Las Vegas is full of outstanding musicians and these are, even here, among the best.

So, back to the original question: Should you see this show? It’s probably no surprise that I’d say a resounding “yes.” And, before you dismiss that opinion because I am a fan and, therefore, prejudiced in Jones’ favor, I will tell you that everyone I’ve ever brought to the show for the first time, or just encouraged to see it, has thanked me. They may not like him as much as I, but they recognize the pure talent that has kept him going for all these years.

Tom Jones is one of a kind and not to be missed — either in Las Vegas or anywhere else.

http://broadwayworld.com/ By Ellen Sterling

Hard Rock Review

When it comes to sex appeal in the AARP demographic, Tom Jones is no Mick Jagger. He's better. Of course, such judgments are subjective, but based on the sheer number of women's undergarments tossed on stage at Friday's sold-out show at Hard Rock Live, the 66-year-old sex symbol is way hotter than that kid in the Rolling Stones. There was much chatter about lingerie among the early arrivers in the audience and it didn't take long for the first volley of unmentionables. "It's great to be here at the Hard Rock in Orlando," Jones was telling the crowd as the first lace projectile landed at his feet. He didn't miss a beat, going on about how the show would include "some new songs, some old songs and some in between." The guy's a pro. Jones indulged in a newer song early in his 90-minute performance, delivering a big, Vegas-worthy rendition of Hoobastank's "The Reason." It was well received, but the evening's high notes were all drenched in nostalgia. "Help Yourself," "Delilah," "She's a Lady" and "What's New Pussycat?" were among the songs that inspired audience members to rise from the comfort of their reserved seats, wave their arms and, of course, throw more underpants. This would all be a joke, except that Jones still does a remarkable job of being Tom Jones after all these years.

Dressed in a dark suit, his shirt open at the collar to expose a chain with a big silver cross, he looked tan and fit. His big voice was prone to over-the-top bellowing, but what it lacked in subtle shading was balanced by strength and enthusiasm. His 11-member backing band, which included a 4-piece horn section and trio of backing vocalists, was solid, but not flashy. Saxophonist Kenny Anderson was utilized effectively, especially on the ballads. Most impressive, however, was the way that Jones carried himself. He's utterly comfortable in his own skin, quick with a knowing wink or nod that makes his sexy gyrations look cool despite his age. He's an old-school showman, kind of like Cher without the costume changes. Like Cher, he's capable of mixing memories and pop-culture relevance, as he did by bookending his recent club hit "Sex Bomb" with the signature "It's Not Unusual." It would be unusual for most guys, but somehow Tom Jones still looks at home with all that lingerie at his feet.

Jim Abbott - Orlando Sentinel

Peabody Preview

DAYTONA BEACH -- Hey, you MTV kids: Long before Justin Timberlake proclaimed "I'm bringing sexy back," a strapping lad from Wales -- the son of a coal miner -- was bringing sexy to Las Vegas showrooms and concert stages on both sides of the Atlantic. With an onstage swagger and a power-croon voice that would make King Kong quake in his boots, Tom Jones racked up 17 Top 40 hits from 1965 to '71, including such bombastic pop songs as "What's New Pussycat?" and "It's Not Unusual." But Jones wasn't finished mining pop music after his initial run. In 1988, he teamed with the Art of Noise for a hit remake of Prince's "Kiss." Throughout the '90s, he refreshed his hip quotient via a number of duets with such Gen-X favs as Tori Amos, Portishead, Stereophonics and, most famously, with Mousse T. on "Sex Bomb." Jones also teamed with producer Wyclef Jean to craft an electro-funky remake of the Leadbelly song "Black Betty," and he sang Randy Newman's "You Can Leave Your Hat On" for the film "The Full Monty."Sir Tom -- he was knighted by Britain's Queen Elizabeth last year -- is still bringing sexy back. The 66-year-old singer performs Tuesday at Peabody Auditorium in Daytona Beach. You still have questions about the wailer from Wales? Here's everything you wanted to know about Mr. Jones but were afraid to ask.

Q. OK, what's the deal with Tom Jones and panties?

Google "Tom Jones" and "panties" and you get 619,000 hits -- in 0.09 seconds!

In the mid-1960s, Mr. Jones' onstage swagger made the female fans swoon -- not so much the teenyboppers, but rather the same ladies who loved crooner-era Elvis.

But how to pay tribute to this future noble Knight of the British Empire? One fan got the idea to take off her undies and toss them at Mr. Jones during a concert. Soon, it was not unusual for his legion of adoring, panting female fans to toss their dainties onstage at show after show after show.

Q. So, we ladies should prepare accordingly for Sir Tom's Peabody concert?

Alas, according to an unconfirmed posting on one of those 619,000 Web sites, Jones said in a 2005 interview that the ritual has lost its charm, and he now prefers his fans keep their panties on.

Q. What is Sir Tom's most memorable screen adventure?

This is a tough one. Along with that song for "The Full Monty," Jones also sang the theme for the 1965 James Bond flick "Thunderball," and for the 1965 Woody Allen-Peter Sellers-Peter O'Toole film "What's New Pussycat?"

According to "The Rolling Stone Encyclopedia of Rock & Roll," Jones had a variety TV show in 1970, and, for one episode,he teamed with rock chick Janis Joplin (!) for an extreme bump 'n' grind duet.

In 2003, according to his own Web site, Jones sang the theme song for the cartoon series "Duck Dodgers," and a cartoon version of him even guest-starred in one episode.

But for my money, Jones' screen glory peaked when he guest-starred as himself on "The Simpsons" in 1991 -- with his cartoon self this time sporting suave banana-yellow skin.

Q. Who's the best guitarist ever to back Tom Jones?

That's easy. Before Jimmy Page launched Led Zeppelin in 1969, and before he joined the Yardbirds in the mid-1960s, he worked as a session guitarist in recording studios. That's young Jim's guitar dueling with Tom's bombastic pipes on the singer's first hit, "It's Not Unusual," from 1965.

Q. Who are the biggest Sir Tom fans not to toss panties at him?

There are several candidates. According to Rolling Stone, both Elvis and Paul McCartney were big fans. And Rolling Stone says Sir Paul (he's a knight, too, remember) even wrote "The Long and Winding Road" especially for Jones.

Q. Will at least one pair of ladies' undies make a guest appearance onstage at the Peabody?

You betcha. If You Go

WHO: Tom Jones WHEN: 7:30 p.m. Tuesday WHERE: Peabody Auditorium, 600 Auditorium Blvd., Daytona Beach TICKETS: $45, $50 and $60 plus service charges, available at the Peabody box office and Ticketmaster INFORMATION: (386) 671-3460 Fans: You can keep your hat, panties on

By RICK de YAMPERT Entertainment Writer newsjournalonline.com

UK summer dates

New UK summer dates announced - Hampton Court Festival 2007. This year the Hampton Court Palace Festival is celebrating its 15th anniversary. The Festival continues to be a highlight of the UK summer’s social and musical calendar. The Festival is renowned for presenting legendary artists across the music genres and this year will feature Jools Holland, Bryan Ferry, Josh Groban and Lesley Garrett as well as Sir Tom. With options from dining in the elegant State Apartments or savouring a picnic in the beautiful Palace Gardens, the Festival provides a magical and unforgettable atmosphere. To book tickets and for more information visit HamptonCourtFestival.com Tuesday 19th June at 9.00pm Wednesday 20th June at 9.00pm

This is Tom Jones DVD

Great News!! Finally!! For years fans have been hankering for a release of Tom's original TV show, This Is Tom Jones. As many of you know, this great show was filmed in both Los Angeles and London from 1969-1971 and was considered the pinnacle of the variety show genre. It's with great pleasure we can announce the release of the first of a series of DVDs, exclusively from Time Life, that contain the great design, sets, music and performances from Tom and his many guests on This Is Tom Jones. The first set of 3 discs, subtitled 'Rock 'N Roll Legends', features Tom singing some of his biggest hits, along with classic performances by The Who, Janis Joplin, Joe Cocker, Crosby Stills Nash & Young, The Moody Blues and many more. In addition, you'll get over an hour of extras, including a fresh new interview with Tom as he spins some stories about his experiences on the show.

These shows are full of great music and tv moments. You'll see the fabulous style of the times in its original form, and witness music, dance and production numbers that were the cutting edge of the era. The film is of very high viewing quality — its a real time-capsule of the range of entertainment at the time. At last — Tom in all his glory, fantastic guests — what enormous fun to watch!

Time Life will launch the DVDs by direct-response TV in the US on May 21, and the 3-DVD set will be out at retail on June 26th. Watch this space for more info soon!

Moving Out To The Country

Tom is featured on two of the tracks on Jools Holland's new album "Moving Out To The Country", which has just been released. The two songs are "I Wish I Was 18 Again" and "Friends Not Lovers". Jools says, "A couple of years ago I made a record with Tom. It was one of the most enjoyable records I have ever made because Tom is such great company and so fantastic in the studio. I was so pleased and honoured when it went platinum that I hoped we would be able to do a little more, and I am pleased to say, here we have. He and I wrote "Friends Not Lovers" and were thinking of it as a duet but once we heard Tom singing it we thought it was best just to leave it to him. The other song, Tom found. One of his early hits was "Green Green Grass Of Home" which Tom had found on an obscure Jerry Lee Lewis b-side. "I Wish I Was 18 Again" comes from the same source". A micro site is available with full tracklisting and opportunity to purchase the album at http://wmuk-apache.co.uk/hyperlaunch/joolsholland/movingouttothecountry/

MGM Review

Tom Jones, shown here in early 2005, is back at the MGM with a set that balances his sex-machine image with grown-up singing. Wayne Newton and the Scintas are doing Christmas shows this weekend. But Tom Jones seemed a little confused last Saturday when someone threw a Santa Claus doll onstage instead of the usual female undergarments. All he wants for Christmas is the only thing he ever wanted: "Just want to be your play thing, don't need to be your smokin' gun," he wailed in a blues shout, accompanied by rudimentary guitar picking and minimalist drum beat. "Don't want you holdin' out for me, I just want to have a little fun," he proclaimed from his perch on a stool, knees strategically spread wide to advertise whatever might be for sale. "Let the truth be told, I only want to get me some." Uh-huh. Let the other singers worry about the silver bells and the silent nights, and let the 66-year-old sex machine keep the home fires stoked. Waiting a full hour to take his coat off was perhaps the Tomcat's nod to holiday decorum in this stint at the MGM Grand -- an unusually late-in-the-year one -- that continues through Wednesday. But if the truth really be told, the ageless singer figured out long ago how to pull his perennial Las Vegas show into a near-perfect balance. The lascivious fun of that obscure blues song -- Earl Thomas' "Git Me Some" -- was immediately followed by a serious take on the blues, Bill Withers' "Grandma's Hands," showing off a voice that's still as tuned and powerful as it was 20 years ago.

"The Voice," in fact, had a hard time not oversinging "what we refer to as 'standards,' " a trio of classics he didn't sound too fired-up about introducing, as though he was doing them because Rod Stewart did. "Here's That Rainy Day" suggested Sinatra country is not where Jones' brand of nuance lies. But he lightened up for a bossa nova "Fly Me to the Moon." And by the time he got to "That Old Black Magic," he was up to his old tricks again, with bulging eyes and an extra lusty, deep-throated punch on "Only your kiss can put out the fire!" Van Morrison's "Cry for Home" and Jerry Lee Lewis' "End of the Road" showcased the "mature Tom," an era marked by looser clothing and a kind of lion-in-winter respectability the singer enjoys in Great Britain, but not necessarily on these shores. That image permits fun indulgences that occasionally take off as hit singles in Europe: "Sex Bomb," or "Resurrection Shuffle," a lesser-known tune from the past that's been dusted off for a techno-sounding relaunch (a la Elvis Presley's "A Little Less Conversation"). They're mixed in with the classics, such as "She's A Lady," "Delilah" and "It's Not Unusual," which take the singer back to an earlier era of Las Vegas, even as they're updated with modern arrangements and a hot four-piece horn section. It all adds up to a Las Vegas tradition that may not involve eggnog and mistletoe, but is every bit as hard for the ladies to resist. By MIKE WEATHERFORD REVIEW-JOURNAL

New South America Tourdates

We have just received news of Tom Jones latest confirmed tourdates across South America. Keep checking back as further dates and details are to be announced soon!2/15/07 Luna Park – Buenos Aires, Argentina (Indoor) 2/17/07 Conrad Casino – Pta. Del Este, Uruguay (Outdoor) 2/19/07 Orpheum – Cordoba, Argentina (Indoor) 2/22/07 Quinta Vergara – Vina del Mar, Chile (Outdoor) 2/23/07 Casino –Vina del Mar, Chile (Indoor) 2/24/07 San Carlos De Apoquindo - Santiago, Chile (Outdoor)

Glasgow Review

HE is known as simply "The Voice" and last night legendary sex-bomb Sir Tom Jones showed exactly why. The crowd at Glasgow's packed Clyde Auditorium was on its feet from start to finish as the Welsh singing sensation took to the stage for the first of a two-night stint in the city. Taking his audience on a trip through the years, Sir Tom blended some of his biggest hits with the new recordings which makes him appeal to every generation. Bouncing with energy, he soon had the audience eating out of the palm of his hand - though now instead of his audience throwing women's underwear on stage, they hurled red roses. The star broke with tradition with a series of favourites, including Fly Me To The Moon and That Old Black Magic but upped the tempo with She's A Lady and If I Only Knew before thrilling the crowd with What's New Pussycat?, You Can Leave Your Hat On, Sex Bomb and It's Not Unusual. He was never going to be allowed to leave without an encore and the Prince song he made his own, Kiss, rounded off the night. The Evening Times

Cardiff Review

TO loud screams and thunderous applause, Tom Jones performed in his beloved Wales last night for the first time as a knight. Dressed in his signature dark suit, Jones - or Sir Tom - entertained fans in his homeland with a string of hits. It may have been just another date on his current UK tour, but for the superstar, being back in Wales once more was clearly a special occasion. "I would like to say it's great to be home once again," he said, to massive cheers. The build-up to the opening of the show was huge as a giant globe was beamed on to the screens either side of the stage. Three words flashed up, "Locating: The Voice". That voice was soon located and Sir Tom walked out onto the stage to entertain us. The sell-out show - the first of three at the Cardiff International Arena this weekend - was also the first time Sir Tom has sung here since his famous 65th birthday gig in Pontypridd in May 2005. At the time, about 20,000 fans packed into Ynysangharad Park to wish the town's most famous son many happy returns. While this concert may not have been on such a large - or emotional - scale, his fans were far from disappointed. Before the event, Sir Tom promised a real mixture of songs to keep even the most die-hard concert-goer happy. And he said that as well as all the old favourites which are guaranteed to get people up on their feet - Green Green Grass Of Home, What's New Pussycat and It's Not Unusual - he would be performing some new stuff as well as older material which he doesn't usually sing live.

"It's going to be an exciting show, and I'm really looking forward to it because there are going to be a lot of different songs in there," he said before the tour. How right he was. But while it was good to sample the new tracks, it was the old favourites that we were really there for, and when the opening chords of Delilah were struck not long into the show, the arena went wild. Although the audience spanned the generations it was mostly made up of older fans who would have enjoyed seeing Tom perform at the start of his career, as well as groups of 30- and 40-something women. The crowd really got into the spirit of the occasion, donning feather boas, Welsh rugby shirts, sparkly cowboy hats and even illuminated bunny ears, to sing along with their hero.

One group of devoted female fans wore T-shirts declaring "From Sex Bomb to Sir Tom", while a group of men donned dark curly wigs in a '60s style Tom Jones. He may be a little greyer around the edges and not as supple as he once was, but Sir Tom can still run rings around many men half his age. In fact, he still has that legendary wiggle and every time he did it, you could probably hear the screams across the Channel. And what about that voice? Well, as the singer himself said in a recent interview, it's as strong now as it ever was. At 66, the superstar has no plans for retirement and says he will continue for as long as his voice holds out.

And judging by last night's performance, he will continue for many years yet. We salute you, Sir Tom.

Karen Price, Western Mail

The Observer Interview

I've always had the voice, I've always sung, ever since I was small - in school, in chapel, to the radio. I don't really know life without it. I lived in Wales for the first 24 years of my life and it stood me in good stead, gave me values. But that's also a lot to do with your upbringing. It could be working-class, it could be middle-class, but you've got to have love and attention, and I did, I was lucky. I might have become a miner like my father, but I had tuberculosis when I was 12. I couldn't go out between the ages of 12 and 14. It was a big lesson - not to take life for granted. I said to myself, when I get out of this bed, I'll never complain about anything ever again. But I do. I'm never scared to try new things. When you do something and the kids dig it, it's great. It's not about trying to be young, or something you're not, because they always see through that.

You need to have a bit of an ego in this business. When you first get successful you spend a bit - big house, cars, jewellery, all the trappings. But after a while you think, how many watches can one man have? I've been misquoted many times about women. I'd be asked about growing up and I'd say that my father went to work, and my mother was a home-maker. Then it was, 'Tom Jones thinks men should work and women should look after the house.' But I didn't say that.

Elvis was an icon. For him to tell me he liked my voice meant a lot. It was the same when Frank Sinatra told me he loved the way I sang. I was never interested in drugs. I like to have a drink because I like the things that go with it - pubs, restaurants, having dinner. It's not just sitting in the corner with a bottle. That's how drug-taking seems to be: people going off on their own to the toilet to do it.

Getting a knighthood was fantastic. You look into yourself - am I worthy of this? I find I don't swear as much as I used to. When you do shows you feel as if you're pouring yourself into the audience, and when they applaud it's as if they're saying, 'We know, we get it.' It's so reassuring.

I don't like bad behaviour just because you're rich or famous. I remember early on I had to get there really early for my TV show and I was moaning away. When I arrived there was this building site, and this kid was going up a ladder carrying a hod, which is what I used to do. And he said, 'Hey Tommy, want to give me a hand with this?' I thought, Jesus Christ, I'm moaning, but he's going to be up and down that ladder all day.'

Even when I was younger I didn't look in mirrors much. I've got a good bone structure and I try to keep myself in shape, but I'm not vain. If you're singing love songs, sexy songs, and the feelings aren't coming across, then there's something wrong. But if you're always doing it with a wink, that can catch up with you.

I'm not looking forward to retiring. The biggest fear for any performer is that it will be taken away from you. It's so much part of you, a physical thing, it's scary to think one day it won't be there any more. If I'm not able to sing, I won't know what to do. There is no alternative to ageing - just death. The only reason I would like to be young is that you've got longer to live. But it's a great feeling to have grandchildren.

Interview by Barbara Ellen Sunday October 22, 2006 The Observer

Sunday Times Review - Manchester

Thousands of desperate housewives converged on Manchester to witness Tom Jones kick off his latest UK tour. So did their daughters, husbands, boyfriends and grandchildren. At 66, the newly knighted singer remains a formidable force of nature, with an appeal that spans as many generations as his undimmed vocal prowess. A commanding stage presence in bespoke blue suit and bright orange face, Pontypridd’s answer to Pavarotti did not disappoint. Half bullfighter and half bulldozer, Jones may represent the preposterous pinnacle of ultra-butch heterosexual camp, but he is a million miles away from kitsch. However overblown, camp is always sincere. And Jones the Voice invariably means it. Even the sheen of postmodern mockery that he acquired in the 1980s has eroded. His chest-thumping version of Prince’s Kiss, once tinged with irony, now sits comfortably alongside his raunchy manhandling of Otis Redding’s Trick or Treat. As the audience leapt to their feet for the flame-grilled melodrama of Delilah, just four songs into the set, the first pair of knickers sailed across the auditorium. But Jones did not milk these rituals, wisely spacing his best-loved tunes throughout the show. Whether skipping across the stage to the demented fairground psychedelia of What’s New Pussycat? or tossing off a nimble It’s Not Unusual, he wore his greatest hits lightly.

Indeed, he maintained a smart balance between old and new, obscure and obvious, throughout. Equal emphasis was put on guaranteed crowd-pleasers as on personal favourites. Jones has always selected material with surprisingly catholic tastes, but that volcanic voice made each tune his own.

The stage production was elegantly spare for such a large venue. Jones demonstrated his impressive range, interspersing R&B belters with antique blues numbers and jazzy standards. He struck only the occasional jarring note, bellowing flatly through a clumsy approximation of his recent Top Ten disco hit, Stoned in Love. Two hours and 20-plus tunes later, Jones left the stage as energised as he arrived. Outside, the city streets seethed with satisfied customers, united in collective post-coital glow.

Wed, Sheffield Hallam Arena; Fri and Sat, Cardiff CIA Stephen Dalton at MEN Arena, Manchester

Tom's Still A Sex Bomb

THE Voice from the Valleys left fans screaming for more in Manchester last night, after winning the crowd over with a mix of rock, pop, country and blues. A crowd almost 10,000-strong flocked to the MEN arena to hear 66-year-old Sir Tom Jones belt out timeless classics including She's A Lady, Delilah, Sex Bomb and Leave Your Hat On. From the moment Glaswegian indie rockers Cosmic Rough Riders stepped on stage to warm up the crowd, the atmosphere was electric. And when Sir Tom walked out in a rich purple suit to kick-start his 90-minute performance, arms were swaying, bunny ears flashing and hands held high in an attempt to catch the attention of the Pontypridd-born singing sensation. One women, wearing a pink fluffy cowboy hat, could barely contain herself when Tom flicked open his jacket to reveal a glittering black shirt. And other screaming fans expressed their love for the singer in time-honoured fashion by throwing pairs of knickers on stage. The deafening screams from adoring women proved that Sir Tom, who was sporting a neatly trimmed beard, still has the X-factor - despite being just four years away from 70. He had strong support from his backing singers and brass-based instrumental section.

Fans travelled from across the country to hear his soulful sound. Emma McEwen, aged 27, from Ashton-Under-Lyne, said: "Tom Jones needs to stick to his old stuff. That's what he's known for. "He's a natural sex god with what he knows, and as soon as he sings a classic song the atmosphere's fantastic." Emma's mum Shirley Smith agreed. "Everybody wants Tom's old stuff back," she said. Although a large proportion of the crowd were middle-aged women, there were also plenty of men bopping away to classics like What's New Pussycat, Mama Told Me Not To Come and It's Not Unusual. One, who had travelled all the way from Brighton to see "Tiger Tom" in action, was 27-year-old Richard Willard. Richard said: "I missed Tom's performance in Brighton, so I was over the moon when I got tickets for the MEN arena. I've seen Tom in concert before, and I've got to say tonight was one of his best."

As Sir Tom sweated his way through the concert, teasing the crowd with flashes of flesh, their enthusiasm showed no signs of faltering - especially when Tom revealed how great it was to be back in Manchester. Right through to the concert's closing song, Kiss, the fans sang along passionately. Manchester was the third stop of the Tom Jones International 2006 UK tour. Birmingham, Newcastle, Sheffield and Cardiff are next on his agenda.

For the past 40 years, Tom has toured the world, winning adoring fans along the way. He has sung with Pavarotti, Wyclef Jean and Jools Holland, demonstrating his vocal flexibility and ability to move with the musical times. In recent years, reports have been published expressing concerns over the rocking pensioner's health. But with more than 50 albums under his belt - not to mention the Silver Clef Lifetime Achievement Award - there really is life in the old dog yet By Tracy Scott http://www.thisislancashire.co.uk

M.E.N Arena review

THE atmosphere at a Tom Jones’ gig has to be seen to be believed. His audience may be wide in age range, but the one thing they have in common is they worship the man. Some like the swiveling hips and others love the cheesiness of his lavish shows. The one thing that I realised though is that for all the flack this man gets, he has the best voice in the business and can sing absolutely anything, as he proved on Friday night during his brilliant show. As the tanned one steps onto the stage oozing confidence the feel of the gig is Las Vegas; big, brash, full of atmosphere and the audience are just as wild. The backing singers are superb at complimenting this big voice and the band is as slick as you would expect. “Love is like candy on a shelf…..” sings Mr Jones and the fans, recognising the opening line from 'Help Yourself' begin to dance, singing every line. More hits from the 1960's follow such as 'Delilah', which has them eating out of his hands. The audience are mainly here for the old stuff but for me and a few others, some of these hits like 'What’s New Pussycat' fail to test this man’s vocal range. But he knows he has to sing them in order to showcase more powerful tunes. Such as the soul classic 'Treat Her Right', which has the "hey hey hey hey" chorus hitting the rafters.

Standards like 'Fly Me To The Moon' and 'That Old Black Magic' show you that the great man can slow it down and still keep you enamored. Whereas, 'Mamma Told Me Not To Come' appeals to the younger audience members.

Bill Withers' blues classic 'Grandma’s Hands' is absolutely stunning and again displays the man’s versatility. Is there anything he cannot sing? His recent hit with Chicane, 'Stoned In Love' confirms the fact that he is the father of reinvention. If anyone else his age sang this, they would be laughed at. But Tom has earned our respect so artistically can turn his hand at anything. He throws some shapes for 'Leave Your Hat On' and 'Sex Bomb' and two pairs of knickers land at my feet, I presume they are for Mr Jones! Moving like a man half his age, fully aware of what they want and how amusing it all is, he delivers with relish. Self-deprecation is the key here and Jones’ uses it to propel his voice and dance like his life depends on it. Next is a track which could be written by the female contingent, a cover of The Bodyrockers’ 'I Like The Way You Move'. It should be embarrassing but isn’t, as like much of this gig it's tongue in cheek and bloody brilliant.

The Welsh warbler finishes the show with the show stopping 'Kiss' as the crowd file out of the arena, knowing that this is a Friday night to savour. Jonesy certainly burned down the house and then some!

Glenn Meads Manchester Evening News http://www.manchestereveningnews.co.uk/