Rock, Metal

Tom Jones - The Tom Jones' Fever Zone (1968)

2010-04-23T15:17:04Z

Tom Jones - The Tom Jones' Fever Zone (1968)


A1 	Delilah	3:24
A2 	I Know	3:56
A3 	I Wake Up Crying	2:19
A4 	Funny How Time Slips Away	3:42
A5 	Danny Boy	3:57
A6 	It's A Man's Man's World	2:43
B1 	Don't Fight It	2:52
B2 	You Keep Me Hanging On	2:45
B3 	Hold On, I'm Coming	3:20
B4 	I Was Made To Love Her	2:22
B5 	Keep On Running	2:51
B6 	Get Ready	2:28

Tom Jones dives into a soul bag to bring on the hot flashes, lending his sweat-drenched vocal thrusts to hits by Wilson Pickett ("Don't Fight It"), Sam & Dave ("Hold On, I'm Coming"), Stevie Wonder ("I Was Made to Love Her"), and James Brown ("It's a Man's Man's World"). As one might expect, the overblown figures in here -- those strained shouts and some badly gauged dinner-show moments -- but the band crackles and Jones stays true enough to the spirit and energy of the originals to keep things in check. And he even tempers the glitzy heat, harking back to old-style triumphs with stagy editions of Bacharach/David's "I Wake Up Crying" (cut to perfection earlier by Chuck Jackson), perennial country weeper "Funny How Time Slips Away," and all-time war-horse ballad "Danny Boy." Topped off by Jones' grand set-piece hit "Delilah," Fever Zone will have you and your guests screaming for some good scotch to wash those fever-busting aspirin down. ---Stephen Cook, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

Tom Jones - Tom Sings The Beatles (2007)

2010-04-23T14:30:18Z

Tom Jones - Tom Sings The Beatles (2007)


1	We Can Work It Out
2	The Long And Winding Road 
3	Got To Get You Into My Life 
4	Yesterday 
5	Twist & Shout	3.99 M  
6	Can't Buy Me Love 
7	Let It Be 
8	(just Like) Starting Over
9	Lady Madonna 
10	Roll Over Beethoven

Tom Jones became one of the most popular vocalists to emerge from the British Invasion. Since the mid-'60s, Jones has sung nearly every form of popular music — pop, rock, show tunes, country, dance, and techno, he's sung it all. His actual style — a full-throated, robust baritone that had little regard for nuance and subtlety — never changed, he just sang over different backing tracks. On-stage, Jones played up his sexual appeal; it didn't matter whether he was in an unbuttoned shirt or a tuxedo, he always radiated a raw sexuality, which earned him a large following of devoted female fans who frequently threw underwear on-stage. Jones' following never diminished over the decades; he was able to exploit trends, earning new fans while retaining his core following.

Born Thomas John Woodward, Tom Jones began singing professionally in 1963, performing as Tommy Scott with the Senators, a Welsh beat group. In 1964, he recorded a handful of solo tracks with record producer Joe Meek and shopped them to various record companies to little success. Later in the year, Decca producer Peter Sullivan discovered Tommy Scott performing in a club and directed him to manager Phil Solomon. It was a short-lived partnership and the singer soon moved back to Wales, where he continued to sing in local clubs. At one of the shows, he gained the attention of former Viscounts singer Gordon Mills, who had become an artist manager. Mills signed Scott, renamed him Tom Jones, and helped him record his first single for Decca, "Chills and Fever," which was released in late 1964. "Chills and Fever" didn't chart but "It's Not Unusual," released in early 1965, became a number one hit in the U.K. and a Top Ten hit in the U.S. The heavily orchestrated, over the top pop arrangements perfectly meshed with Jones' swinging, sexy image, guaranteeing him press coverage, which translated into a series of hits, including "Once Upon a Time," "Little Lonely One," and "With These Hands." During 1965, Mills also secured a number of film themes for Jones to record, including the Top Ten hit "What's New Pussycat?" (June 1965) and "Thunderball" (December 1965).

Jones' popularity began to slip somewhat by the middle of 1966, causing Mills to redesign the singer's image into a more respectable, mature tuxedoed crooner. Jones also began to sing material that appealed to a broad audience, like the country songs "Green, Green Grass of Home" and "Detroit City." The strategy worked, as he returned to the top of the charts in the U.K. and began hitting the Top 40 again in the U.S. For the remainder of the '60s, he scored a consistent string of hits in both Britain and America. At the end of the decade, Jones relocated to America, where he hosted the television variety program This Is Tom Jones. Running between 1969 and 1971, the show was a success and laid the groundwork for the singer's move to Las Vegas in the early '70s. Once he moved to Vegas, Jones began recording less, choosing to concentrate on his lucrative club performances. After Gordon Mills died in the late '70s, Jones' son, Mark Woodward, became the singer's manager. The change in management prompted Jones to begin recording again. This time, he concentrated on the country market, releasing a series of slick Nashville-styled country-pop albums in the early '80s that earned him a handful of hits.

Jones' next image makeover came in 1988, when he sang Prince's "Kiss" with the electronic dance outfit the Art of Noise. The single became a Top Ten hit in the U.K. and reached the American Top 40, which led to a successful concert tour and a part in a recording of Dylan Thomas' voice play, Under Milk Wood. The singer then returned to the club circuit, where he stayed for several years. In 1993, Jones performed at the Glastonbury Festival in England, where he won an enthusiastic response from the young crowd. Soon, he was on the comeback trail again, releasing the alternative dance-pop album The Lead and How to Swing It in the fall of 1994; the record was a moderate hit, gaining some play in dance clubs. Jones enjoyed an even bigger hit with 1999's Reload, which featured duets with an array of contemporaries and those he influenced. Three years later, he worked with Wyclef Jean to produce Mr. Jones, and 2004 brought another collaboration, Tom Jones and Jools Holland. In 2008, he released another commercial and critical success, 24 Hours, which featured Jones' classic sound backed by contemporary productions from Future Cut, Nellee Hooper, and Betty Wright. --- D&J, musicofsixties.blogspot.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

Tom Jones – Praise And Blame (2010)

2010-07-24T14:09:45Z

Tom Jones – Praise And Blame (2010)


01. What Good Am I? 03:51 
02. Lord Help 03:42 
03. Did Trouble Me 04:16 
04. Strange Things 03:01 
05. Burning Hell 03:26 
06. If I Give My Soul 03:30 
07. Don’t Knock 02:17 
08. Nobody’s Fault But Mine 03:41 
09. Didn’t It Rain 03:21 
10. Ain’t No Grave 03:09 
11. Run On 03:59

Bass – Dave Bronze
Drums – Jeremy Stacey
Guitar, Mellotron, Banjo, Omnichord – Ethan Johns
Organ – Christopher Holland
Organ [Farfisa] – Augie Meyers
Organ [B3], Piano – Booker T. Jones
Steel Guitar – BJ Cole
Backing Vocals – Gillian Welch, Dave Rawlings, Allison Pierce
Bass – Ian Jennings
Harmonium – Richard Causon
Drums – Henry Spinetti
Piano – Benmont Tench
Vocals – Tom Jones

This gospel and blues set is the back to basics gambit from Sir Tom. It’s worked for Johnny Cash and Neil Diamond in the past, this stripping of vogues to expose the singer’s raw talent: perversely, it endeared both to younger audiences. Yet Jones is a different entity: his charm was never based on authenticity. In his early career he shifted his pelvis and hollered cracking pop songs, and even his big weepy ballads were knowingly camp. His comeback period – dreamed up by his son/manager – was all irony and winks, targeted at hen parties not critics. Blessed with a soulful voice, he made an unveiled Faustian pact long ago.

Thus a move that should by rights be applauded and affecting – this is, after all, a 70-year-old singing, often, about death – doesn’t come off. It’s a gauche mix of church and the rock’n’roll chestnuts he grew up on. Outside Robert Plant, it’s hard to see who it’ll appeal to. A sincere reimagining of more arch songs – like Cash doing Hurt – would have grabbed our throats and hearts. This, though, is an old fella singing songs that mean little to anyone outside his generation. It’s like hearing war stories from wizened veterans: you should, by any moral compass, be impressed and attentive, but the guilty, undeniable truth is... you’re a little bored.

Ethan Johns (Kings of Leon, Paolo Nutini) produces – minimally – and guests include Gillian Welch, Dave Rawlings and BJ Cole. Songs were recorded live and Tom relishes tackling the gothic-religious strains of Dylan’s What Good Am I and the bluesy tropes of John Lee Hooker’s Burning Hell. He’s no slouch barking Sister Rosetta Tharpe’s Strange Things or Mahalia Jackson’s Didn’t It Rain. He means it, sure. Yet these songs were what those people did, and Tom Jones is best at doing something else. Tom without flash is like The Wizard of Oz without a curtain. If you seek proof that he can cut it, and will live forever, look at moments in his scrapbook like I’ll Never Fall in Love Again or I’m Coming Home, not here. --- Chris Roberts, BBC Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

Tom Jones – Spirit In The Room (2012)

2012-05-24T16:33:23Z

Tom Jones – Spirit In The Room (2012)


01 – Tower of Song
02 – (I Want To) Come Home
03 – Hit or Miss
04 – Love and Blessings
05 – Soul of a Man
06 – Bad As Me
07 – Dimming of the Day		play
08 – Travelling Shoes		play
09 – All Blues Hail Mary
10 – Charlie Darwin

Acoustic Guitar, E-Bow, Keyboards, Chamberlin, Percussion, Ukulele  – Ethan Johns
Harmonium, Piano, Electric Piano [Wurlitzer], Organ – Richard Causon
Bass Guitar – Sam Dixon
Drums, Percussion – Stella Mozgawa
Double Bass [String Bass] – Ian Jennings
Choir – Stile Antico
Vocals – Tom Jones

Full marks for nerve to Tom Jones for opening his second successive album of stripped-down gravitas rock with Leonard Cohen's Tower of Song, transformed from hotel-bar funk into a finger-picked country blues. Cohen's version is a mordant, blackly comic meditation, but Jones can't play lines about "born with the gift of a golden voice" for laughs and so he turns it, unexpectedly and triumphantly, into a eulogy for a life in music. It's also the highlight of this collection mixing covers of rock-aristo songwriters, a couple of well-regarded cults and a sprinkling of blues, soul and gospel. It's never as rollicking as 2010's Praise and Blame, though a version of Tom Waits' Bad As Me will sound agreeably demented to anyone who's never heard the original. Odetta's Hit or Miss answers its own question, sadly, in its transition to country-pop. Most intriguing of all is the closing version of the Low Anthem's spectral Charlie Darwin, into which a full choir is inserted, as if to compensate in big dollops for the fact that doing "spectral" has never been among Jones's noted virtues. ---guardian.co.uk

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

Tom Jones – The Mail (2011)

2011-11-22T19:20:46Z

Tom Jones – The Mail (2011)


01 – Give A Little Love 
02 – Thunderball 
03 – If He Should Ever Leave You 
04 – Delilah 
05 – Mama Told Me Not To Come				play 
06 – Hard To Handle 
07 – I’ll Never Fall In Love Again 
08 – He’ll Have To Go [live at Wembley]
09 – Green Green Grass Of Home 
10 – You Can Leave Your Hat On 
11 – If Only I Knew 
12 – Sexbomb [Extended Edition] 
13 – It’s Not Unusual						play 
14 – What Good Am I [Bonus Track]

He’s one of Britain’s best-known singers and has enjoyed an extraordinary career spanning six decades. His single It’s Not Unusual made No 1 in 1965 – and his 2010 studio album Praise And Blame hit No 2. Now, in a unique CD for Mail on Sunday readers – that will be FREE inside next week’s paper – Sir Tom Jones has selected 14 of his favourite numbers from across the years, including many of his biggest and best-loved hits. Here, he tells the stories behind these brilliant songs… --- tomjones.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back