Tom Jones International

Tomorrow: If nothing that’s time-sensitive pops up demanding to be posted, some never-before-seen video of Sir Tom that you won’t want to miss. It is very funny. Really.

What is it with the mainstream daily papers these days? In Florida, with the exception Sean Daly in his TampaBay blog, Tom was either ignored except for a brief listing in the event section or written about with crap (yes “crap!”) about his panty-toting fans. The Miami New Times reviewer is different and I want to thank the reviewer, John Hood, who sent this himself. Thanks, also, to Gail and Dave who sent it. I just didn’t get to the computer before 9 am Pacific time to post it.

Review Preview:
Tom Jones Wows Miami Beach’s Fillmore Gleason

Yep, you heard correctly. Sir Tom swung into town over the weekend and left the Magic City’s most notorious Beach in a dizzy. Not that it’s unusual, mind you. After all, that’s what Tom Jones does. And it’s what he’s been doing for over four decades.

Saturday Night: Tom Jones at The Fillmore Gleason

By John Hood in Concert Review/Monday, Apr. 27 2009 @ 8:30AM/Miami New Times

Better Than: A time-capsule set to 1971

Of all the many remarkable things to be said about seeing Tom Jones stage these days — and trust me, there are many remarkable things to be said — perhaps the single most remarkable thing is how seamlessly the songs from his latest longplayer — 24 Hours — fit in with his collection of hits. In fact, many of the tracks seem to come from the very same peachy-keen playbook as his classics. And the best of them could easily have become hits of their own.

Naturally, last night’s show opener would’ve worked as well then as it does now. After all, it’s Tommy James and the Shondells’ I’m Alive, the B-Side to ’69’s Crystal Blue Persuasion, which makes it straight from Jones’s prime. But so would’ve the Bacharachian If He Should Ever Leave You, the bossa-tinged In Style and Rhythm and the swinging Give a Little Love, and Jones co-wrote all three relatively recently.

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Don’t forget to check back a bit later for my favorite preview video clip from This Is Tom Jones: What’s New Pussycat? the new DVD available from TimeLife.

Wendy Hoskins from the Bay area, sent this review to TJI.com and she manages to bring the show experience alive. The only correction is that Sir Tom has fans — and you see them at his shows — in the newest adult (age 18 to 29) generation. But, Wendy’s meaning is certainly clear. His music really does span generations. One note: T-shirts are being priced and will soon be available on this site if the right price can be found.

I am a “new generation” Tom Jones fan (I am 42 years old). I want to tell you how much I loved his concert at the MGM last Saturday. This was only my 2nd concert of Tom’s. My friend Cindy and I saw him in Reno last year. After the third song of that concert, I was hooked. So when he set his concert dates in Las Vegas, we knew we had to go. This time we took 2 other ladies so they could get the full Tom Jones experience. I bought the tickets 3 months in advance, so we were able to get row A, seats 1-4. I also bought the four of us “Got Jones?” T-shirts from eBay.

When we arrived at the concert, the first thing I noticed was how nice the ushers were. They commented on our shirts and offered to take pictures of us. When we reached our seats, I could hardly contain my excitement. We were only a few feet from the stage. As we had our drinks, they sat the person in seat 5 next to us. Our new friend, Anna from Toronto, said that she had the same shirt in her room. We told her to go get it. Now we were an army of 5, ready to battle for Tom’s attention.

The show started and I was wowed from the start. He came out in his classy/sexy white jacket. He sang “I’m Alive” and I thought; its official I am in heaven. His voice was smooth and strong and he can still hold those long notes. I was so impressed with his connection of the crowd, he is such a pro.

Then after a few songs he made it over to us. We all screamed as he noticed our shirts. He opened his arms, gave us a smile and a little bow. He came back over to us a few more times, acknowledging us as I screamed like a 14 year old girl. During You Can Leave Your Hat On he pulled up his coat and shook his butt at us. You only imagine my reaction. And during the song Help yourself he winked at me, I have witnesses!

His song set was great, his band was top-notch and the sound and lighting were awesome. After the concert we got high fives and lots of comments from the ladies leaving. They were happy that we enjoyed the concert so much. I am from a generation that does not have a Tom Jones, Frank Sinatra, Elvis or Johnny Mathis. Thank you ladies for sharing your Tom Jones with us. I am a fan for life. Watch out, we are planning on seeing him in Reno in August. Say hi to the Got Jones girls if you see us there.

(Pictured from left: Wendy Hoskin, Anna Germenis, Cindy Carter, Alli Bodo, and Terez Gross.)

Jones pronounces ‘he’s alive,’ and then proves it

By Sarah Rodman/Boston Globe / March 3, 2009

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.

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If you checked this site yesterday in either the morning or afternoon, you may have been unable to watch video the in the post below. It is now working just fine, so check it again. It’s a treat.

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“NoDepression.com is a very interesting music site that began life in 1995 as an alternative country music quarterly. Here is their review of 24 Hours — another very good review from a US outlet that seems to have the respect of the industry.




Tom Jones doesn’t get enough credit. Older than most pop singers of the late 1960s, Jones was seen as the guy trying to connect with the young and hip crowds while appealing to a much older demographic at the same time. The fact that his concerts became known for the tossing of women’s undergarments made it hard for many music fans to take him seriously.




But Jones was always more than he seemed. His music fit right at the intersection of soul, pop, country and rock, and he was obviously in love with all of it. DVDs of his late-’60s TV variety program display his range of interests and his delight in watching other performers.




His singing was bold, brassy, defiantly machismo, and, at age 68, it still is. For this, his first new release in almost ten years, Jones hooks up with a young English production team called Future Cut. The first half-dozen songs are retro-soul club anthems that could keep the dance floor moving in sequence with Joss Stone or Amy Winehouse.




After a goofy attempt by Bono and the Edge of U2 to force Jones to tell us he’s still sexy when we’ve obviously caught on just by listening, the second half of the record is filled with deeper, more nuanced character songs. Need (Moderator’s Note: Think he means Never), one of many originals Jones co-wrote with his producers, is an impassioned plea to a lover moving away. On The Hitter, a nearly-forgotten gem from Bruce Springsteen’s 2005 album Devils & Dust, he pulls out all the stops, as Jones embodies in turn pride, regret, shame, passion, love, hope, and resignation. You can hear him feeling every emotion in this complex song, the tour de force of a man who has more music in him than most everyone thinks. —Steve Pick

Sir Tom opens at the MGM Grand Thursday night and, on Thursday, we’ll let you what we think is in store.

Meanwhile, everyone’s favorite “Frequently-In-Las-Vegas-Canadian-Fan” (FILVCF) posted a bit of video from November at the same venue. A bit far away, but still fun.

The photo, by the way, is not from the performance, but it was added as a swell touch at the end. Don’t you like it?

Today napster.com (remember Napster?) said, “Stick in the game long enough, and it’s possible that the wheel will spin back around and hit your number again. Easier said than done, however, and few would have the stamina or the chops more than 40 years later to revisit the field of initial success. Tom Jones still has both though, and proves here that not only is he the spiritual father of Mark Ronson-esque British soul/rock, but he’s still a player to be reckoned with. Smartly accompanied by the production team of Future Cut, and equipped with material that recalls his heyday from Tommy James and the Shondells, Bruce Springsteen, and Bono and The Edge, Tom’s in full, passionate voice. What’s new? Not much, but if it ain’t broke…”

Anyway, here’s the video of Tom Jones singing In Style and Rhythm live on stage.

(Note: This is a RealPlayer file. Please let me know if it’s easier to view than a QuickTime file. Thanks.)

Tomorrow on TJI.com be prepared to see a video of Tom Jones doing something you probably never saw him do before.

Note: Nielson SoundScan, the company that tracks sales, said CD sales in 2008 were down 15 percent. Overall music sales are up 10 percent (digital sales). Vinyl is up — 1.8 million sales in 2008 — an 89 percent increase over 2007 and the highest level Nielson SoundScan has seen in its 17-year history.

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The world of record — er, CD — charting is a Byzantine, labyrinthine, just plain out-and-out confusing one.

Charts are calculated based on a variety of factors including airplay, sales and downloads. But what station plays the music, where they sell it and the site from which it is downloaded, also play a part. It is very difficult to figure out. This, for example, is Billboard’s explanation.

At any rate, here are the latest chart standings for 24 Hours. At left are the amazon numbers from January 4 and the Official UK Charts Company numbers. At right, clearly, is Billboard. The amazon numbers from both the US and the UK can change at any moment. But, the US number on amazon.com are really terrific considering the relatively small bit of promotion done here compared to Europe. You go, Tom!

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The timely-for-New-Year’s-Eve drinking advice posted to the left from This Week quotes from an earlier article in Q that we posted when it was published last month. If you missed it, it’s worth a download. Just follow the link.

And, to the right, from the January 2009 edition of Q is a review of 24 Hours. (The three stars are out of a possible four.)

If you’re a Tom Jones fan, you must read this! Here is a terrific review of 24 Hours by Tony Sachs from Huffington Post. The last paragraph is so true, so well-worth quoting, as his estimate of Tom Jones’ career is, sadly, so accurate. “Mighty titan” indeed!

He says, “Sadly, though, the words ‘Tom Jones’ and ‘artist’ are rarely mentioned in the same sentence. Tom’s act has long overtaken his artistry in the public consciousness, and a career’s worth of great music has been reduced to a few ’60s pop hits with the visual accompaniment of swiveling hips and airborne women’s underwear. And that’s a shame. Do yourself a service by checking out this mighty titan of pop while he still walks the earth. Pick up a copy of 24 Hours and show Tom Jones the respect he so richly deserves.”

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Tom Jones: Still Doing His Thing And Singing His Song

I love Tom Jones, probably more than any heterosexual male has a right to. Sure, I love his overblown ’60s hits, his too-tight pants, his unbuttoned shirts and medallions and the impish grin that’s caused countless panties and hotel room keys to be flung onstage wherever he’s appeared for the last four decades and change.

But what I really love about Tom Jones is his ability, and his willingness, to sing just about any song in any genre. In his ’60s and early ’70s heyday, he’d do everything from Cabaret to Soul Man to Hi Heel Sneakers, often on the same album. In recent years, his repertoire has included Yaz’s Situation, the Stones’ Gimme Shelter, Iggy Pop’s Lust For Life, and Leadbelly’s Black Betty, to name just a few.

And he doesn’t just sing these songs, he beats them to a bloody pulp. You see, Tom Jones’ voice is not a subtle thing. You want delicate crooning, go elsewhere. But when you’re dealing with a set of pipes as powerful as Mr. Jones’, why go for subtlety? He barrels over any song in his path with that huge, colossal instrument of his, using his trademark mixture of soulful fervor, showbizzy schmaltz, sexual bravado and operatic hysteria.

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The private party mentioned on this site Thursday that Tom and some of the band played Friday was at Apple Computer in Cupertino, California. The photo of Tom looking smashing in his silver boa is from that event and was taken by John Vink.(Although it wasn’t for that reason they did the gig, you should know that the computer wizardry used in Tom’s show is all Mac, so Apple is quite appropriate. Also, this site is completely Mac-based.)

They performed stuff from the regular show and some holiday stuff, including Winter Wonderland, Run Run Rudolph and, maybe, I’ll Be Home For Christmas.

The two video clips we’re posting here are not by any means good video. They’re blurry and you can’t really see the performance the way it should be seen. BUT! After looking at the essential sameness and slickness of the TV music performances over the last couple of months, seeing Tom connecting with an audience — seeing and hearing an audience screaming with approval — just has to make you smile. And, no, no one is putting down the TV productions. But this is much more rare and it’s terrific fun. It’s like you’re there at the party with them.

Here’s It’s Not Unusual and here’s I’m Alive. Also, a brief chat and Tom singing Winter Wonderland, lyric errors and all — and he always handles those bloopers very well. They’re just fun to hear.

Clearly, all involved were having a blast.

Thanks, Dre

The new review of 24 Hours is below.
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By and large, the American critics are liking 24 Hours. This example is from the Orlando Sentinal:




Tom Jones 24 Hours ****




Jim Abbott | Sentinel Pop Music Critic/December 5, 2008




At 68, Tom Jones is an old man.

Yet he stubbornly refuses to act like it, especially on the fiery new studio album, 24 Hours.

“I’m alive!” Jones screams on the opening track that goes by that title. Even above a full-frontal assault of funky electric guitars, Vegas-y backup singers and showy trumpets, Jones refuses to be overshadowed. His voice is so robust that it’s almost frightening.

Oh, the guy is still a lover, too. He shows that, without even sounding ridiculous, on the swaggering pop of If He Should Ever Leave You. It’s all romantic stuff, but the simple sentiments of songs such as Give a Little Love are always delivered with a funky bite.

A big martini might make 24 Hours go down smoother, but it really goes down fine without it.