As Sir Tom Jones prepares for a weekend of concerts in Cardiff he spoke to Lisa Dorise for the BBC Wales news website.He revealed how he prefers grey to black, X-Factor to Strictly and his Bentley to a bus pass. He also revealed his feelings about his 70th birthday.
Watch the interview here: http://news.bbc.co.uk/1/hi/wales/8299511.stm
Tom Jones has gone though more career reinventions than Madonna and David Bowie put together, but on his apparently endless tour to promote last year’s 24 Hours album he seems finally to have accepted his age. Not only did he announce at one point that he’s 69, but the day-glo orange tan and dark-dyed curls have been replaced by white hair and a goatee beard that give the singer an unanticipated dignity.What’s also less than expected, especially to a sceptic who has seen him perform before, is how very contagious his current show is. Clad in an iridescent blue suit and backed by an eight-piece band and two backing singers, he delivered in spades.
Initially, it was predictable enough, the Bond theme, Thunderball, was belted out with aplomb alongside sundry other numbers, but the venue remained firmly glued to their chairs. Unsurprisingly it was one of his most famous hits, Delilah, that changed the mood but how suddenly and how much was a big surprise.
The audience, mostly aged between 40 and 70, waved their arms and, as one, yelled the “Ha, ha, ha” that greets the line “She stood there laughing”. From then on, the atmosphere buzzed as Jones delivered tune after familiar tune with requisite pizzazz. His passion for soul shone through as he tackled songs such as Hard To Handle and Burning Down The House, but like the expert Las Vegas entertainer he is, he can persuasively switch modes in an instant, dragging everyone along for the martial, country-tinged Green, Green Grass of Home, and moments later riding a four-to-the-floor electronic beat as he sang Stoned In Love, his 2006 hit with dance producer Chicane.
As far as the notorious cult of knicker-throwing went, initial attempts were rather desultory, falling well short of the stage. By the time of Sex Bomb, however, the crowd had surged to the front and the underwear was hitting its target to roared approval.
It’s Not Unusual was Jones’ first hit 45 years ago and was greeted with such fervour it seemed unlikely that he’d top it, but when he returned for an encore of Prince’s Kiss the wiley old coot showed us his tummy on the line, “I know how to undress me” and caused a pandemonium of shrieking from women old enough to know better. He ended with Take Me Back To The Party from his latest album, but its relative unfamiliarity didn’t matter a jot and he left the stage to a rapturous wall of applause.
Tom Jones came out singing not just a song but a declaration Sunday night at the House of Blues."I'm alive and I'm doing my thing and singing my song," he proclaimed in that familiar voice, the very essence of machismo. The Tommy James cover of "I'm Alive" from Jones's latest album, "24 Hours," served notice that Jones has still got it going on. And it was no idle boast. For 90 minutes the frisky Welsh entertainer, 68, rousingly retraced the many musical steps of his 45-year career, and he wasn't too tired to kick his leg up higher than his head while he was at it. Clad in a fitted black suit and shirt unbuttoned just enough but not too much, Jones fronted a crackling 11-piece band, including a lively four-man horn section, that effortlessly switched gears to suit Jones's every persona.
The enduring image of the swinging '60s pop star and sex symbol was amply represented by the strutting "She's a Lady," the lilting "Delilah," and the oom-pa-pa fizz of "What's New Pussycat?" Jones may have lost a bit of his high register and sustain, but the tone, clarity, and power of his beefy baritone remain very much intact.
He also took a trip to Nashville with the gentle singalong "Green Green Grass of Home," stopped into the disco for the thumping "Sex Bomb," and revisited old standards with small combo takes of "Fly Me to the Moon" and "That Old Black Magic."
But it was Jones the balladeer and bluesman who proved to be the most revelatory. He was truly touching during the new autumn-years remembrance "Seasons" and a faithfully funky breakdown of Bill Withers's masterful "Grandma's Hands." And he injected just the right dose of raunch into the lowdown and sultry "Git Me Some."
Though Jones is perceived by some as a Vegas lounge lizard, the campy wink-wink moments were few. Aside from some obligatory posterior wiggling, salacious hip thrusts, and growls - particularly during the burlesque romp "You Can Leave Your Hat On" - Jones played it straight and sincere (except, of course, when mugging after dodging the occasional flying panties).
It's not unusual that "It's Not Unusual" brought out the audience's giddy inner Carlton (the Tom Jones-idolizing cousin with ridiculous dance moves on "The Fresh Prince of Bel-Air"), as the arms and hips of young and old, straight and gay, swished frantically in opposition.
At the end of the night, after Jones took it home with a comically stentorian take on Prince's "Kiss," the tally of knickers flung at the stage - that we saw - stood at seven. But that relatively paltry number wasn't because Tom Jones didn't bring the heat. By Sarah Rodman
We all recognize his voice, we all know his face. He’s one of the biggest entertainers in music history, having sold over 100 million albums worldwide since he hit the scene in the ’60s. If he’s not performing 15-20 shows in Las Vegas, he’s making another memorable cameo somewhere in the film industry. Call him magical, call him unusual, but without a doubt, he’s out of this world. They call him Sir Tom Jones and after 40 years he continues to champion on. His relevancy is hardly questionable, as he’s endlessly cited as an influence by every other new singer to hit the market. His most recent studio foray, last year’s 24 Hours, charmed critics and fans alike. Songs like the soul-grasping “I’m Alive” or the funky swooning sensation “Give A Little Love” remind listeners why the Welsh legend has always found a place in their record collection.
Having said that, we’re pretty psyched about our recent interview with Sir Jones. That’s an understatement, really. Truth is, we’re still in disbelief. Here’s a guy that could (arguably) put Frank Sinatra to the test, who could walk into any establishment and tear down the walls piece by piece, without ever using anything but his voice. Here’s a guy who could survive an alien invasion (a la 1996’s Mars Attacks!) and yet still find the time to sing by the end of the chaos. Well, that last part might be fictional, but hey, it benefits our own argument.
So, wait no more, and listen to what the real boss has to say… http://consequenceofsound.net/2009/09/01/interview-tom-jones/
Is there anyone alive who's as cool as Tom Jones? I mean, what other singer's voice sounds fuller and more robust at age 69 than it did at 29? Who else would have not only the talent but the balls to share the stage with Janis Joplin in the '60s and cover an Iggy Pop tune with Chrissie Hynde in the '90s? And can you think of anyone else in recent history who may be best known for having multiple generations of women throw their underwear at him? I didn't think so.
Sure, the primary cause of the hysteria that's followed the man from stage to stage all over the world for the last 45 years is his voice -- that thunderous, booming instrument that, defying nature and all logic, keeps getting more powerful with each passing year. But Sir Tom is not just a one trick pony. The man's got style. He's a hell of a dancer. Some '70s excesses aside, he's a swanky dresser -- he can wear a tux or an open-necked silk shirt with a gaudy medallion, and look just as comfortable in either. He even makes his leonine white man 'fro look hot. And when he decided to lose the hair dye last year, his white hair made him look sexier, not older.
We mere mortals may never be able to possess Sir Tom's lung power, but with enough schooling, who's to say that dudes such as myself couldn't learn to channel our inner Tom Jones and use that mojo to turn otherwise sane women into panty-flinging hysterics? I decided to go to the source and learn the secrets of being Tom Jones from the man himself.
After several leads proved fruitless, I was finally able to schedule an interview through his British publicist, with two caveats: I had 20 minutes to do my job; and I had to spend at least part of the interview asking Mr. Jones about his latest album and tour. The album, 24 Hours, is his first to come out in America in 15 years. But it's now more than six months old, and despite my glowing review in HuffPost, it didn't exactly set the charts on fire Stateside, making it a rather less-than-newsworthy topic. But something was better than nothing, so I eagerly agreed.
The big day arrived, and I was as nervous as a kitten in a dog pound. A lot of friends asked me if I flung my underwear at him when we met. I didn't, not only because I have more use for my boxer briefs than he does, but because it was a phone interview. But Sir Tom was charming and put me at ease instantly; when I asked if I should call him "Sir Tom" or "Mr. Jones," he chuckled and said, "Just call me Tom."
OK, Sir... I mean Tom! We spent the first part of the interview discussing his recent gig at the opening party for Mardan Palace, the ultra-opulent Turkish resort which supposedly sports the largest swimming pool in all of Europe. "They had a dance floor in front of the stage -- it was all built for the event, so it was open-air. Thank God there were quite a few British people there, especially press, a lot of young members of the British press. And a lot of them were girls. So I said 'Come on, dance!' I didn't have to say it to them, though. When I started singing, they came forward and started dancing, and I said, 'That's great, do more of the same.'"
Then on to the new album, almost all of which he co-wrote -- quite a feat for a guy who's rarely penned his own tunes. "I've written songs before, but not so many. I mean, I co-wrote them with songwriters -- I'd be there, and I'd give them ideas, for what kind of thing I wanted, and then they'd put it together. And then I'd alter things. So I worked with some really good songwriters." When you've achieved Tom Jones' station in life, I guess that's how you do things -- call up the experts, tell 'em what you want, and give the results the thumbs-up or down. An important lesson for all us Sir Tom wannabes.
I asked him what new artists he's been listening to. "I like Duffy, Duffy's a Welsh singer, I think I could do something with her. But I like bands as well. I love the Kings Of Leon. That kid can sing." Damn, this guy really is pretty hip!
I asked the question that's been puzzling me all these years -- how the hell does he keep his voice in such good shape at his age? "When I first went to Vegas, I lost my voice one night. That was in 1968. This doctor came in and he said, 'You're too dry, you need humidity.' And he put humidifiers in the dressing room -- in those days I was doing two shows a night. Well, it was back by the second show. And it was all to do with humidity. I carry humidifiers with me, I've got a humidity gauge that I use to make sure that the humidity is right -- especially when you sleep. You shouldn't sleep in a dry atmosphere. It's very bad for the throat." (For the record, immediately following the interview, I installed a humidifier in my bedroom, but I'm still off-key and raspy when I try to sing "Daughter Of Darkness.")
My obligations having been met, and with a mere 10 minutes of interview time left, I pounced. "On behalf of all the men who want to get in touch with their inner Tom Jones, but don't have your voice, what are some of the secrets to your mojo?" I held my breath and waited for the wisdom to be handed down. For the torch to be passed to a new generation of hipsters. And I got... this:
If I didn't have this voice, I don't know. I didn't have to play rugby that well, and I didn't have to play cricket that well, because I had this voice. As with some kids in school -- you know, they're jocks, and they've gotta shine as football players, and the girls are very attracted to them. My thing was always the way I sing, so that's been a big plus. So somebody that can't sing, then I don't know what to say. But you've got to try and find your niche. Whatever it is, sometimes it does attract the opposite sex, sometimes it doesn't. So you've got to do the best you can with the tools you've got.
So, basically, if you don't sing like Tom Jones, you're screwed? No! That couldn't possibly be. Perhaps he was just holding out on me. I tried to dig a little deeper, get a little more specific. How about advice on picking out clothes?
I've got a guy in England, a stylist. I love designer suits, so he lets me know what's available. And he knows me well now, so he knows what I would like, and the stuff to stay away from. It's convenient to have somebody like that, because you don't have to go and look around at shops yourself. Which I've done at one time. I did get my clothes made for me, but there are so many good designers out there now that make great clothes off the rack. Try a lot of stuff, but go with your instincts. If it fits well and it looks good and you like wearing it, then that's what you should go with.
My dreams of achieving Tomness were growing fainter with every passing moment. Um... how about dancing? Any signature moves to recommend to us left-footed Sir Tom wannabes out there?
First of all, you don't want to look silly. I mean, you've got to be able to dance. I have a natural ability for dancing, but you can't overdo it. Sometimes, I tend to -- because I forget how old I am -- I might do something that doesn't work as well as it did when I was young. You can't go doing the same kind of moves, because it just looks silly, and people can see that. As I've gotten older, I've just cooled it down a bit. But I've got to be told sometimes that I'm not 25 or 35 anymore.
In a word, no. But just when all hope was lost, I started to gather a few valuable nuggets of information. Such as, what to do to break the ice with a woman:
I would think it's in the eyes. I think a look says a lot, before you even ask a question. A gentle look. I think you should put somebody at ease with the way you look, before you even speak. It's important to put somebody at ease, so that when you do say something it's not shocking. But the look is important.
Awesome! How about advice on what to drink when you're making eyes at the sweet young thing across the bar?
It all depends where I am. If it's in England in a pub, it would be a British ale. I love British beer. It's ale, you know, it's not lager. But then again, if I was in a nice restaurant and I went to the bar, it would either be a vodka martini or a champagne cocktail
We were on a roll. How does a TJ aspirant know how much jewelry is enough and how much is too much?
I've learned over the years not to overdo it. I've tried wearing more than one ring on one hand and it doesn't look good. It's overkill, I think. So I think a ring on either hand. Nine times out of ten I'll go for pinky rings, but not always. And I've always liked the cross and chain, so I have quite a number of those. My stage jewelry is a bit more than I would wear out, normally. Sometimes I'll wear a cross with diamonds in it on the stage, and the same thing with the watch, and the same thing with the rings. But in the daytime, it's more sort of solid gold than with stones in it. Or even if I went out at night to a restaurant.
Well, things were really starting to click here. I'd already gone 15 minutes over my allotted time, but I had one very important question left to ask: You've gotten the girl back to your room. You sit on the couch and get comfortable. What music, Tom Jones records excepted, do you play to get the pettin' party underway?
If it's a nice situation, and you're just relaxed, you need background music. You don't need anything that the person that you're with says, "Who's that?" If you're trying to be with somebody, you don't want to be distracted by the music. You want it to blend in with the mood. So I would say background music, something nice and mellow. You don't want anything that's loud. Music is great, it all depends on what mood you're in, what you want to listen to. If it's party time, you listen to, you know, party music, if you want to dance with somebody. But then again, if it's a slow dance, you need something slow. So it all depends on the mood, what mood you're in.
Um, any artists in particular? What is background music, anyway?
I would say if you're talking to somebody, if you're having a romantic evening with somebody, you need background music. You don't want anything to distract from what you're saying, or when you're giving them the look, like we talked about.
And with that, our interview was over. And I wasn't really any closer to channeling my Jonesness than I had been when we first started chatting.
But I hadn't given up hope. I thought, maybe, with a week or so to think about my line of questioning, Sir Tom would surely become the oracle of cool I'd expected, dispensing pearls of wisdom like they were sweat-stained hankies. He was due in New York a week hence; maybe an in-person interview would make him more at ease. Perhaps we could even go out to a bar together and he could show me how to pick up a woman, Tom Jones-style! My fantasies grew ever more grandiose as I dashed off an email requesting a followup. I could show him some of my favorite NYC watering holes... we could hit a few golf balls at Chelsea Piers... I could visit him on the West Coast and we'd become BFFs....
A few days later, I got the response from the publicist:
We can't commit to more time at this point as he will be rehearsing and we don't have a precise schedule for that yet.
Tom Jones will be playing the Beacon Theater in New York City on July 21st. If you hear someone in the loge screaming things like "Boxers or briefs, Tom?" or "How do you like your eggs?", I apologize. Is there anyone alive who's as cool as Tom Jones? I mean, what other singer's voice sounds fuller and more robust at age 69 than it did at 29? Who else would have not only the talent but the balls to share the stage with Janis Joplin in the '60s and cover an Iggy Pop tune with Chrissie Hynde in the '90s? And can you think of anyone else in recent history who may be best known for having multiple generations of women throw their underwear at him?
I didn't think so.
Sure, the primary cause of the hysteria that's followed the man from stage to stage all over the world for the last 45 years is his voice -- that thunderous, booming instrument that, defying nature and all logic, keeps getting more powerful with each passing year. But Sir Tom is not just a one trick pony. The man's got style. He's a hell of a dancer. Some '70s excesses aside, he's a swanky dresser -- he can wear a tux or an open-necked silk shirt with a gaudy medallion, and look just as comfortable in either. He even makes his leonine white man 'fro look hot. And when he decided to lose the hair dye last year, his white hair made him look sexier, not older.
We mere mortals may never be able to possess Sir Tom's lung power, but with enough schooling, who's to say that dudes such as myself couldn't learn to channel our inner Tom Jones and use that mojo to turn otherwise sane women into panty-flinging hysterics? I decided to go to the source and learn the secrets of being Tom Jones from the man himself.
After several leads proved fruitless, I was finally able to schedule an interview through his British publicist, with two caveats: I had 20 minutes to do my job; and I had to spend at least part of the interview asking Mr. Jones about his latest album and tour. The album, 24 Hours, is his first to come out in America in 15 years. But it's now more than six months old, and despite my glowing review in HuffPost, it didn't exactly set the charts on fire Stateside, making it a rather less-than-newsworthy topic. But something was better than nothing, so I eagerly agreed.
The big day arrived, and I was as nervous as a kitten in a dog pound. A lot of friends asked me if I flung my underwear at him when we met. I didn't, not only because I have more use for my boxer briefs than he does, but because it was a phone interview. But Sir Tom was charming and put me at ease instantly; when I asked if I should call him "Sir Tom" or "Mr. Jones," he chuckled and said, "Just call me Tom."
OK, Sir... I mean Tom! We spent the first part of the interview discussing his recent gig at the opening party for Mardan Palace, the ultra-opulent Turkish resort which supposedly sports the largest swimming pool in all of Europe. "They had a dance floor in front of the stage -- it was all built for the event, so it was open-air. Thank God there were quite a few British people there, especially press, a lot of young members of the British press. And a lot of them were girls. So I said 'Come on, dance!' I didn't have to say it to them, though. When I started singing, they came forward and started dancing, and I said, 'That's great, do more of the same.'"
Then on to the new album, almost all of which he co-wrote -- quite a feat for a guy who's rarely penned his own tunes. "I've written songs before, but not so many. I mean, I co-wrote them with songwriters -- I'd be there, and I'd give them ideas, for what kind of thing I wanted, and then they'd put it together. And then I'd alter things. So I worked with some really good songwriters." When you've achieved Tom Jones' station in life, I guess that's how you do things -- call up the experts, tell 'em what you want, and give the results the thumbs-up or down. An important lesson for all us Sir Tom wannabes.
I asked him what new artists he's been listening to. "I like Duffy, Duffy's a Welsh singer, I think I could do something with her. But I like bands as well. I love the Kings Of Leon. That kid can sing." Damn, this guy really is pretty hip!
I asked the question that's been puzzling me all these years -- how the hell does he keep his voice in such good shape at his age? "When I first went to Vegas, I lost my voice one night. That was in 1968. This doctor came in and he said, 'You're too dry, you need humidity.' And he put humidifiers in the dressing room -- in those days I was doing two shows a night. Well, it was back by the second show. And it was all to do with humidity. I carry humidifiers with me, I've got a humidity gauge that I use to make sure that the humidity is right -- especially when you sleep. You shouldn't sleep in a dry atmosphere. It's very bad for the throat." (For the record, immediately following the interview, I installed a humidifier in my bedroom, but I'm still off-key and raspy when I try to sing "Daughter Of Darkness.")
My obligations having been met, and with a mere 10 minutes of interview time left, I pounced. "On behalf of all the men who want to get in touch with their inner Tom Jones, but don't have your voice, what are some of the secrets to your mojo?" I held my breath and waited for the wisdom to be handed down. For the torch to be passed to a new generation of hipsters. And I got... this:
If I didn't have this voice, I don't know. I didn't have to play rugby that well, and I didn't have to play cricket that well, because I had this voice. As with some kids in school -- you know, they're jocks, and they've gotta shine as football players, and the girls are very attracted to them. My thing was always the way I sing, so that's been a big plus. So somebody that can't sing, then I don't know what to say. But you've got to try and find your niche. Whatever it is, sometimes it does attract the opposite sex, sometimes it doesn't. So you've got to do the best you can with the tools you've got.
So, basically, if you don't sing like Tom Jones, you're screwed? No! That couldn't possibly be. Perhaps he was just holding out on me. I tried to dig a little deeper, get a little more specific. How about advice on picking out clothes?
I've got a guy in England, a stylist. I love designer suits, so he lets me know what's available. And he knows me well now, so he knows what I would like, and the stuff to stay away from. It's convenient to have somebody like that, because you don't have to go and look around at shops yourself. Which I've done at one time. I did get my clothes made for me, but there are so many good designers out there now that make great clothes off the rack. Try a lot of stuff, but go with your instincts. If it fits well and it looks good and you like wearing it, then that's what you should go with.
My dreams of achieving Tomness were growing fainter with every passing moment. Um... how about dancing? Any signature moves to recommend to us left-footed Sir Tom wannabes out there?
First of all, you don't want to look silly. I mean, you've got to be able to dance. I have a natural ability for dancing, but you can't overdo it. Sometimes, I tend to -- because I forget how old I am -- I might do something that doesn't work as well as it did when I was young. You can't go doing the same kind of moves, because it just looks silly, and people can see that. As I've gotten older, I've just cooled it down a bit. But I've got to be told sometimes that I'm not 25 or 35 anymore.
In a word, no. But just when all hope was lost, I started to gather a few valuable nuggets of information. Such as, what to do to break the ice with a woman:
I would think it's in the eyes. I think a look says a lot, before you even ask a question. A gentle look. I think you should put somebody at ease with the way you look, before you even speak. It's important to put somebody at ease, so that when you do say something it's not shocking. But the look is important.
Awesome! How about advice on what to drink when you're making eyes at the sweet young thing across the bar?
It all depends where I am. If it's in England in a pub, it would be a British ale. I love British beer. It's ale, you know, it's not lager. But then again, if I was in a nice restaurant and I went to the bar, it would either be a vodka martini or a champagne cocktail
We were on a roll. How does a TJ aspirant know how much jewelry is enough and how much is too much?
I've learned over the years not to overdo it. I've tried wearing more than one ring on one hand and it doesn't look good. It's overkill, I think. So I think a ring on either hand. Nine times out of ten I'll go for pinky rings, but not always. And I've always liked the cross and chain, so I have quite a number of those. My stage jewelry is a bit more than I would wear out, normally. Sometimes I'll wear a cross with diamonds in it on the stage, and the same thing with the watch, and the same thing with the rings. But in the daytime, it's more sort of solid gold than with stones in it. Or even if I went out at night to a restaurant.
Well, things were really starting to click here. I'd already gone 15 minutes over my allotted time, but I had one very important question left to ask: You've gotten the girl back to your room. You sit on the couch and get comfortable. What music, Tom Jones records excepted, do you play to get the pettin' party underway?
If it's a nice situation, and you're just relaxed, you need background music. You don't need anything that the person that you're with says, "Who's that?" If you're trying to be with somebody, you don't want to be distracted by the music. You want it to blend in with the mood. So I would say background music, something nice and mellow. You don't want anything that's loud. Music is great, it all depends on what mood you're in, what you want to listen to. If it's party time, you listen to, you know, party music, if you want to dance with somebody. But then again, if it's a slow dance, you need something slow. So it all depends on the mood, what mood you're in.
Um, any artists in particular? What is background music, anyway?
I would say if you're talking to somebody, if you're having a romantic evening with somebody, you need background music. You don't want anything to distract from what you're saying, or when you're giving them the look, like we talked about.
And with that, our interview was over. And I wasn't really any closer to channeling my Jonesness than I had been when we first started chatting.
But I hadn't given up hope. I thought, maybe, with a week or so to think about my line of questioning, Sir Tom would surely become the oracle of cool I'd expected, dispensing pearls of wisdom like they were sweat-stained hankies. He was due in New York a week hence; maybe an in-person interview would make him more at ease. Perhaps we could even go out to a bar together and he could show me how to pick up a woman, Tom Jones-style! My fantasies grew ever more grandiose as I dashed off an email requesting a followup. I could show him some of my favorite NYC watering holes... we could hit a few golf balls at Chelsea Piers... I could visit him on the West Coast and we'd become BFFs....
A few days later, I got the response from the publicist:
We can't commit to more time at this point as he will be rehearsing and we don't have a precise schedule for that yet.
Tom Jones will be playing the Beacon Theater in New York City on July 21st. If you hear someone in the loge screaming things like "Boxers or briefs, Tom?" or "How do you like your eggs?", I apologize.
Interview by Tony Sachs - The Huffington Post http://www.huffingtonpost.com/tony-sachs/my-exclusive-huffpost-int_b_239126.html
Every Christmas, that rare span of relaxation when he’s not being pelted by catcalls and underthings, Tom Jones stops dyeing his hair. “I take about four or five weeks off, and I let my hair go,” he says. When showtime rolls around, the singer darkens his ’do and hits the road. Except this year. The Voice, it seems, has decided to stay gray. “It’s looking pretty good,” Jones says, adding with a low chuckle: “But it’s a lot whiter than it used to be.”
The Welsh Wonder turns 69 in June. But those curls of natural silver — and ooh, are the ladies loooving those — are pretty much the only allowance he’s made to Father Time. The classic belter still tours the globe most of the year, including epic stretches of sweat and thrust in Las Vegas. And during the encore of those gigs, Jones famously lifts his shirt, a flirty flash of chiseled abs that sends wives into weeee! fits and hubbies back to the gym.
“I used to jog an hour a day, but my right knee started to give me some trouble,” he says. “My doctor tells me, you gotta stop pounding the pavement, even on the treadmill. So now I go down to the hotel gym, get on the elliptical machine. You sweat your b---- off, get a good workout, sign a few autographs. It’s good.”
On April 17, a toned, tan Mr. Jones comes to Ruth Eckerd Hall in Clearwater, where he’ll hit ’em with old hits (Delilah, She’s a Lady LISTEN, It’s Not Unusual), newer hits (Sexbomb LISTEN, If He Should Ever Leave You) and other people’s hits that he has made his robust own (Kiss LISTEN, You Can Leave Your Hat On). “My throat doctor said the worse thing to do is take a break,” says Jones, who used to do two shows a day. “Better to do 90 minutes straight.”
Even with the brutal workload and fitness regime, Jones remains a fan of the nightlife, an old-school entertainer playing the part(y). Calling from his home in Los Angeles, and with that thick blue-collar accent still intact and charming, Jones says, “I’ve always enjoyed a good drink. I love a good pint of beer, but it has to be British ale, real ale, the kind you pull from a pump....I’ve never been involved in the drug scene. I’ve been to so many parties with mountains of cocaine and air thick with marijuana. But that was never for me. I’ve always been a drinker.”
Many of Jones’ stories — and he has a ton of them — start with drinks and end with laughter. He’s not a name-dropper, but he is a guy’s guy, a down-to-earth dude who knows what makes a good barstool story. “I used to drink with Sinatra at Caesars Palace. I have a picture hanging in my home of Sinatra with his hand on my shoulder.” Could he out-drink the Chairman of the Board? Jones laughs: “I never tried! Frank loved to drink Jack Daniels with Coca-Cola.”
Whether chatting on the phone or singing in the limelight, Jones’ forceful below-the-belt tenor is still mighty. Last year, he unveiled the critically acclaimed 24 Hours, his first U.S. release in 15 years. Among a host of blue-eyed soul and high-flying moments, the disc features Sugar Daddy (LISTEN), a song co-penned by a certain Irish frontman. “Bono and I were hanging out in a Dublin pub, a place called Lillie’s Bordello. It’s not a real bordello,” Jones says. “We were drinking Champagne. I asked Bono to write me a song, and he said he would love to. But if he was going to do it, he said he wanted the song to be about me. He wanted to write a Tom Jones song, not a U2 song.”
The grindy, swaggery Sugar Daddy is a straight-up love letter, with lyrics including I’m the last great tradition and The show must go on, what else can it do? Bono isn’t the only contemporary musician who appreciates the pride of Pontypridd, Wales. 24 Hours was produced by the drum-and-bass duo Future Cut. In recent years, Jones has also teamed with Wyclef Jean and the Barenaked Ladies. In 1999, Jones recorded Sexbomb with German DJ Mousse T; that record moved more than 6 million copies worldwide.
Jones isn’t quite sure why the younger generation is crushing on him these days. However, he will allow that the current pop movement of retro swing and ’60s R&B is something he knows well. “Amy Winehouse, Duffy, they’ve been doing my stuff!" he laughs. "That’s what (producers) Future Cut said. I’ve been doing this stuff all along!”
A few years ago, the singer’s camp started playing down the panty-throwing ritual of the Tom Jones show. They instead focused on a kitschy icon who just happens to be, lo and behold, a brilliant singer, as well. The frillies still occasionally fly — and he’ll unh! and ahh! with each shot to the chest — but now more accolades come his way, too.
Case in point: On 24 Hours, Jones does a mesmerizing cover of Bruce Springsteen’s broken-boxer ode The Hitter, which is essentially the summation of one man's life (LISTEN). To hear Jones talk about it is not just a history lesson; it also hints as to why the one-time door-to-door salesman is going strong five decades into his career. For all the glitz, all the money, all the Champagne with Bono, Jones remains a regular bloke, the humble son of a coal miner who knows when it's time to go gray:
“There’s great sentiment to the song. It really could be about any singer who left home. And now he’s coming home and asking for his mother’s forgiveness. It reminds me of Howlin’ Wolf’s Goin’ Down Slow, which was the flip side of Smokestack Lightnin’. Goin’ Down Slow was about this fella bragging about his life, all the places he had been. ... But at the end of the song, he says please write my mama and tell her the shape I’m in. That’s what The Hitter does. In the end, it’s just about a guy who wants to make good with his mama. That could be any of us.”
By Sean Daly TampaBay.com http://blogs.tampabay.com/popmusic/2009/04/tom-jones-and-bono-walk-into-a-bar.html
Tom Jones has released the new album "24 Hours" after a 15-year hiatus.There's a cliché sound for oldster comeback records these days, courtesy of star producer Rick Rubin. When the producer began his high-profile mission to clear away the cobwebs from some of his favorite older stars — including Johnny Cash, Donovan and Neil Diamond — he didn't so much revive their music as distill it. Rubin's recordings for those icons were equal parts collaborations and comebacks, all honoring his own mandate to keep everything stripped, raw and pure. Producer Jack White used a less severe version of this same strategy on his comeback CD with Loretta Lynn, as did Joe Henry on his hard, bluesy revival album for Bettye LaVette.
Tom Jones' first CD of new material in 15 years, "24 Hours," stands in direct opposition to all those works. As maximal as Rubin's CDs are minimal, Jones' album doesn’t aim to refigure an iconic star's signature sound but rather to re-scale its most daring peaks.
The hit Brit duo Future Cut oversaw the project, and while they're best-known for working with bratty artists like Kate Nash and Lily Allen, the flagrantly retro sound they concocted here comes closer to what Mark Ronson did with Amy Winehouse. "24 Hours" boasts the same brash and busy style that first made Tom Jones a household name back in 1965. It's a blowsy, horny, ecstatic blowout, boring deep into Jones’ seemingly contradictory, signature style: lounge-soul.
Romantics and sticklers tend to cast soul as the enemy of lounge's artifice. But soul stars had their own theatricality, and British singers like Jones (as well as Lulu and Petula Clark) showed how the gripping drama and high melodies of lounge could offer an exciting shading to soul's grit. The songs on "24 Hours" have the sort of broad, quasi-campy melodies that fired Jones' career in hits like "It’s Not Unusual" and "Delilah."
New cuts like "If He Should Ever Leave You" or "Give a Little Love" sound like they were penned in the ’60s (a supreme compliment), though they actually represent the first works written by the 68-year-old Jones (along with a host of able conspirators, you should know).
Jones' star power even earned him a new composition from Bono and The Edge: "Sugar Daddy," which winkingly plays with Jones' randy character.
The CD's first two-thirds keep the pace wild and the style mid-century mod. The last third goes for "deeper" ballads, including a cover of Springsteen's "The Hitter." Though these wistful and battered songs aim to play off Jones' age, they don’t have the credibility, or power, of his breezier pieces. Only the lighter ones make ideal use of his barrel-chested power, his operatic reach. Sincerity and intimacy may count for a lot with many elder stars.
But for Jones, it's the youth of the music — the density and vigor — that really makes it sing.
By Jim Farber NY Daily News
Although we haven't seen "A Bit of Tom Jones" yet, we send our congratulations to the filmakers and applaud their creativity, pluck and determination. We wish them much success and hope they continue to inspire other independent-minded talent who might have a dream to realize. http://www.guardian.co.uk/film/2009/nov/22/welsh-film-tom-jones The Hollywood blockbusters 2012 and A Christmas Carol are playing to respectable audiences Merthyr Tydfil's Vue multiplex, entertaining fans with their multimillion pound effects. But in screen eight, the staff are having to drag in extra beanbags in an attempt to accommodate everyone who wants to see a comedy made for just £100,000 and with a marketing budget of a couple of grand.
In these days when megabucks movies dominate, A Bit of Tom Jones?, is providing hope for independent film-makers who may have ideas and talent but no money.
The movie is a bawdy farce with a plot turning an attempt to sell the Welsh superstar singer's severed manhood (better not to go into too many details for taste as well as spoiler reasons). And it is outselling rivals such as Michael Jackson's This is It and the sci-fi drama The Fourth Kind at some cinemas in south Wales.
Unlike other low-budget movies that have found homes in small arthouse cinemas, A Bit of Tom Jones? is doing good business at large screens in multiplexes.
It has already spread from Merthyr, in the Welsh valleys, to Cardiff and Vue is now considering releasing it just across the English border, perhaps in Bristol to start, to see if it can gradually take hold across the rest of the UK, just about the reverse of the normal multiplex model in which films are released with huge hype and quickly vanish.
Writer and director Peter Watkins-Hughes, a former BBC producer, could hardly contain his excitement as he introduced the film, his first feature, in Merthyr this week. "We're killing The Fourth Kind, we're killing Harry Brown and that's got Michael Caine in it," he said. "I think it's just extraordinary." The making of the movie sounds a little like something out of an Ealing comedy. Set mainly in the valleys town of Tredegar, the team begged and borrowed to eke out the budget. Watkins-Hughes had originally imagined setting it in 1960s Los Angeles with Errol Flynn's penis at the centre of the plot. But cost prompted him to bring the setting back to south Wales.
Businesspeople, including a pub landlord and solicitor, clubbed together to raise funds while Welsh actors including Eve Myles, Gwen Cooper in the BBC's Torchwood, and Margaret John, who plays Doris in the BBC sitcom Gavin and Stacey, worked at reduced rates.
A factory loaned a small fleet of dumper trucks for the film's chase scene and the local force provided flashing lights for a police car.
The film was originally intended to be a straight-to-video release. But Watkins-Hughes decided to send it to the Vue in Merthyr. Staff looked at the film, thought it had potential and passed it on to head office who agreed it ought to be shown.
The production team has not been able to afford many 35mm prints and so, on one crazy day, they had to play half the movie at one cinema, take that reel to another so it could start there and then repeat the process for the second half.
Meanwhile, the paucity of the advertising budget meant Watkins-Hughes and his cohorts had to drum up an audience themselves. They bought a little bit of advertising space on local radio in the valleys and then blitzed the area with photocopied posters until the police and local councils warned them to calm down. It also helped that a little controversy was sparked because some Tom Jones fans were upset at the film's premise.
But mainly it has been about word of mouth. At the first screening in Merthyr, Watkins-Hughes told the audience: "I want to make a contract with you. If you enjoy this film, will you do me a favour, will you tell other people: 'Saw this Welsh film, it should have been shit but it was really funny'."
Watkins-Hughes told the audience the film aimed to "capture the valleys' sense of humour." But he said there was a serious side in that the success of the film could prompt others to make movies in and about their own communities.
Craig Matthews, the manager at the Merthyr Vue, said: "It's great that a local product has done so well. They've made it work because of the energy they've put into it." Clive Threadgold, Vue's film buyer for the south west, said he felt other independent film-makers could follow the Tom Jones model – if they matched the effort and verve of Watkins-Hughes and his backers.
Bernie Snowball, the manager of the Market Hall cinema in Brynmawr, said: "I'm not surprised the film is doing well. It's a laugh-out-loud comedy, with the added bonus of being set in Wales." Adding that it comfortably beat the Michael Jackson film at his cinema, he said: "It's a mad thing they've done, but a brilliant one."
Celebrities and news-makers get grilled in exactly five minutes by Matthew Stadlen in a series for the BBC News website.This week, Sir Tom Jones talks to Matt about his music, mining, being Welsh - and going grey. Watch the 5 minute interview here: http://news.bbc.co.uk/1/hi/entertainment/7919158.stm
Tom Jones: Tiny Desk Concert: March 2, 2009 - Sir Tom Jones, a full-throated legend among legends, wasn't an obvious choice for a Tiny Desk concert. When we began the series last year, the goal was to bring in quieter, more intimate artists (Laura Gibson, Vic Chesnutt) who are often drowned out by the clinking glasses and chatter of the small clubs they usually play. When a publicist for Tom Jones contacted us and said the singer wanted to do a "Big Desk Concert" for us, the thought of Jones' rather substantial voice filling our office left us laughing... and dying to do it.
Tom Jones has done it all. He's sung pop, rock, show tunes, country, dance and techno. He's played every kind of venue, from the biggest stages in Vegas to, well, the desk of All Songs Considered host Bob Boilen. Now, more than 40 years after releasing his first album (What's New Pussycat?), Jones is looking to play for a different audience. He's currently touring the U.S. in support of his latest album, 24 Hours, playing smaller clubs and giving more intimate performances. His schedule recently brought him to the 9:30 Club in Washington, D.C., and he stopped by our offices before the show.
Our wing of NPR was packed with employees, friends and family when Jones showed up, everyone craning to get a good look. He took time to have his picture taken, repeatedly, and sign autographs. He was the consummate gentleman and utterly charming. At one point, Bob asked Jones whether he'd ever had an office job before. "No," Jones replied. "It makes me nervous just standing here."
It's hard to overstate how amazing it felt to sit next to Tom Jones as he belted out a handful of tunes for us. You could tell that everyone in the room was just in love with him. I don't think you had to be a fan of his music to appreciate what an incredibly gifted performer he his. We're grateful he took the time for this little show, and hope this video gives you an idea of how memorable it was for those lucky enough to be here.
For his tour, Jones is playing with a full band. But for the Tiny Desk set, he performed with Brian Monroney, his musical director since 1996 and a masterful guitarist.
Check out a video of this performance in the "Performance Videos" section.
March 2, 2009 from WXPN - Global superstarTom Jones is "opening up shop" once more with the release of 24 Hours, his first U.S. album release in more than 15 years. The exuberant performer first rose to fame in the early 1960s, but it was his hit single "It's Not Unusual" in 1965 that made him a living legend. Jones' clean-cut style, infectious blues and energetic pop tunes have helped him sustain a long career that continues unabated. With 24 Hours, perhaps his most intimate album to date, Jones opted to get more involved in the songwriting process. The result is a highly personal collection, including a soul-baring track written for his wife of more than 50 years, Linda. The album also features a cover of Bruce Springsteen's "The Hitter" and a collaboration with Bono.
The genre-crossing crooner talks with host David Dye about how the vintage sound of new music by Amy Winehouse andDuffy inspired him to recapture the essence of his '60s-era work. He'll also share some priceless memories of encounters with Elvis Presley and Otis Redding.
Hear the full session here: http://www.npr.org/templates/story/story.php?storyId=100055024
Gavin and Stacey stars Ruth Jones and Rob Brydon team up with Sir Tom Jones and Robin Gibb for this special single release. Out March 9th on Mercury Records. The already much talked about and wildly rumoured special one-off collaboration from Gavin and Stacey favourites, Ruth Jones and Rob Brydon, who perform as Bryn West and Nessa Jenkins, is finally ready to be unveiled to the public. The special collaboration dubbed '(Barry) Islands In The Stream' will be one of two official Comic Relief singles which will be released for the Red Nose Day 2009 campaign on March 9th.
The comic duo have teamed up with legendary Welsh crooner, Sir Tom Jones, and very special guest Robin Gibb to bring us “Barry Islands In The Stream”. Bryn and Nessa caused renewed interest in the classic duet when they sang their rendition of the song at Gwen’s birthday barn dance in series 2 of “Gavin and Stacey”. The excerpt from the series which features Nessa and Bryn performing the duet and accompanied by a group of line dancers quickly became one of the most downloaded comic clips on YouTube. In fact, their rendition had even been seen by the Bee Gees and when Barry and Robin were approached for permission to record the song Robin Gibb personally called up and said he was a huge fan of the show and would do anything for Comic Relief. The Bee Gees originally wrote the song in 1983 when it became a smash hit for Dolly Parton and Kenny Rogers and subsequently has become one of Britain's most popular karaoke songs.
In true Comic Relief style, Nessa and Bryn's very special version of the song is packed with unexpected extras. Not only did Robin Gibb give permission for the song to be recorded, he also sings backing vocals on the track and even appears in the 9 minute video! But if that’s not enough for fans, our Barry Island singing duo have enlisted the help of none other than Welsh singing legend Sir Tom Jones who also acts in the video.
NESSA said I’m not gonna lie to you, it made my week workin with Tom again. We go back a long way. Simple as. And as for Robin, he’s been beggin me for years to be my backing singer. I’m only glad this single could make his dream come true. Tidy.”
This hilarious epic mini-film/video, shot in the style of the TV series, sees Bryn and Nessa leave Barry Island and the arcade (where they run into Robin Gibb) to head to Las Vegas (where they run into Sir Tom) to fulfil every karaoke fan’s dream of taking part in the World Karaoke Championships – you’ll have to wait until the first exclusive showing of the full 9 minute video (scheduled for Feb 20th) to see how they got on. The video also features none other than Pop Idol's (Nasty) Nigel Lythgoe playing the role he is best known for as a judge at the championships.
Bryn said " I had a whale of a time filming in the Nevada desert and I'll tell you for why, I felt like I was in Brokeback Mountain!"
The CD single also includes Bryn’s brilliant version of James Blunt’s “Wisemen” and if that weren't enough we are also treated to Nessa and Bryn crooning 'Something Stupid' – both songs also featured in series 2 of Gavin and Stacey.
This spectacular single together with the video and extra tracks package is already tipped to be a big hit so get the single on download on the 8th March and on CD on the 9 March. Profits from the record will go to Comic Relief to help poor and vulnerable people in the UK and Africa. The duo are set to perform the track on Comic Relief's enormous Night of TV which kicks off at 7pm, BBC1 on Friday 13th March.
To buy the single go to any of these links:
Singer Tom Jones has spoken to the BBC ahead of Wednesday night's Brit Awards in London.Mr Jones told Huw Edwards that he was looking forward to presenting an award at the prestigious event, and spoke of his hopes for fellow Welsh singer Duffy to walk away with Best British Album. When asked about his change in hair colour, the Welsh singer replied "I used to dye it, but I got fed up, so now it is a natural colour now, which is white.".
Watch the interview here: http://news.bbc.co.uk/1/hi/entertainment/7897905.stm
Check out this awesome video of Sir Tom performing a Takeaway Show! http://www.blogotheque.net/Tom-Jones
No one ever expects this call. You’re going about your daily life and then it happens. The phone rings, you answer, and Vincent asks: “What do you think about helping on a Take-Away show with Tom Jones?” What do I think? I think it’s Tom whoa whoa whoaaaa mother fuckin’ Jones! Actually . . . I don’t know what to think. But we’re doing it.Now its time for the second call you don’t expect. The phone rings and our liaison in the lobby passes the information onto us: Tom’s ready; we can go up to the room. There’s some real honest to god Hollywood magic going on up here. Tom is a star from an era before the record industry went bust. In fact, one of the biggest stars of this era and the whole manner of this scene reflects it – the fruit baskets, the amazing view of the city, the manager. His manager is a band manager out of a Woody Allen movie – over zealous, over protective, and hilarious. Tom is still in his bedroom so his manager is talking to us and making sure we’re comfortable, but not too comfortable. I busy myself with the mics and don’t even look up as I ask the body next to me if they think Tom will be ready soon. The body answers yes, and Vincent says, “Umm, Teresa . . .” I look to Vincent, who looks to me, and then we both look to the mystery person I was talking to. Yeah, it’s Tom . . . Jones. Hi. He’s wearing all black clothing, all gold accessories, and he’s ready whenever we are. The song begins and his booming voice makes my audio levels go crazy! We’re dealing with a singer who really sings! You can tell this man is used to projecting for big audiences – wow, I’m charmed. The performances continue in flawless form. After each take, the manager erupts: “That was great! Wonderful! Did ya see that? Ya can’t get better than that!” I feel transported to 1965 – the golden years. Although they feel classic and nostalgic, the songs are almost entirely new ones. The real gem probably has to be, “If He Should Ever Leave You,” if not simply for its unmistakable Tom Jones-ness. That velvety punch. For days after this shoot I will walk down the street singing to myself: “It should be a crime to ever let you go! He should be inclined to keep you very close! No one else compares – you’re a cut above the rest!” The session ends with the classic hit, “Green Green Grass of Home” – one of the most successful singles Tom ever released in his 100+ million records sold career and an ode to his native country of Wales. It’s pretty surreal to be sitting in the bedroom with him as he sings this. He does it in one take – like all the others. It doesn’t quite express my full sentiment when I use the word “professional,” but this is what he embodies. It’s a difference in era and length in career that is so apparent in his performance. It’s amazing. There are handshakes and hugs as we leave and the manager makes one last joke wearing the metal wastebasket over his head (sorry, but it’s true!). There’s a desk covered in new album sleeves waiting for Tom to autograph. Vincent slips one in his bag. He claims for the track list. I say souvenir! Across the country my moms phone rings. She answers and her daughter says, “You’re never going to guess whose room I just left.”
Text by Teresa Eggers
Watch the performance here: http://www.blogotheque.net/Tom-Jones
No. 9 - 'If He Should Ever Leave You,' Tom Jones. Leave it to this 68-year-old crooner to bring true swagger back to pop music. This gem combines Jones' trademark confidence and swinging delivery with modern production, care of Future Cut. The finished product is neither a redundant throwback nor a desperate attempt for an old dog to learn a new trick. This is a brand-new classic, brought to life by an old favorite. http://www.spinner.com/2008/12/12/best-songs-of-2008-no-9/
Global superstar Tom Jones is "opening up shop" once more with the release of 24 Hours, his first U.S. album release in more than 15 years. The exuberant performer first rose to fame in the early 1960s, but it was his hit single "It's Not Unusual" in 1965 that made him a living legend. Jones' clean-cut style, infectious blues and energetic pop tunes have helped him sustain a long career that continues unabated. Listen to the session online - including a performance of Seasons - athttp://www.npr.org/templates/story/story.php?storyId=100055024 With 24 Hours, perhaps his most intimate album to date, Jones opted to get more involved in the songwriting process. The result is a highly personal collection, including a soul-baring track written for his wife of more than 50 years, Linda. The album also features a cover of Bruce Springsteen's "The Hitter" and a collaboration with Bono.
The genre-crossing crooner talks with host David Dye about how the vintage sound of new music by Amy Winehouse and Duffy inspired him to recapture the essence of his '60s-era work. He'll also share some priceless memories of encounters with Elvis Presley and Otis Redding.
A Great Tradition: Sex bomb Tom Jones continues longtime Las Vegas affair with MGM Grand performances. Tom Jones is on the phone while catching some rays by his pool in Beverly Hills, which even in January is exactly where you would expect him to be. Sure, he's 68, but that hasn't stopped him from being Tom Jones. In fact, he has worked his age into the persona. The singer didn't want to make just another album for "24 Hours," his first U.S. release in 15 years. So he made one rich in autobiographical resonance, with both the music and lyrics tying back to his 43 years as a sex bomb. It all started with Bono, explains the singer, who plans to perform as many as six of the new songs in his MGM Grand shows through Jan. 28. The two met in a Dublin nightclub more than two years ago, and Jones said, "I'd love you to write me a song." "(Bono) said, 'OK, but if I'm going to write one, it's going to be about you.' " The two went on to discuss Jones' past, with Bono confessing, "When he was a kid, he saw me on TV and he liked the way I dressed as well as the way I sounded. So all that stuff is in the song." When the two met up again in another club -- this time in London -- Bono sang the rough product of his labors with U2-mate The Edge and writing partner Simon Carmody.
The tongue-in-cheek ditty called "Sugar Daddy" captures the Tom Jones swagger by proclaiming "I'm the last great tradition" and boasts, "You don't send a boy to do a man's job." But it also confesses, "the older I get, the better I was."
Jones says he and his manager son, Mark Woodward, have talked about pop singers aging and people saying, "Maybe he shouldn't be doing this anymore."
"But you get a blues singer, and nobody's concerned about his age. ... With blues singers, people seem to enjoy that these men have experienced life. And I think maybe this is what happened with this (album) as well.
"Maybe it's because I've been around a long time, I think these songs are more fitting now."
After Bono went through the lyrics, he pointed out "That information you gave me in Dublin, there's a lot of that in this song."
"I said, 'Well, do I get writer credit?'
"He said, 'No.' He didn't even think about it," Jones recalls with a chuckle.
The singer remembered Bono's approach -- and took corrective action for royalties -- when the original recording sessions stalled out.
The first idea from S-Curve label head Steve Greenberg was to reinvent forgotten or little-known songs. That yielded the opening tune, Tommy James' "I'm Alive," as well as an eyebrow-raising Bruce Springsteen obscurity about a jaded boxer, "The Hitter."
Those covers were fine, but "we didn't have enough of them," the singer says. So Jones sat down with writers to help steer the direction for original tunes, and ended up with writing credits on seven of them.
For instance, he says, writer Lisa Greene asked him, "You've been married a long time. Have you ever done a song about that? How have you kept that going so long?"
And his reply, "No matter where I've been or what I've done, the road always leads back to Linda," his wife of almost 52 years. "The Road" became one of several songs where "I was coming up with ideas, and the songwriters were working on that. They would come up with lyrics, and I would put them into my own words."
Musically, Jones admits the '60s-cool sound of Amy Winehouse's blockbuster "Back to Black" album helped chart a course. He had suggested a retro approach in the past, but says record executives told him, "Oh no, that's old stuff. It won't work again."
"So thank God, when 'Back to Black' came out. I said, 'There you go. It can work.' It's in a new form with new sounds, but the arrangements, the vibrance of it, is definitely '60s."
The first U.K. single, "If He Should Ever Leave You," even samples the horn riff from Jones' 1967 song "I'll Never Let You Go." The singer says he found a great vintage microphone in a Los Angeles studio, which is important because he has been known to blow them out.
In the old days, he says he could hit a high C, "but I've sort of gone from a tenor to a baritone. I've lost about a tone off the top. But I've gained a lot on the bottom," as heard on the album's title track. "My lower register is much fuller than it was when I was in my 20s."
Last March, the keepers of the fan site Tom Jones International made an onstage presentation marking the singer's 40 consecutive years on the Strip. "Now Vegas is looked at as being cool. It was always cool to me," he says.
He misses the legendary entertainers from the old days, but he doesn't miss doing two shows a night. "I can go to a restaurant now rather than have my food between shows in the dressing room." MIKE WEATHERFORD
