1 00:00:15,436 --> 00:00:22,516 Speaker 1: Pushkin. Hey everyone, Today we'll hear Rick Rubin talk to 2 00:00:22,556 --> 00:00:26,836 Speaker 1: one of his all time favorite vocalists, Tom Jones. In 3 00:00:26,876 --> 00:00:29,276 Speaker 1: the mid sixties, when artists like The Beatles and Bob 4 00:00:29,316 --> 00:00:33,036 Speaker 1: Dylan were starting a counterculture revolution, Tom Jones was getting 5 00:00:33,076 --> 00:00:35,956 Speaker 1: his start singing old standards in fifties rock and roll 6 00:00:36,116 --> 00:00:40,196 Speaker 1: at clubs around South Wales. Jones signed his first record 7 00:00:40,236 --> 00:00:42,556 Speaker 1: deal in sixty four and went on to release now 8 00:00:42,636 --> 00:00:46,276 Speaker 1: timeless hits like It's Not Unusual and Green Green Grass 9 00:00:46,356 --> 00:00:49,916 Speaker 1: of Home. With the soulful baritone and unique interpretation of 10 00:00:49,956 --> 00:00:53,756 Speaker 1: American arm being gospel, Jones became a mainstay at hip 11 00:00:53,796 --> 00:00:57,796 Speaker 1: cabaret clubs in London, New York, and Vegas. It became 12 00:00:57,876 --> 00:01:01,076 Speaker 1: commonplace for female fans to throw their underwear on stage 13 00:01:01,156 --> 00:01:04,596 Speaker 1: during his performances. Of course, that later became a trope 14 00:01:04,596 --> 00:01:08,716 Speaker 1: of the sex symbol crooner. On today's episode, Tom Jones 15 00:01:08,716 --> 00:01:12,356 Speaker 1: shares stories with Rick from his remarkable career, including the 16 00:01:12,396 --> 00:01:14,236 Speaker 1: first time he met Elvis on a movie set in 17 00:01:14,316 --> 00:01:16,596 Speaker 1: Hollywood and the night he turned down an invitation to 18 00:01:16,676 --> 00:01:18,996 Speaker 1: join Little Richard on stage in La out of fear 19 00:01:19,036 --> 00:01:22,276 Speaker 1: he'd be deported. He also talks about why he thought 20 00:01:22,276 --> 00:01:25,516 Speaker 1: Bert Backer Act's lyrics to What's New Pussycat or a joke? 21 00:01:25,716 --> 00:01:30,876 Speaker 1: The first time he heard of this is broken record 22 00:01:31,196 --> 00:01:33,956 Speaker 1: line of notes for the digital age. I'm justin Mirichmond. 23 00:01:34,596 --> 00:01:37,836 Speaker 1: Here's Rick Rubin and Tom Jones. The last time I 24 00:01:37,836 --> 00:01:41,716 Speaker 1: saw you was I want to say seven, seven or 25 00:01:41,756 --> 00:01:46,396 Speaker 1: eight years ago in Las Vegas, backstage after you, after 26 00:01:46,396 --> 00:01:49,556 Speaker 1: you sang and hit. It was beautiful night for me. 27 00:01:49,996 --> 00:01:51,796 Speaker 1: I guess it was a regular night for you, because 28 00:01:51,796 --> 00:01:55,316 Speaker 1: that's what you do all the time. It was a 29 00:01:55,356 --> 00:01:57,356 Speaker 1: long time ago, though, it was longer than because I 30 00:01:57,356 --> 00:01:59,916 Speaker 1: haven't been a Vegas now for about twelve years. Could 31 00:01:59,956 --> 00:02:02,996 Speaker 1: it be that long? I can't believe it. Yeah, amazing. 32 00:02:03,396 --> 00:02:06,316 Speaker 1: I don't think you've done the Johnny Cash albums either 33 00:02:06,516 --> 00:02:09,636 Speaker 1: at that time. Really, I must have and you you 34 00:02:09,716 --> 00:02:13,196 Speaker 1: hadn't done. I know you wouldn't done the Neil Diamond one. Really, 35 00:02:13,516 --> 00:02:16,116 Speaker 1: Is that true? Yeah? Yeah? Yeah, because I remember when 36 00:02:16,116 --> 00:02:19,316 Speaker 1: the Neil Diamond one, I called him and said how 37 00:02:19,356 --> 00:02:22,436 Speaker 1: good I thought the album was, and that's it's It's 38 00:02:22,516 --> 00:02:24,876 Speaker 1: quite a while after I saw you. Yeah, yeah, yeah, 39 00:02:24,916 --> 00:02:27,276 Speaker 1: that was a good one. I liked that one too. Yeah, 40 00:02:27,316 --> 00:02:29,636 Speaker 1: I love that album. I think it's the best album 41 00:02:29,716 --> 00:02:33,636 Speaker 1: he's ever done. Wow, that's incredible. Yeah. I loved him 42 00:02:33,796 --> 00:02:36,476 Speaker 1: since young, like you, you know, like like same era 43 00:02:36,596 --> 00:02:39,196 Speaker 1: of I saw you guys both when I was a 44 00:02:39,276 --> 00:02:41,836 Speaker 1: kid growing up on TV. Yeah, and I got to 45 00:02:41,876 --> 00:02:45,356 Speaker 1: see you perform when I was young. My parents brought 46 00:02:45,356 --> 00:02:48,796 Speaker 1: me to see you at Westbury Music Fair on Long Island. 47 00:02:49,436 --> 00:02:53,796 Speaker 1: So I saw you. Yeah, probably sometime in the seventies, 48 00:02:53,796 --> 00:02:57,556 Speaker 1: I would imagine, would that makes sense? Yeah? But with Neil, 49 00:02:57,676 --> 00:03:00,156 Speaker 1: you know, we started at the same time in the sixties. 50 00:03:01,036 --> 00:03:04,276 Speaker 1: I remember meeting him in London in sixty five, you 51 00:03:04,316 --> 00:03:06,796 Speaker 1: know when I when I had it's not unusual and 52 00:03:07,996 --> 00:03:10,316 Speaker 1: he was he was writing then for different people, you know. 53 00:03:11,116 --> 00:03:13,636 Speaker 1: I think he had done something with Lulu. Yeah, he'd 54 00:03:13,636 --> 00:03:16,436 Speaker 1: done a few things with British artists at the time. 55 00:03:16,836 --> 00:03:19,916 Speaker 1: Tell me about the world of music. Was nineteen sixty 56 00:03:19,956 --> 00:03:22,476 Speaker 1: three when you started? Yeah, when I went. I went 57 00:03:22,516 --> 00:03:27,036 Speaker 1: to London in sixty three. I recorded. In sixty four, 58 00:03:27,676 --> 00:03:31,876 Speaker 1: I did a song called Chills and Fever, which was 59 00:03:32,556 --> 00:03:35,436 Speaker 1: which was a sort of a rocket roll thing because 60 00:03:36,196 --> 00:03:40,036 Speaker 1: in those days, Peter Sullivan, the guy that became my 61 00:03:40,156 --> 00:03:45,076 Speaker 1: recording manager, he saw me singing in dancels and clubs 62 00:03:45,076 --> 00:03:48,996 Speaker 1: in Wales, and I was doing basically fifties rock and roll, 63 00:03:49,396 --> 00:03:51,756 Speaker 1: and so he thought that that would be the way 64 00:03:52,476 --> 00:03:54,716 Speaker 1: to get me going, you know. Yeah, So we found 65 00:03:54,716 --> 00:03:58,636 Speaker 1: this song called Chills and Fever, which was done by 66 00:03:58,836 --> 00:04:01,596 Speaker 1: I called Ronnie Love I think his name was. It 67 00:04:01,636 --> 00:04:03,076 Speaker 1: was an R and B record, you know, and we 68 00:04:03,116 --> 00:04:05,996 Speaker 1: sort of we made it more into a rocket roll record, 69 00:04:06,236 --> 00:04:09,236 Speaker 1: and I mean it just it sort of read just 70 00:04:09,276 --> 00:04:12,596 Speaker 1: said slightly but nothing. It was a hit in Australia. 71 00:04:12,836 --> 00:04:16,516 Speaker 1: I remember that. So then we had to rethink, you know. 72 00:04:16,596 --> 00:04:20,916 Speaker 1: And I was doing demos in London, Gordon Mills with 73 00:04:20,996 --> 00:04:23,436 Speaker 1: my manager and he was writing for Leeds Music and 74 00:04:23,996 --> 00:04:26,916 Speaker 1: so I used to do demos for different things and 75 00:04:26,956 --> 00:04:30,396 Speaker 1: then he wrote It's not Unusual and I did the 76 00:04:30,476 --> 00:04:34,636 Speaker 1: demo on it. It was for Sandy Show really, who 77 00:04:34,716 --> 00:04:38,036 Speaker 1: had some hit records at the time, and so when 78 00:04:38,036 --> 00:04:40,516 Speaker 1: I heard it, I said, this is it. You know, 79 00:04:40,556 --> 00:04:43,116 Speaker 1: this sounds like a hit record to me. Yeah, And 80 00:04:43,156 --> 00:04:46,516 Speaker 1: then Peter Sullivan said, well, if you're going to do it, 81 00:04:46,556 --> 00:04:48,516 Speaker 1: you know, we've got to pump it up because it 82 00:04:48,596 --> 00:04:51,476 Speaker 1: was a milder song, you know, it's a sort of 83 00:04:51,476 --> 00:04:54,436 Speaker 1: a Brazil sixty six type feel to it. But I 84 00:04:54,516 --> 00:04:57,756 Speaker 1: was basically fifties rock a roll music. That's where I 85 00:04:57,796 --> 00:05:01,676 Speaker 1: lived really, you know before that. But then you get 86 00:05:01,996 --> 00:05:05,956 Speaker 1: strange with recordings, as I'm sure you know, but it 87 00:05:06,076 --> 00:05:09,076 Speaker 1: sort of starts to lay a path, you know, because 88 00:05:09,196 --> 00:05:12,916 Speaker 1: I did. It's not unusual with brass. People wanted the 89 00:05:12,996 --> 00:05:16,156 Speaker 1: record company anyway, Decca Records, what did more of the same, 90 00:05:16,756 --> 00:05:20,476 Speaker 1: And then Bert Backer acted What's New Pushycat for the 91 00:05:20,516 --> 00:05:23,316 Speaker 1: Woody Allen film, and then I go again, you know, 92 00:05:23,316 --> 00:05:26,516 Speaker 1: with a pop record, and I all the time I 93 00:05:26,556 --> 00:05:30,796 Speaker 1: wanted to do like Wilson Pickett, you know, and I 94 00:05:30,916 --> 00:05:33,556 Speaker 1: was into soul music by that time, but I could 95 00:05:33,596 --> 00:05:37,356 Speaker 1: never get an original song, you know. If I was 96 00:05:37,396 --> 00:05:40,756 Speaker 1: going to do a soul type thing, it was it 97 00:05:40,756 --> 00:05:43,436 Speaker 1: would have to be covers, you know. So What's New 98 00:05:43,476 --> 00:05:45,836 Speaker 1: Pushy Cat? Then we didn't know what to do after that, 99 00:05:46,236 --> 00:05:48,236 Speaker 1: so then I did The Green Green Grass of Home. 100 00:05:48,276 --> 00:05:52,916 Speaker 1: So it's always different things sort of pop up. Originally 101 00:05:52,916 --> 00:05:55,356 Speaker 1: it was more fifties rock and roll for you yeah, 102 00:05:55,396 --> 00:05:57,916 Speaker 1: oh yeah. When I was doing in the clubs and 103 00:05:58,236 --> 00:06:01,316 Speaker 1: pubs and dance halls in Wales where I come from, 104 00:06:02,156 --> 00:06:04,636 Speaker 1: South Wales, that's what I was doing. You know, it 105 00:06:04,676 --> 00:06:07,876 Speaker 1: was Jerry Lee Lewis and Elvis Presley and Fats Domino, 106 00:06:07,996 --> 00:06:10,796 Speaker 1: Chuck Berry, a little rich they were. They were the ones, 107 00:06:10,836 --> 00:06:13,316 Speaker 1: you know when I listened to all the record those 108 00:06:13,356 --> 00:06:17,476 Speaker 1: records today still sound fantastic. Yeah, Little Richard records, it 109 00:06:17,556 --> 00:06:20,956 Speaker 1: sound like they're going to explode. They're so exciting. Oh, 110 00:06:20,996 --> 00:06:24,516 Speaker 1: you know, to get away from those sometimes I'll try 111 00:06:24,516 --> 00:06:28,076 Speaker 1: and listen to the radio nowadays, you know, which which 112 00:06:28,116 --> 00:06:30,876 Speaker 1: says some there's some decent stuff. But once I start 113 00:06:30,956 --> 00:06:33,996 Speaker 1: to stop playing fifties rock and roll music, I got 114 00:06:34,396 --> 00:06:36,836 Speaker 1: I got a job to get away from it. As 115 00:06:36,836 --> 00:06:40,876 Speaker 1: far as listening is concerned, I'm boogie records, you know. 116 00:06:40,916 --> 00:06:44,036 Speaker 1: I love boogie woogie. You know, Pete Johnson and Albert 117 00:06:44,036 --> 00:06:48,516 Speaker 1: Hammonds and mid Lux Lewis, professor long hair, you know 118 00:06:48,516 --> 00:06:52,356 Speaker 1: those people. I love that kind of stuff. How about 119 00:06:52,356 --> 00:06:55,116 Speaker 1: the blues? Has the blues been a part of your 120 00:06:55,116 --> 00:06:58,756 Speaker 1: repertoire as well listening? Yeah? Well, when I was young ish, 121 00:06:58,876 --> 00:07:01,676 Speaker 1: I was always listening to voices. I liked the way 122 00:07:01,756 --> 00:07:05,796 Speaker 1: people sounded. I think that's what it was. So like 123 00:07:05,916 --> 00:07:10,196 Speaker 1: when I hit Majeleia Jackson sing, Oh my God, you know, 124 00:07:10,236 --> 00:07:13,436 Speaker 1: those those gospel songs came to life. I mean, we 125 00:07:13,436 --> 00:07:17,036 Speaker 1: were singing those songs in chapel, in the Presbyterian Chapel, 126 00:07:17,596 --> 00:07:20,356 Speaker 1: same songs, you know, a lot of them were, but 127 00:07:20,636 --> 00:07:24,956 Speaker 1: not like that. So that got me interested in black 128 00:07:24,956 --> 00:07:29,676 Speaker 1: gospel music and rhythm and blues, you know, but mostly 129 00:07:30,356 --> 00:07:33,796 Speaker 1: New Orleans type. You know. I loved Louis Armstrong. I 130 00:07:33,836 --> 00:07:37,356 Speaker 1: loved that stuff that was coming out of New Orleans. 131 00:07:38,036 --> 00:07:41,396 Speaker 1: The blues. As far as the blues were concerned, Lead 132 00:07:41,436 --> 00:07:44,236 Speaker 1: Belly I'd heard, but my favorite was always Big Bill 133 00:07:44,276 --> 00:07:47,916 Speaker 1: bruns was always more musical to me than some of 134 00:07:47,956 --> 00:07:50,276 Speaker 1: the other ones that came a little later, like Muddy Waters, 135 00:07:50,316 --> 00:07:52,676 Speaker 1: you know, and there was more of sort of electric 136 00:07:52,676 --> 00:07:56,316 Speaker 1: blues with Big Bill Brunsy. He was playing acoustic acoustic 137 00:07:56,356 --> 00:08:01,756 Speaker 1: guitar and like fingerstyle, you know, more than but very rhythmic, 138 00:08:01,796 --> 00:08:05,836 Speaker 1: you know. He was very rhythmic within himself, just playing 139 00:08:05,876 --> 00:08:08,836 Speaker 1: and singing. So as far as the blues was concerned, 140 00:08:08,836 --> 00:08:11,316 Speaker 1: I would say Big Bill Brunsey was was the one 141 00:08:11,316 --> 00:08:14,756 Speaker 1: that I was listening to. There. Have you ever considered 142 00:08:14,756 --> 00:08:18,196 Speaker 1: making a gospel album? Yeah, well, when I did Praise 143 00:08:18,196 --> 00:08:21,916 Speaker 1: and Blame, you know, with Ethan John's we did. We 144 00:08:21,996 --> 00:08:24,876 Speaker 1: did some Ain't No Grave, you know, going to hold 145 00:08:24,876 --> 00:08:27,476 Speaker 1: My Body down in and we did quite a few 146 00:08:27,516 --> 00:08:32,516 Speaker 1: gospel songs then, but I've never actually recorded a whole 147 00:08:32,676 --> 00:08:36,156 Speaker 1: album of gospel songs, which it could happen. And the 148 00:08:36,196 --> 00:08:39,516 Speaker 1: same thing with blues. There's a lot of big Bill 149 00:08:39,556 --> 00:08:43,436 Speaker 1: Brunsey stuff that I would love to I would love 150 00:08:43,476 --> 00:08:46,836 Speaker 1: to do. There's a lot of possibilities. It's always, as 151 00:08:46,836 --> 00:08:49,276 Speaker 1: you know, it's where do I Where do I go 152 00:08:49,356 --> 00:08:53,036 Speaker 1: from here? You know what? But you've got to have 153 00:08:53,116 --> 00:08:56,196 Speaker 1: some kind of theme. You've got to have some kind 154 00:08:56,196 --> 00:08:59,516 Speaker 1: of idea to link the stuff together, as opposed to 155 00:08:59,596 --> 00:09:03,996 Speaker 1: just going in there and recording a mishmash of material. 156 00:09:04,596 --> 00:09:08,556 Speaker 1: Because I like so many different types of songs as well, 157 00:09:08,596 --> 00:09:10,996 Speaker 1: you see, yeah, you know, I mean I still love 158 00:09:10,996 --> 00:09:13,756 Speaker 1: Frankie Lane, you know when Frankie Lane came out, So 159 00:09:13,796 --> 00:09:17,636 Speaker 1: I like those big sort of soulful ballads, you know, 160 00:09:17,716 --> 00:09:20,756 Speaker 1: like I believe. Yeah, But then again that's of a 161 00:09:20,836 --> 00:09:23,916 Speaker 1: gospel nature as well. You see, in the early days 162 00:09:23,956 --> 00:09:26,556 Speaker 1: in Wales, what was the music scene, like you were 163 00:09:26,596 --> 00:09:28,876 Speaker 1: of rock and roll age. It's funny because the perception 164 00:09:28,876 --> 00:09:31,236 Speaker 1: of you is not in the world of rock and roll. No, 165 00:09:31,356 --> 00:09:35,756 Speaker 1: I know, I know, but as I was saying recording 166 00:09:35,796 --> 00:09:39,156 Speaker 1: those songs in my early record, it's it's not unusual, 167 00:09:39,476 --> 00:09:41,196 Speaker 1: you know, and then what's your pushy at it? It 168 00:09:41,316 --> 00:09:45,996 Speaker 1: sort of takes you that way. But my love has 169 00:09:46,036 --> 00:09:50,516 Speaker 1: always been fifties rock and roll music before anything else. Yeah, 170 00:09:50,636 --> 00:09:54,396 Speaker 1: Jerry le Lewis is still Jerry le Lewis. Yeah. And 171 00:09:54,436 --> 00:09:58,996 Speaker 1: I suppose agewise, you were probably contemporary with the Beatles now, yeah, well, 172 00:09:59,036 --> 00:10:03,036 Speaker 1: the same thing. See, we were all the Beatles, the Stones, 173 00:10:03,996 --> 00:10:08,356 Speaker 1: Van Morrison, Joe cockab we were all listening to those 174 00:10:08,676 --> 00:10:12,356 Speaker 1: earlier fifties Walker Role music. When when anybody has asked 175 00:10:12,956 --> 00:10:15,436 Speaker 1: what was the first Walker Role record, it's always Rock 176 00:10:15,476 --> 00:10:18,916 Speaker 1: around the Clock from Blackboat Jungle, you know, from the movie. 177 00:10:19,276 --> 00:10:21,516 Speaker 1: And I know everybody will tell you the same thing, 178 00:10:21,756 --> 00:10:25,236 Speaker 1: all of our age. And then when I when I 179 00:10:25,316 --> 00:10:29,276 Speaker 1: realized that they when I'd asked musicians about them later on, 180 00:10:29,876 --> 00:10:33,436 Speaker 1: that things were might individually would say had never done 181 00:10:33,436 --> 00:10:37,996 Speaker 1: with a rhythm section before. That's why they sounded so hot. So, 182 00:10:38,636 --> 00:10:41,836 Speaker 1: you know, I remember asking Count Basie about it, you know, 183 00:10:41,876 --> 00:10:44,636 Speaker 1: I said, what do you think of rock a room music? 184 00:10:44,676 --> 00:10:47,716 Speaker 1: You know, Why do you think it sounded so different? 185 00:10:47,756 --> 00:10:50,676 Speaker 1: He said, because they spent more money on it. He said, 186 00:10:50,676 --> 00:10:53,916 Speaker 1: this all comes from rhythm and blues really, but those 187 00:10:53,956 --> 00:10:57,316 Speaker 1: early black records that were being made, they didn't have 188 00:10:57,356 --> 00:11:00,156 Speaker 1: the money to spend, you know, to make them sound 189 00:11:00,796 --> 00:11:03,676 Speaker 1: like the records. Then that came later, like when when 190 00:11:03,716 --> 00:11:06,396 Speaker 1: Little Richard then came on the scene. They were black 191 00:11:06,436 --> 00:11:09,516 Speaker 1: records still, you know, but they sounded much better than 192 00:11:09,596 --> 00:11:13,436 Speaker 1: the earlier records. You know that the black entertainers recorded. 193 00:11:14,116 --> 00:11:16,436 Speaker 1: Living in Wales, was it hard to hear this music? 194 00:11:16,916 --> 00:11:19,316 Speaker 1: How did you get to hear it? Yeah? While on 195 00:11:19,356 --> 00:11:22,916 Speaker 1: the radio, you see. But the BBC they had to 196 00:11:22,956 --> 00:11:26,916 Speaker 1: play everything because we didn't have any regional stations, you know, 197 00:11:26,956 --> 00:11:30,156 Speaker 1: we didn't have a gospel station or a country station. 198 00:11:30,316 --> 00:11:33,636 Speaker 1: It was all the BBC. And then there was a 199 00:11:34,556 --> 00:11:39,436 Speaker 1: station that came out of Germany called Radio Luxembourg that 200 00:11:39,596 --> 00:11:42,476 Speaker 1: you could get if you had the right wilet, you know, 201 00:11:42,516 --> 00:11:44,996 Speaker 1: the right radio set you could you could pick that 202 00:11:45,076 --> 00:11:50,316 Speaker 1: up and they played more blues, gospel, country than rock 203 00:11:50,396 --> 00:11:54,156 Speaker 1: and roll. And when I heard something and I thought, 204 00:11:54,196 --> 00:11:56,876 Speaker 1: what is that? You know, why is that different? Because 205 00:11:56,916 --> 00:12:00,116 Speaker 1: you know, I was born in nineteen forty so the 206 00:12:00,116 --> 00:12:03,836 Speaker 1: big band music was still being played, you know, and 207 00:12:03,996 --> 00:12:07,836 Speaker 1: and Frank Sinatra and those singers that sang with bands, 208 00:12:08,436 --> 00:12:10,676 Speaker 1: you know, they were bands that were that were being 209 00:12:11,476 --> 00:12:14,756 Speaker 1: So that was the music. I'm very Lynn you know 210 00:12:14,836 --> 00:12:18,076 Speaker 1: in the war after the war, those songs that Very 211 00:12:18,156 --> 00:12:21,076 Speaker 1: Lynn would sing. So they were the things that I've heard. 212 00:12:21,316 --> 00:12:25,636 Speaker 1: But then you get that occasional American R and B, 213 00:12:25,916 --> 00:12:30,316 Speaker 1: you know, a blues record that would come on or gospel, 214 00:12:30,796 --> 00:12:33,236 Speaker 1: you know, and I knew it was different, and a 215 00:12:33,276 --> 00:12:37,036 Speaker 1: lot of people my age, we were we were being 216 00:12:37,036 --> 00:12:39,036 Speaker 1: influenced by that. You know, when you heard it, you 217 00:12:39,156 --> 00:12:42,476 Speaker 1: think that's different, Why is that different? Why does that 218 00:12:42,516 --> 00:12:45,756 Speaker 1: sound like that? Who is that? And then you look 219 00:12:45,876 --> 00:12:48,596 Speaker 1: you look into it. Then what were the other big 220 00:12:48,716 --> 00:12:51,436 Speaker 1: voices from your youth that you just felt like, these 221 00:12:51,436 --> 00:12:55,236 Speaker 1: are the voices that are inspiring. Well, Frankie Laine was 222 00:12:55,276 --> 00:13:00,476 Speaker 1: definitely one. And Billy Daniels and Old black Magic. You 223 00:13:00,476 --> 00:13:04,036 Speaker 1: know when he sang old black Magic, I get I 224 00:13:04,076 --> 00:13:06,636 Speaker 1: get a kick out of you. You know, that was 225 00:13:06,716 --> 00:13:10,876 Speaker 1: different that he sang it, different to what Frank Sonato did, 226 00:13:11,236 --> 00:13:14,236 Speaker 1: Billy Eckstein when he did I Get a kick it 227 00:13:14,316 --> 00:13:16,596 Speaker 1: was like you know he meant that he was really 228 00:13:16,596 --> 00:13:19,476 Speaker 1: getting the kick it was, you know, yeah, the way 229 00:13:19,516 --> 00:13:23,356 Speaker 1: with the words so oh in Tennessee Ernie Ford. When 230 00:13:23,396 --> 00:13:26,676 Speaker 1: I first heard those boogie records that Tennessee Ernie Ford 231 00:13:26,716 --> 00:13:30,356 Speaker 1: did Catfish Boogie and Black Betty Boogie, and I think 232 00:13:30,396 --> 00:13:34,516 Speaker 1: they were the beginning of that rock and roll sound 233 00:13:34,996 --> 00:13:36,636 Speaker 1: you know that was being done because it was a 234 00:13:36,676 --> 00:13:40,196 Speaker 1: heavily piano I think it was Moon Mulligan was playing 235 00:13:40,196 --> 00:13:45,116 Speaker 1: piano I think on those records, so that they were 236 00:13:45,156 --> 00:13:47,956 Speaker 1: definitely different, but they were boogie records. You see. Were 237 00:13:47,956 --> 00:13:51,836 Speaker 1: you a fan of any of the previous generation singers 238 00:13:51,836 --> 00:13:54,996 Speaker 1: like the Sinatras that came before rock and roll was 239 00:13:55,036 --> 00:13:58,716 Speaker 1: well or not so much, not so much afterwards. Funnily enough, 240 00:13:59,156 --> 00:14:04,596 Speaker 1: I learned to appreciate Sinatra when I got older. No, 241 00:14:04,836 --> 00:14:07,996 Speaker 1: I wasn't. I wasn't a fan of of that music, 242 00:14:08,596 --> 00:14:11,116 Speaker 1: you know, and roll. When rock and roll kicked in, 243 00:14:11,156 --> 00:14:12,556 Speaker 1: it was like a breath of fresh air. You know, 244 00:14:12,596 --> 00:14:15,476 Speaker 1: it was like, oh my god, you know, this is 245 00:14:16,156 --> 00:14:21,516 Speaker 1: this is tremendous. And all the musicians, you know, when 246 00:14:21,556 --> 00:14:24,396 Speaker 1: singers at the time hated it, you know, the established 247 00:14:24,436 --> 00:14:28,596 Speaker 1: singers because they couldn't do it, yeah, you know, And 248 00:14:28,636 --> 00:14:31,516 Speaker 1: it's a strange thing because I was talking to musicians 249 00:14:31,996 --> 00:14:34,956 Speaker 1: when I was in the fifties. I was working in 250 00:14:34,996 --> 00:14:38,836 Speaker 1: a glove factory making gloves, and all these glove cutters, 251 00:14:38,876 --> 00:14:42,236 Speaker 1: these guys that were making the gloves by hand, they 252 00:14:42,276 --> 00:14:44,996 Speaker 1: were musicians, you know, they were amateur musicians, are playing 253 00:14:44,996 --> 00:14:48,076 Speaker 1: in dance bans and everything, and rock and roll would 254 00:14:48,116 --> 00:14:50,276 Speaker 1: come on the radio and I would be like with 255 00:14:50,356 --> 00:14:54,076 Speaker 1: the ruler, you know, banging this desk. Work to do 256 00:14:54,236 --> 00:14:57,956 Speaker 1: one too was like Jesus. So they said, what is 257 00:14:57,996 --> 00:15:00,716 Speaker 1: that crap? You know? And I said, well, what's the 258 00:15:00,716 --> 00:15:04,676 Speaker 1: matter with you? It's tremendous. And they were trying to 259 00:15:04,716 --> 00:15:08,196 Speaker 1: get me to listen to, you know, other other music, 260 00:15:08,636 --> 00:15:11,476 Speaker 1: and I said, nah, no, this this is it, and 261 00:15:12,156 --> 00:15:14,476 Speaker 1: they said, well it's it's it's nothing. It's easy to do. 262 00:15:14,836 --> 00:15:16,796 Speaker 1: Then I would go and watch them in these bands 263 00:15:16,836 --> 00:15:19,596 Speaker 1: that they were playing in and they would try and 264 00:15:19,636 --> 00:15:22,676 Speaker 1: play them, you know, and they couldn't do it. They 265 00:15:22,716 --> 00:15:27,116 Speaker 1: just could not do it. It's a strange thing. Elvis 266 00:15:27,156 --> 00:15:28,876 Speaker 1: Presley used to talk about it when he first went 267 00:15:28,916 --> 00:15:33,276 Speaker 1: on television to try and get those TV bands in America, 268 00:15:33,476 --> 00:15:37,156 Speaker 1: like the Dorsey brothers. When he went on there, they 269 00:15:37,196 --> 00:15:40,356 Speaker 1: couldn't play it. Yeah, Quincy Jones was telling me, he said, 270 00:15:40,396 --> 00:15:43,596 Speaker 1: they it wasn't happening. Yeah, and until he until he 271 00:15:43,636 --> 00:15:47,676 Speaker 1: brought his rhythm section in, you know. So it's a 272 00:15:47,716 --> 00:15:50,956 Speaker 1: strange thing. And boogie, you know, boogie music is the same. 273 00:15:51,316 --> 00:15:53,596 Speaker 1: You know a lot of piano players they don't think 274 00:15:53,676 --> 00:15:56,916 Speaker 1: much of boogie boogie, but get him to play it. Yeah, 275 00:15:56,956 --> 00:15:59,356 Speaker 1: it's the it's a feel thing. It's like, if you 276 00:15:59,396 --> 00:16:02,876 Speaker 1: don't feel it, it's not it's not about playing it right, 277 00:16:03,076 --> 00:16:06,876 Speaker 1: It's about feeling it. And the same the way you sing, 278 00:16:07,236 --> 00:16:10,756 Speaker 1: even though you have essentially what feels like an operatic voice, 279 00:16:11,476 --> 00:16:15,436 Speaker 1: there's a groove always when you're singing. So I asked 280 00:16:15,436 --> 00:16:18,596 Speaker 1: about the blues earlier. It's like it feels like there's 281 00:16:18,356 --> 00:16:24,356 Speaker 1: a groovyness always. Yeah, in your interpretations, you know, there's 282 00:16:24,356 --> 00:16:27,516 Speaker 1: always a blues There's a blues element on all the 283 00:16:27,556 --> 00:16:30,916 Speaker 1: songs that I've done, you know, even the ballads. There's 284 00:16:31,276 --> 00:16:34,996 Speaker 1: I tend to lean towards bluesy notes, you know, whenever 285 00:16:35,076 --> 00:16:39,236 Speaker 1: I can inject them in there. Yeah, you know, it 286 00:16:39,276 --> 00:16:41,356 Speaker 1: sounds more like you, and it makes it feel more 287 00:16:41,396 --> 00:16:44,276 Speaker 1: personal and it makes it feel more soulful and more 288 00:16:44,356 --> 00:16:47,516 Speaker 1: from the heart than just singing the notes of the song, 289 00:16:47,596 --> 00:16:50,356 Speaker 1: you know. Yeah, well that's that's what I felt about 290 00:16:50,396 --> 00:16:53,276 Speaker 1: a lot of the singers that came prior to to that, 291 00:16:53,396 --> 00:16:56,676 Speaker 1: you know, the big band things, and the songs didn't 292 00:16:56,716 --> 00:17:00,436 Speaker 1: didn't register with me, except for the ballads. I mean, 293 00:17:00,476 --> 00:17:04,636 Speaker 1: I always loved my Funny Valentine, and I always loved 294 00:17:04,836 --> 00:17:08,916 Speaker 1: Autumn Leaves. You're recording of Autumn Leaves is staggering. Oh, 295 00:17:09,156 --> 00:17:11,356 Speaker 1: thank you, I love it. I was twenty four then, 296 00:17:12,836 --> 00:17:16,676 Speaker 1: so good. Yeah, well, let you see that first album 297 00:17:16,716 --> 00:17:19,236 Speaker 1: that I did, you know, along came Jones. I had 298 00:17:19,276 --> 00:17:21,356 Speaker 1: to do that song. I always loved that song since 299 00:17:21,396 --> 00:17:24,996 Speaker 1: I was a child. But then you know, Memphis Tennessee 300 00:17:25,076 --> 00:17:27,556 Speaker 1: is also on There You See Ye and I Need 301 00:17:27,556 --> 00:17:29,356 Speaker 1: You Love It. You know, I was like, whoa, whoa, whoa, 302 00:17:29,356 --> 00:17:33,316 Speaker 1: whoa whoa Dan Dan. You know, it's like on the 303 00:17:33,356 --> 00:17:36,276 Speaker 1: same album. Yeah, how how old were you when you 304 00:17:36,276 --> 00:17:39,356 Speaker 1: went to London? I was twenty three and then I 305 00:17:39,396 --> 00:17:41,676 Speaker 1: recorded that I was twenty four. And how did it 306 00:17:41,716 --> 00:17:43,436 Speaker 1: work out for you to get signed? And tell me? 307 00:17:43,556 --> 00:17:46,356 Speaker 1: Tell me the first experience going to London. Well, when 308 00:17:46,356 --> 00:17:49,436 Speaker 1: I did. I did an audition, you know, they'd heard 309 00:17:49,476 --> 00:17:52,516 Speaker 1: me sing demos, you know, we were sending demos to 310 00:17:52,676 --> 00:17:58,476 Speaker 1: different record companies and Decca Records. Peter Sullivan he heard 311 00:17:59,036 --> 00:18:01,876 Speaker 1: the demo that I sent and asked me, when I 312 00:18:01,956 --> 00:18:04,676 Speaker 1: come to London and do an audition, you know, which 313 00:18:04,676 --> 00:18:07,516 Speaker 1: I did, and he said, fine, we'll sign you if 314 00:18:07,516 --> 00:18:11,036 Speaker 1: you fancy it. You know, for three singles. It's like 315 00:18:11,076 --> 00:18:13,516 Speaker 1: three three three strikes that you're out, you know, It's 316 00:18:13,596 --> 00:18:16,276 Speaker 1: like you get three. Yeah, So we did Chills and 317 00:18:16,396 --> 00:18:19,396 Speaker 1: fever where because he'd he'd heard me singing, you know, 318 00:18:19,436 --> 00:18:21,276 Speaker 1: and saw me in these clubs when he came to 319 00:18:21,276 --> 00:18:23,836 Speaker 1: see me and thought a rock and roll record would 320 00:18:23,836 --> 00:18:26,076 Speaker 1: be the way to go. So that was the first one, 321 00:18:26,676 --> 00:18:28,956 Speaker 1: and then it's not unusual it was a second record, 322 00:18:29,476 --> 00:18:32,556 Speaker 1: so that I was that I was flying, then amazing 323 00:18:32,596 --> 00:18:35,396 Speaker 1: and that and that essentially has been I guess it's 324 00:18:35,436 --> 00:18:38,156 Speaker 1: the song most associated with you still to this day 325 00:18:38,556 --> 00:18:42,036 Speaker 1: of everything. I think, yeah, yeah, it is. Well, well, 326 00:18:42,076 --> 00:18:44,876 Speaker 1: I think maybe because I had a TV show with 327 00:18:44,956 --> 00:18:47,876 Speaker 1: the late sixties early seventies, and we always opened the 328 00:18:47,916 --> 00:18:51,076 Speaker 1: show singing that live. You know, I sang it every 329 00:18:51,116 --> 00:18:54,636 Speaker 1: time live on the show. So I think people heard that, 330 00:18:55,396 --> 00:18:58,036 Speaker 1: you know, more than than anything else. Because anytime anybody 331 00:18:58,076 --> 00:18:59,796 Speaker 1: sees me, if they're going to sing something at me, 332 00:19:00,316 --> 00:19:02,836 Speaker 1: you know it'll be It's not unusual. Tell me about 333 00:19:02,836 --> 00:19:05,316 Speaker 1: the TV experience. What was that like having a TV show? 334 00:19:05,636 --> 00:19:09,676 Speaker 1: It was fantastic because I could then get people on 335 00:19:09,796 --> 00:19:12,756 Speaker 1: that I that I wanted, Like Jerry le Lewis was 336 00:19:12,796 --> 00:19:15,436 Speaker 1: on one of the shows, Little Richard was on the shows, 337 00:19:15,636 --> 00:19:17,996 Speaker 1: and then a lot of motown action of Stevie wondered 338 00:19:17,996 --> 00:19:20,556 Speaker 1: had just come on the scene. Ray Charles came on. 339 00:19:20,836 --> 00:19:26,276 Speaker 1: Janis Joplin came on, and she wouldn't do variety shows 340 00:19:26,516 --> 00:19:29,436 Speaker 1: in those days. You know. She said, I'm only doing 341 00:19:29,436 --> 00:19:32,316 Speaker 1: it because it's you. Wow. And I said, well, thank you, 342 00:19:32,556 --> 00:19:34,116 Speaker 1: and we did it. We did a hell of a 343 00:19:34,236 --> 00:19:37,156 Speaker 1: duet together, I remember. Great. Did you do duets with 344 00:19:37,196 --> 00:19:41,916 Speaker 1: everyone who came on? Everybody? Yes, wow, fantastic. Yeah, it 345 00:19:41,996 --> 00:19:45,156 Speaker 1: was tremendous. And Wilson Pickett, you know, we did Hey 346 00:19:45,236 --> 00:19:48,356 Speaker 1: Jude and Barefoot and Gray and Ray Charles, you know, 347 00:19:48,396 --> 00:19:51,996 Speaker 1: and yeah, everybody everybody that was around in those days. 348 00:19:52,036 --> 00:19:54,956 Speaker 1: But I had a push for Little Richard and Jerry 349 00:19:54,996 --> 00:19:57,596 Speaker 1: Lee Lewis you know, because they said, oh fifties Rocket 350 00:19:57,636 --> 00:20:00,956 Speaker 1: rolled and I said, look please. Once the show was 351 00:20:00,996 --> 00:20:03,596 Speaker 1: a success, I had more of a of a saying it. 352 00:20:03,836 --> 00:20:05,636 Speaker 1: I mean I tried. I wanted to get Chuck Berry. 353 00:20:05,676 --> 00:20:07,956 Speaker 1: I wanted to I wanted to get Fats Domino, you know, 354 00:20:07,996 --> 00:20:10,516 Speaker 1: I wanted a lot of people. But if they weren't 355 00:20:10,516 --> 00:20:13,756 Speaker 1: selling records at the time it was, it was difficult 356 00:20:13,756 --> 00:20:16,556 Speaker 1: to get them on. We have to take a quick break, 357 00:20:16,676 --> 00:20:18,716 Speaker 1: but we'll be right back with more from Rick Rubin 358 00:20:18,876 --> 00:20:25,476 Speaker 1: and Tom Jones. We're back with more of Rick Ruben's 359 00:20:25,476 --> 00:20:30,196 Speaker 1: conversation with Tom Jones. How has the live experience changed 360 00:20:30,236 --> 00:20:32,876 Speaker 1: from the time you were young to now? Just in 361 00:20:32,996 --> 00:20:35,916 Speaker 1: terms of what's it like, What was it like when 362 00:20:35,916 --> 00:20:39,676 Speaker 1: you started, what was monitoring like, what were the audiences like, 363 00:20:39,836 --> 00:20:42,636 Speaker 1: what what were the venues like? Talk about all of 364 00:20:42,636 --> 00:20:45,756 Speaker 1: the different things you've seen over the years, because you've 365 00:20:45,836 --> 00:20:50,356 Speaker 1: you've seen it changed completely from the early days. I imagine. 366 00:20:51,036 --> 00:20:54,596 Speaker 1: Oh yeah, well, growing up in Wales, you know, I 367 00:20:55,156 --> 00:20:57,876 Speaker 1: would saying first of all, in school, you know, and 368 00:20:58,036 --> 00:21:00,676 Speaker 1: in chapel you know, that's what I that's what I 369 00:21:00,756 --> 00:21:03,556 Speaker 1: learned to get in front of an audience gatherings and 370 00:21:03,756 --> 00:21:06,596 Speaker 1: weddings and parties in the house. And I come from 371 00:21:07,036 --> 00:21:10,876 Speaker 1: a large family with the aunties and uncles and cousins, 372 00:21:11,076 --> 00:21:14,156 Speaker 1: and we all were all singers really, So there was 373 00:21:14,196 --> 00:21:17,636 Speaker 1: a lot of singing going on in South Wales, and 374 00:21:17,956 --> 00:21:20,756 Speaker 1: everybody loved singing, you know, and there were a lot 375 00:21:20,796 --> 00:21:23,436 Speaker 1: of singers. So I would go and watch them when 376 00:21:23,436 --> 00:21:25,916 Speaker 1: I was old enough to go into the local club, 377 00:21:26,516 --> 00:21:29,916 Speaker 1: Workerman's Club, and there were singers that would get up 378 00:21:29,956 --> 00:21:33,076 Speaker 1: there and sing songs Frankie Layne songs, you know, and 379 00:21:33,196 --> 00:21:36,316 Speaker 1: songs like my Mother's Eyes. You know. There was this 380 00:21:36,396 --> 00:21:38,836 Speaker 1: big rugby player that used to get up there and 381 00:21:38,916 --> 00:21:43,236 Speaker 1: all a Sunday night, Me and my teenage you know, 382 00:21:43,276 --> 00:21:46,716 Speaker 1: we'd say, oh, come on, Glenog his name was Glenog Evans, 383 00:21:47,156 --> 00:21:49,636 Speaker 1: great name, come on, give us a song, you know, 384 00:21:49,716 --> 00:21:52,996 Speaker 1: sing my mother's eyes, you know, sort of half making 385 00:21:53,036 --> 00:21:56,716 Speaker 1: fun of him. Well by the time he finished, there 386 00:21:56,796 --> 00:21:59,596 Speaker 1: wasn't a dry eye in the place, you know. I mean, 387 00:21:59,716 --> 00:22:03,036 Speaker 1: this felt I could like, I mean, he'd do it, 388 00:22:03,396 --> 00:22:05,796 Speaker 1: you know, he just stand there and sing the shit 389 00:22:05,876 --> 00:22:09,436 Speaker 1: out of my mother's eyes and you think, oh my god, 390 00:22:09,756 --> 00:22:13,916 Speaker 1: that's it. So I got that and then listening, as 391 00:22:13,996 --> 00:22:17,476 Speaker 1: I say, to too early, to the blues and to 392 00:22:17,596 --> 00:22:20,116 Speaker 1: gospel and stuff on the radio. You know, that's what 393 00:22:20,156 --> 00:22:22,756 Speaker 1: I was listening to. So I would I would incorporate 394 00:22:22,796 --> 00:22:26,756 Speaker 1: that sometimes when I would get up in, but I 395 00:22:26,796 --> 00:22:29,836 Speaker 1: would always like, For instance, when I took a rock 396 00:22:29,876 --> 00:22:33,316 Speaker 1: and roll band into a workermen's club. This was in 397 00:22:33,356 --> 00:22:37,076 Speaker 1: the late fifties, they had never seen electric guitars in 398 00:22:37,796 --> 00:22:42,116 Speaker 1: these clubs and drums, you know. But I was saying, 399 00:22:42,156 --> 00:22:44,876 Speaker 1: I was singing with this local band in a YMCA. 400 00:22:45,356 --> 00:22:48,036 Speaker 1: So I said to them, do you fancy coming into 401 00:22:48,116 --> 00:22:50,476 Speaker 1: one of these workingmen's club because I've I used to 402 00:22:50,476 --> 00:22:53,396 Speaker 1: play guitar and saying, you know, just like that in 403 00:22:53,436 --> 00:22:56,316 Speaker 1: these clubs. Would you fancy it? Oh, well, we've never 404 00:22:56,356 --> 00:22:58,356 Speaker 1: done it. I said, well let's try it. So we 405 00:22:58,476 --> 00:23:01,716 Speaker 1: go into this workermen's club, and they had a habit. 406 00:23:02,116 --> 00:23:05,076 Speaker 1: If they didn't like you, they would shout pay him off, 407 00:23:05,636 --> 00:23:09,476 Speaker 1: which means pay you not to play. Yeah, just pay 408 00:23:09,516 --> 00:23:11,556 Speaker 1: them and get them out here. So when we were 409 00:23:11,716 --> 00:23:13,916 Speaker 1: walking in with the amplifiers you know in the guitars 410 00:23:13,916 --> 00:23:17,436 Speaker 1: and the drum, oh Jesus Christ, you know, we don't 411 00:23:17,436 --> 00:23:19,836 Speaker 1: want any of this crap. But I've been there before. 412 00:23:19,916 --> 00:23:22,636 Speaker 1: You see, I've been to these clubs, you know, I'm saying, 413 00:23:22,716 --> 00:23:25,396 Speaker 1: and I get up and saying, oh, look, fellas, you know, 414 00:23:25,516 --> 00:23:28,276 Speaker 1: please give us a shot here because you know me. 415 00:23:28,356 --> 00:23:31,516 Speaker 1: Oh yes, you were lovely Tommy. Tommy's got a lovely voice. 416 00:23:31,676 --> 00:23:34,996 Speaker 1: But we don't want this rock and roll. So I 417 00:23:35,076 --> 00:23:37,196 Speaker 1: said to the band the first time, I remembered it 418 00:23:37,396 --> 00:23:40,396 Speaker 1: so well, and I said, look, we'll start off with 419 00:23:40,596 --> 00:23:43,916 Speaker 1: I believe fully enough. Yes, I said, we'll do it. 420 00:23:44,076 --> 00:23:46,596 Speaker 1: We'll do it. I believe We'll do my mother's eyes, 421 00:23:47,196 --> 00:23:50,116 Speaker 1: we'll do we'll do my Yiddish, your mamma, because I 422 00:23:50,196 --> 00:23:53,396 Speaker 1: heard Billy Daniels do it. So we would do these things. 423 00:23:53,556 --> 00:23:56,436 Speaker 1: And then when everybody was like, yes, yes, we get it, 424 00:23:56,636 --> 00:23:59,116 Speaker 1: we love it, all of a sudden that that that 425 00:23:59,476 --> 00:24:01,276 Speaker 1: you check my nerves and you ran up, you know 426 00:24:01,276 --> 00:24:04,156 Speaker 1: what I mean. It's like they were like in you know. 427 00:24:04,516 --> 00:24:07,956 Speaker 1: So that was it. Yeah. And then in one night 428 00:24:08,076 --> 00:24:11,236 Speaker 1: I remember from just pay them off when we first 429 00:24:11,236 --> 00:24:15,396 Speaker 1: walked in about halfway through the night, the fellow that 430 00:24:15,396 --> 00:24:18,596 Speaker 1: had booked us there, he said, if I called the 431 00:24:18,636 --> 00:24:22,156 Speaker 1: police station and get an extension on the liquor, you know, 432 00:24:22,196 --> 00:24:25,916 Speaker 1: the Liquor Loves only went to like eleven o'clock. He said, 433 00:24:26,316 --> 00:24:29,076 Speaker 1: if I could get the Liquor Loves to twelve, would 434 00:24:29,076 --> 00:24:31,916 Speaker 1: you play until midnight? Wow? I said, yeah, if you 435 00:24:32,156 --> 00:24:34,716 Speaker 1: if you pay us a few you know, a few 436 00:24:34,756 --> 00:24:37,996 Speaker 1: more pounds. So it was all in one night from 437 00:24:38,236 --> 00:24:42,196 Speaker 1: pay them off to could you could you stay till midnight? 438 00:24:42,396 --> 00:24:45,196 Speaker 1: I move, move all the tables and chairs back, and 439 00:24:45,236 --> 00:24:47,956 Speaker 1: they all had a dance, you know. So we took 440 00:24:48,516 --> 00:24:52,036 Speaker 1: rock and roll music into these workingmen's clubs and then 441 00:24:52,076 --> 00:24:54,356 Speaker 1: they would have they'd have dances on different nights of 442 00:24:54,436 --> 00:24:56,516 Speaker 1: the week. And they were starting then to get a 443 00:24:56,556 --> 00:24:59,076 Speaker 1: lot of younger people coming in because it was a 444 00:24:59,156 --> 00:25:02,956 Speaker 1: mother's of moms and dad's place to start with, which 445 00:25:02,956 --> 00:25:06,436 Speaker 1: you wouldn't get a lot of teenagers going into. So 446 00:25:06,476 --> 00:25:08,556 Speaker 1: then they would start to come into these places. So 447 00:25:08,556 --> 00:25:13,356 Speaker 1: we built a reputation of playing pop music really, you know, 448 00:25:13,716 --> 00:25:15,596 Speaker 1: but but a lot of fifties rock and roll. But 449 00:25:15,716 --> 00:25:18,796 Speaker 1: it was in there and they were loving it. So cool, 450 00:25:18,836 --> 00:25:21,156 Speaker 1: What a great story. I love. I love hearing about 451 00:25:21,236 --> 00:25:23,596 Speaker 1: the and you ended up turning them onto rock and 452 00:25:23,716 --> 00:25:27,476 Speaker 1: roll and they ended up loving it. Yeah, And I 453 00:25:27,756 --> 00:25:30,316 Speaker 1: I thought to myself. If it's as long as it's 454 00:25:30,356 --> 00:25:33,116 Speaker 1: presented properly, you know what I mean, as long as 455 00:25:33,156 --> 00:25:36,516 Speaker 1: you go into their place, rather than try to get 456 00:25:36,516 --> 00:25:40,196 Speaker 1: those older people to come into a dance hall with 457 00:25:40,316 --> 00:25:45,636 Speaker 1: a band playing all records being played, rock and roll records. 458 00:25:45,836 --> 00:25:48,036 Speaker 1: You know, they wouldn't be they wouldn't they wouldn't want 459 00:25:48,036 --> 00:25:50,196 Speaker 1: to go and do that. But go to them with 460 00:25:50,276 --> 00:25:53,796 Speaker 1: it and present it in a way. As long as 461 00:25:53,796 --> 00:25:55,876 Speaker 1: you can do some ballads as well, you know, as 462 00:25:55,876 --> 00:25:58,836 Speaker 1: long as you can do stuff that they can understand, 463 00:25:59,476 --> 00:26:02,796 Speaker 1: then you can do Johnny be Good, you know. Yeah, 464 00:26:02,916 --> 00:26:05,796 Speaker 1: what were the first performances you did once you were 465 00:26:05,796 --> 00:26:08,756 Speaker 1: in London? What were those like? Well, it was I 466 00:26:08,836 --> 00:26:10,956 Speaker 1: was doing them mostly in South Wales and then came 467 00:26:10,996 --> 00:26:13,516 Speaker 1: in and did the record contract, you know, got the 468 00:26:13,556 --> 00:26:16,716 Speaker 1: records out. Then I was playing quite a lot of 469 00:26:17,236 --> 00:26:23,156 Speaker 1: American basses because the Americans were still in Britain, you know, 470 00:26:23,196 --> 00:26:26,716 Speaker 1: in the early sixties, you know, air force bases especially, 471 00:26:27,516 --> 00:26:31,116 Speaker 1: so we would go and play these places. So I 472 00:26:31,156 --> 00:26:36,196 Speaker 1: became very popular in these American Air Force bases when 473 00:26:36,236 --> 00:26:39,596 Speaker 1: I had It's not unusual what even before that, before 474 00:26:39,596 --> 00:26:42,916 Speaker 1: I had the hit record, we would play them and 475 00:26:42,996 --> 00:26:45,636 Speaker 1: so I knew a lot of American songs, you see, 476 00:26:45,876 --> 00:26:49,156 Speaker 1: which the gis loved. So I was you know, we 477 00:26:49,396 --> 00:26:52,236 Speaker 1: sort of built up a bit of a reputation in 478 00:26:52,276 --> 00:26:55,796 Speaker 1: these American servicemen's clubs. What was the first time he 479 00:26:55,836 --> 00:26:58,756 Speaker 1: came to the United States? That was to do an 480 00:26:58,756 --> 00:27:03,276 Speaker 1: At Sullivan show. Fantastic, yeah, in the early sixty five. 481 00:27:04,036 --> 00:27:07,436 Speaker 1: It was amazing. It's not unusual. Came out in January 482 00:27:07,636 --> 00:27:11,636 Speaker 1: the twenty second, nineteen sixty five, and it was number 483 00:27:11,676 --> 00:27:15,116 Speaker 1: one by March the first, you know, in Britain, and 484 00:27:15,196 --> 00:27:17,196 Speaker 1: it was released in the States and he went to 485 00:27:17,276 --> 00:27:22,076 Speaker 1: number ten on the one hundred Top one hundred. So 486 00:27:22,116 --> 00:27:25,636 Speaker 1: then they booked me on the Ed Sullivan Show, and 487 00:27:25,676 --> 00:27:29,276 Speaker 1: I became he liked me, you know, so I think 488 00:27:29,276 --> 00:27:32,756 Speaker 1: I did like six d Sullivan shows. Wow. Great, Yeah 489 00:27:32,836 --> 00:27:36,156 Speaker 1: in sixty five, and the TV had gone to color, 490 00:27:36,436 --> 00:27:40,436 Speaker 1: so they couldn't transmit in color from New York, so 491 00:27:40,596 --> 00:27:42,796 Speaker 1: the Ed Sullivan Show had to go to Los Angeles 492 00:27:43,156 --> 00:27:46,556 Speaker 1: to transmit in color. So then I went to to 493 00:27:46,676 --> 00:27:51,316 Speaker 1: La I met Elvis Presley. Wow, how was that Trema? 494 00:27:51,796 --> 00:27:54,356 Speaker 1: I mean, when I used to sing in these clubs 495 00:27:54,356 --> 00:27:56,996 Speaker 1: in ways, right, and I would do Elvis Presley songs 496 00:27:57,476 --> 00:28:00,636 Speaker 1: of course, and my friends used to say, wow, Tom, 497 00:28:00,876 --> 00:28:02,956 Speaker 1: you know you sing that as good as Elvis Presley. 498 00:28:03,276 --> 00:28:06,076 Speaker 1: I said, well, I'll tell him that, and they said, oh, 499 00:28:06,476 --> 00:28:09,636 Speaker 1: come on, you know, I said, I said, I got 500 00:28:09,676 --> 00:28:12,636 Speaker 1: a feeling that I'm going to meet Elvis Presley. I 501 00:28:12,676 --> 00:28:16,436 Speaker 1: had this feeling. So when I went to Paramount Studios 502 00:28:16,596 --> 00:28:19,596 Speaker 1: in the LA to talk about a song for a movie, 503 00:28:19,876 --> 00:28:21,916 Speaker 1: and they said, Elvis is here today and he would 504 00:28:21,956 --> 00:28:24,396 Speaker 1: like to meet you. Jesus. I mean this was in 505 00:28:24,476 --> 00:28:28,396 Speaker 1: September of sixty five. Wow, you know, And I said, 506 00:28:28,556 --> 00:28:30,636 Speaker 1: my god, I didn't even know that he knew anything 507 00:28:30,636 --> 00:28:33,756 Speaker 1: about me. So I went on to the set and 508 00:28:33,836 --> 00:28:36,036 Speaker 1: he was in a mock helicopter. He was doing this 509 00:28:36,436 --> 00:28:38,636 Speaker 1: the trades Fair I think the movie was with this 510 00:28:38,716 --> 00:28:42,276 Speaker 1: little girl in this helicopter. And I'm standing in the 511 00:28:42,316 --> 00:28:45,796 Speaker 1: back of the set close set in this hangar with 512 00:28:45,956 --> 00:28:49,876 Speaker 1: the Memphis Mafia, and they stopped filming and he waves, 513 00:28:50,676 --> 00:28:53,116 Speaker 1: you know. So I'm like just standing there and they 514 00:28:53,116 --> 00:28:55,596 Speaker 1: said to me, Elvis is waving at you, you know. 515 00:28:56,156 --> 00:28:59,596 Speaker 1: Oh really, So I waved back and I had a 516 00:28:59,636 --> 00:29:02,436 Speaker 1: song out at the time. It was my third single. 517 00:29:02,756 --> 00:29:07,196 Speaker 1: It was a ballad called with These Hands, and Elvis 518 00:29:07,276 --> 00:29:11,076 Speaker 1: Presley come out of the helicopter and he's walking towards me, 519 00:29:11,396 --> 00:29:15,796 Speaker 1: singing with these hands. And I thought, my god, if 520 00:29:15,836 --> 00:29:18,596 Speaker 1: the boy's back home could see me now, you know. 521 00:29:19,276 --> 00:29:20,996 Speaker 1: And he did it like Alvis Presley, you know, he 522 00:29:21,076 --> 00:29:22,556 Speaker 1: pointed at me at the same time, you know what 523 00:29:22,556 --> 00:29:24,436 Speaker 1: I mean, the way Alvis used to put his hand up, 524 00:29:24,436 --> 00:29:27,516 Speaker 1: you know, and he's like with his hair, I will 525 00:29:27,596 --> 00:29:30,436 Speaker 1: cling to you. And I thought, my god, here comes 526 00:29:30,476 --> 00:29:38,156 Speaker 1: Elvis Presley singing my song. It was like it was surreal, unbelievable, unbelievable. 527 00:29:38,516 --> 00:29:40,716 Speaker 1: It sounds like a dream. What you're describing a dream. 528 00:29:40,916 --> 00:29:43,036 Speaker 1: It was like a dream. And he said to me, 529 00:29:43,156 --> 00:29:46,676 Speaker 1: how the hell do you sing like that? Honestly? And 530 00:29:46,796 --> 00:29:51,476 Speaker 1: I said, it's listening to people like you. He said yeah, 531 00:29:51,476 --> 00:29:53,436 Speaker 1: but I was brought up with it, you know. He said, 532 00:29:53,436 --> 00:29:57,276 Speaker 1: I was going into black gospel churches as a boy. 533 00:29:57,556 --> 00:30:00,836 Speaker 1: Do you have any black gospel churches in Wales? I 534 00:30:00,996 --> 00:30:03,956 Speaker 1: said no, you know, the only black people are down 535 00:30:03,996 --> 00:30:07,156 Speaker 1: in Cardiff, in Tiger Bay, you know. But I said, 536 00:30:07,196 --> 00:30:10,316 Speaker 1: it's it's from the radio that i've I've these songs. 537 00:30:10,716 --> 00:30:13,996 Speaker 1: And he couldn't believe that I sound like I sound 538 00:30:14,116 --> 00:30:16,956 Speaker 1: coming from where I came from. Yes, you know, yes, 539 00:30:17,196 --> 00:30:19,236 Speaker 1: unless you were born there, you know, unless you were 540 00:30:19,276 --> 00:30:21,796 Speaker 1: born that he couldn't understand it. Yeah, but in the 541 00:30:21,876 --> 00:30:24,956 Speaker 1: same way he got to hear it by being there. 542 00:30:25,236 --> 00:30:26,996 Speaker 1: You got to hear it by hearing it on the radio. 543 00:30:27,036 --> 00:30:29,636 Speaker 1: But it was still it was still coming through one 544 00:30:29,636 --> 00:30:32,596 Speaker 1: way or another. The inspiration was there, and you were 545 00:30:32,596 --> 00:30:35,396 Speaker 1: exposed to it and you got to feel it. Yes, 546 00:30:35,756 --> 00:30:38,796 Speaker 1: I knew the difference when I would hear my Halio 547 00:30:38,916 --> 00:30:42,916 Speaker 1: Jackson sing, you know, I would know the difference for 548 00:30:43,036 --> 00:30:45,476 Speaker 1: the sound of her voice. So I was attracted to it. 549 00:30:45,716 --> 00:30:49,276 Speaker 1: So just like Elvis was more attracted to black gospel 550 00:30:49,356 --> 00:30:52,556 Speaker 1: churches as he was to white you know. So you've 551 00:30:52,596 --> 00:30:56,076 Speaker 1: got to be attracted to it in order to know 552 00:30:56,196 --> 00:30:59,316 Speaker 1: what it is, and whether it's on the radio or 553 00:30:59,316 --> 00:31:02,716 Speaker 1: whether it's life, you've got to go to and think, well, 554 00:31:02,756 --> 00:31:04,916 Speaker 1: what is what is that? You know? Why is that 555 00:31:05,036 --> 00:31:10,196 Speaker 1: sounding so wonderful and uplifting and unreal that they sound 556 00:31:10,316 --> 00:31:12,516 Speaker 1: like they mean it? When you when you came to 557 00:31:12,556 --> 00:31:14,356 Speaker 1: the US to do the Ed Sullivan Show, would you 558 00:31:14,396 --> 00:31:19,476 Speaker 1: also do live performances for audiences as well. I couldn't 559 00:31:19,476 --> 00:31:21,476 Speaker 1: bring my band, you see, so that was a problem. 560 00:31:21,916 --> 00:31:25,956 Speaker 1: So I had nobody to do shows with. Really. I 561 00:31:25,996 --> 00:31:29,076 Speaker 1: remember the first time I met Little Richard was in 562 00:31:29,156 --> 00:31:32,516 Speaker 1: sixty five, and I'd seen him do shows in England, 563 00:31:32,836 --> 00:31:36,036 Speaker 1: you know before. But I was in Los Angeles doing 564 00:31:36,076 --> 00:31:38,636 Speaker 1: the Ed Sullivan Show. So I said to my manager, 565 00:31:38,756 --> 00:31:41,716 Speaker 1: I think I'll stay for a couple of weeks, you know, 566 00:31:41,796 --> 00:31:44,556 Speaker 1: just to see what's happening in LA. And so he 567 00:31:44,636 --> 00:31:47,276 Speaker 1: said to me, well, look, your visa has run out. Now. 568 00:31:47,316 --> 00:31:48,996 Speaker 1: You know, you only get a visa for a week 569 00:31:49,476 --> 00:31:52,356 Speaker 1: to do the Ed Sullivan Show. Now you know, if 570 00:31:52,396 --> 00:31:54,756 Speaker 1: you're going to stay any longer than that, you're not 571 00:31:54,756 --> 00:31:57,476 Speaker 1: on a visitor's visa. You know, you don't have. You're 572 00:31:57,596 --> 00:32:02,076 Speaker 1: illegally in the country, right, So he said, for God's sake, 573 00:32:02,116 --> 00:32:05,236 Speaker 1: don't get up in a club or something and draw 574 00:32:05,236 --> 00:32:08,316 Speaker 1: attention to yourself. So I said, no, okay, I won't. 575 00:32:08,516 --> 00:32:10,716 Speaker 1: So I'll go to see Little Richard. He play in 576 00:32:10,716 --> 00:32:14,076 Speaker 1: a club just off sunset. So I'm backstage with him 577 00:32:14,116 --> 00:32:17,396 Speaker 1: and were chatting away and it was great. And so 578 00:32:17,436 --> 00:32:20,196 Speaker 1: he introduces me when he's on stage, and he asked 579 00:32:20,196 --> 00:32:22,156 Speaker 1: me to get up on the stage, and I wanted 580 00:32:22,196 --> 00:32:24,956 Speaker 1: it because I knew every little Richard song. So he said, 581 00:32:24,996 --> 00:32:27,356 Speaker 1: come on, let's do this one. And I said, I can't. 582 00:32:27,356 --> 00:32:29,796 Speaker 1: I can't, I can't. You know, I can't do it. Honestly, 583 00:32:29,836 --> 00:32:32,556 Speaker 1: I would love to, and I still think of that 584 00:32:32,996 --> 00:32:36,036 Speaker 1: now to this day. I think, my god, you know, 585 00:32:36,396 --> 00:32:38,396 Speaker 1: why didn't I just do it? You know, but I 586 00:32:38,436 --> 00:32:44,036 Speaker 1: was so scared of of immigrations, you know, I locked 587 00:32:44,116 --> 00:32:46,196 Speaker 1: me up or something. But then I got him on 588 00:32:46,236 --> 00:32:48,756 Speaker 1: my TV show. You see, then we did it, you 589 00:32:48,796 --> 00:32:51,036 Speaker 1: know where it really mattered, you know that millions of 590 00:32:51,036 --> 00:32:53,956 Speaker 1: people could then see it. So so I got my 591 00:32:54,276 --> 00:32:56,236 Speaker 1: I got my wish at the end. But I would 592 00:32:56,276 --> 00:32:58,636 Speaker 1: have loved to have just done that with him that night. 593 00:32:58,716 --> 00:33:01,356 Speaker 1: You know, in sixty five, where did you do your 594 00:33:01,356 --> 00:33:06,076 Speaker 1: TV show from? From London? Just north of London, right, yeah, 595 00:33:06,116 --> 00:33:09,676 Speaker 1: Elstree Studios, And which is funny, where we do the 596 00:33:09,756 --> 00:33:12,476 Speaker 1: voice from now? You know, I'm a coach on the 597 00:33:12,596 --> 00:33:15,116 Speaker 1: on the voice UKA and we'll do it from the 598 00:33:15,156 --> 00:33:19,756 Speaker 1: same place. Fantastic thought, my god, after all this time, 599 00:33:20,116 --> 00:33:22,596 Speaker 1: you know, because that was like sixty nine, seventy seventy 600 00:33:22,596 --> 00:33:26,316 Speaker 1: one when I did this is Tom Jones. So it's 601 00:33:26,356 --> 00:33:28,316 Speaker 1: still a pain in the ass to get there, you know, 602 00:33:29,596 --> 00:33:32,196 Speaker 1: on the road. But it's it's great that I'm still 603 00:33:32,316 --> 00:33:35,196 Speaker 1: I'm still doing it, you know. So I always think 604 00:33:35,236 --> 00:33:37,876 Speaker 1: of that. I think if somebody had told me back 605 00:33:37,916 --> 00:33:41,196 Speaker 1: then that I would be doing still going to the 606 00:33:41,236 --> 00:33:45,316 Speaker 1: studios in Elstreet now, it's it's a great feeling. It's 607 00:33:45,396 --> 00:33:48,276 Speaker 1: it's a great I love it so cool. If you're 608 00:33:48,356 --> 00:33:50,996 Speaker 1: up for it. Let's listen to my very favorite of 609 00:33:51,036 --> 00:33:54,156 Speaker 1: your songs. Never going to fall in Love is my 610 00:33:54,236 --> 00:33:56,996 Speaker 1: favorite of them all. Oh, thank you, and let's listen 611 00:33:56,996 --> 00:33:59,516 Speaker 1: to that together, and then you can tell me anything 612 00:33:59,556 --> 00:34:15,036 Speaker 1: you want to tell me about that one. Okay, I've 613 00:34:15,116 --> 00:34:21,796 Speaker 1: been in love so many times, thought I knew the score, 614 00:34:24,476 --> 00:34:29,876 Speaker 1: but now you've treated me so the wrong. I can't 615 00:34:29,956 --> 00:34:41,076 Speaker 1: take anymore. And it looks like I'm never gonna fall 616 00:34:42,836 --> 00:35:11,476 Speaker 1: in love. Okay, I'm never gonna fall Hello, I'm beating 617 00:35:11,636 --> 00:35:35,076 Speaker 1: into fall in love. All these thingss I heard about you, 618 00:35:38,036 --> 00:35:43,676 Speaker 1: I thought they were only lies. But when I caught 619 00:35:43,756 --> 00:35:49,756 Speaker 1: him in his arms, I just broke down and crime 620 00:35:51,556 --> 00:36:20,116 Speaker 1: and it doo slide. I'm never gonna fall in lovely, lie, no, no, no, 621 00:36:20,116 --> 00:36:40,156 Speaker 1: nonna fall love. I mean it. I mean it for locking. 622 00:36:49,436 --> 00:36:57,956 Speaker 1: I gave my heart so reasonly I justust aside my pride. 623 00:37:00,836 --> 00:37:05,836 Speaker 1: But when you felt for someone has baby, I broke 624 00:37:05,996 --> 00:37:15,996 Speaker 1: the bone side and then looks like I'm never gonna 625 00:37:16,156 --> 00:37:46,796 Speaker 1: fall helloking, That's why I'm I saying no gonna Please 626 00:37:46,916 --> 00:38:17,876 Speaker 1: don't make me fall so beautiful yeah, yeah. So where 627 00:38:17,916 --> 00:38:21,596 Speaker 1: that song come from, Well, it was originally a song 628 00:38:21,636 --> 00:38:25,556 Speaker 1: called I'm Never Gonna Cease My Wandering, which was from 629 00:38:26,516 --> 00:38:30,116 Speaker 1: the depression, you know, in the thirties. And I knew 630 00:38:30,156 --> 00:38:33,556 Speaker 1: the song in Wales in one of these workingmen's clubs 631 00:38:33,556 --> 00:38:35,076 Speaker 1: as a fellow used to get up and sing it, 632 00:38:35,476 --> 00:38:37,476 Speaker 1: I'm Never Gonna Cease My Wandering, and I thought, what 633 00:38:37,556 --> 00:38:40,956 Speaker 1: a great song that is, yeah, you know. And so 634 00:38:40,996 --> 00:38:43,156 Speaker 1: then I did some shows with a fella called Lonnie 635 00:38:43,196 --> 00:38:48,076 Speaker 1: Donigan Yes in England skiffle Yes, skiffle yeah, which was 636 00:38:48,156 --> 00:38:51,796 Speaker 1: really old sort of lead belly type blues, you know, 637 00:38:51,916 --> 00:38:54,676 Speaker 1: they called it skiffle. So I did some shows with 638 00:38:54,756 --> 00:38:56,916 Speaker 1: him and he said, look, I've just written a song 639 00:38:56,956 --> 00:38:58,436 Speaker 1: and you would sing the shit out of it. So 640 00:38:58,516 --> 00:39:00,716 Speaker 1: he played me a demo that he had done on 641 00:39:00,756 --> 00:39:04,396 Speaker 1: it never gonna fall in love again. And I said, well, 642 00:39:04,396 --> 00:39:07,156 Speaker 1: that's never gonna cease my wandering. He said, yes it is, 643 00:39:07,236 --> 00:39:10,036 Speaker 1: but he said, there's no horace and never going to 644 00:39:10,076 --> 00:39:12,836 Speaker 1: cease my wandering, you know. He said. We changed the 645 00:39:12,876 --> 00:39:17,076 Speaker 1: words and then put that fall and that wasn't in 646 00:39:17,236 --> 00:39:20,556 Speaker 1: any original. That wasn't there, which is the most commercial 647 00:39:20,596 --> 00:39:22,596 Speaker 1: part of the song. And I said, oh, I gotta 648 00:39:22,636 --> 00:39:24,436 Speaker 1: do it. I got I'm gonna try this. And so 649 00:39:24,476 --> 00:39:26,956 Speaker 1: I said to Peter Sullivan, Lorne Donna Going has written 650 00:39:26,996 --> 00:39:29,036 Speaker 1: a song, and I want to do it. Okay, let's 651 00:39:29,036 --> 00:39:31,476 Speaker 1: do it. So we did. And then when when I 652 00:39:31,596 --> 00:39:34,756 Speaker 1: did it, we used to get an ascetate, yeah, to 653 00:39:34,876 --> 00:39:37,596 Speaker 1: take home, you know, to play it at home. And 654 00:39:37,636 --> 00:39:41,396 Speaker 1: I took it home and we only had the one right, 655 00:39:41,636 --> 00:39:44,396 Speaker 1: so my wife took it to my manager's house. We 656 00:39:44,516 --> 00:39:48,436 Speaker 1: lived close in England. She said, this is what Thomas 657 00:39:48,476 --> 00:39:52,436 Speaker 1: just done. While they were fighting over this ascetate, my 658 00:39:52,516 --> 00:39:56,636 Speaker 1: wife and my manager's wife to keep it. That night, 659 00:39:57,076 --> 00:39:59,396 Speaker 1: my wife says, you know, it's my husband saying it. 660 00:39:59,676 --> 00:40:03,436 Speaker 1: She said, yeah, but my husband managers. There was a 661 00:40:03,516 --> 00:40:06,676 Speaker 1: big fight over this one ascetate because that was the 662 00:40:06,716 --> 00:40:09,636 Speaker 1: only copy that we had at that point, So to 663 00:40:09,716 --> 00:40:12,596 Speaker 1: get two women fighting over, you know, over the song. 664 00:40:12,636 --> 00:40:14,516 Speaker 1: I thought it was a good this is good, this 665 00:40:14,596 --> 00:40:17,076 Speaker 1: is this is gonna be a hit, and of course 666 00:40:17,116 --> 00:40:20,716 Speaker 1: it was not good. Yeah, it's such a great song, 667 00:40:20,836 --> 00:40:23,476 Speaker 1: the energy of it, and and yes, the hookiness of 668 00:40:23,516 --> 00:40:27,396 Speaker 1: the chorus. It's got a real sing along chorus and 669 00:40:27,476 --> 00:40:30,396 Speaker 1: the vocal performance is just stunning. And you save the 670 00:40:30,796 --> 00:40:33,916 Speaker 1: big note for the ends, almost like a Roy Orbison type. 671 00:40:33,956 --> 00:40:38,316 Speaker 1: I mean, you're not singing like him, but but the drama, 672 00:40:39,076 --> 00:40:41,956 Speaker 1: the big note at the end where you can't like, 673 00:40:42,076 --> 00:40:44,356 Speaker 1: you can't think it could get any more dramatic, and 674 00:40:44,396 --> 00:40:47,836 Speaker 1: then you go there. It's so beautiful, but a great song. Yeah, 675 00:40:49,476 --> 00:40:51,356 Speaker 1: we'll be right back after a break with more from 676 00:40:51,396 --> 00:40:57,716 Speaker 1: Tom Jones and Rick Rubin. We're back with the rest 677 00:40:57,756 --> 00:41:01,356 Speaker 1: of Rick Rubin's conversation with Tom Jones. So talk more 678 00:41:01,396 --> 00:41:04,436 Speaker 1: about live performances and where were the types of places 679 00:41:04,436 --> 00:41:08,276 Speaker 1: you played once you started having success and anywhere in 680 00:41:08,276 --> 00:41:11,276 Speaker 1: the world. Right, So it went from I played these 681 00:41:11,356 --> 00:41:16,276 Speaker 1: Air Force bases, American places in and around London and 682 00:41:16,316 --> 00:41:19,716 Speaker 1: we would play then ballrooms, you know, dance halls. People 683 00:41:19,756 --> 00:41:23,796 Speaker 1: that had hit records in those days would play either 684 00:41:23,916 --> 00:41:28,556 Speaker 1: theaters or dancehols, you know, one show at night, and 685 00:41:28,676 --> 00:41:31,076 Speaker 1: some of them were on peers. You know. They used 686 00:41:31,116 --> 00:41:35,156 Speaker 1: to have you know, peers in seaside resorts and you'd 687 00:41:35,516 --> 00:41:37,196 Speaker 1: have a dance hall at the end of the pier, 688 00:41:37,676 --> 00:41:41,036 Speaker 1: just like in the state, said the same thing. So 689 00:41:41,836 --> 00:41:45,436 Speaker 1: we would then go and play these dancehols in the summertime, 690 00:41:45,556 --> 00:41:49,236 Speaker 1: especially on the end of these peers. But then we 691 00:41:49,276 --> 00:41:54,476 Speaker 1: started getting interests coming from northern nightclubs in the North 692 00:41:54,516 --> 00:41:57,716 Speaker 1: of England. So my manager and my agent, they said, 693 00:41:57,796 --> 00:42:01,676 Speaker 1: we get a lot of requests from clubs, dancehols as well, 694 00:42:01,796 --> 00:42:05,676 Speaker 1: and theaters as well. But these clubs now, you know 695 00:42:05,756 --> 00:42:07,796 Speaker 1: up in the North of England, they're putting on a 696 00:42:07,796 --> 00:42:12,476 Speaker 1: lot of cabaret shows which were like mini Vegas. When 697 00:42:12,476 --> 00:42:15,156 Speaker 1: I went to Vegas, i saw you know, the showrooms 698 00:42:15,236 --> 00:42:19,116 Speaker 1: in Las Vegas, and they had things very similar, not 699 00:42:19,196 --> 00:42:22,436 Speaker 1: as grand, but in the North of England they had 700 00:42:22,436 --> 00:42:25,156 Speaker 1: these nightclubs, you see, because they had casinos as well, 701 00:42:25,236 --> 00:42:27,636 Speaker 1: you know coming in there. So then I started playing 702 00:42:27,636 --> 00:42:32,916 Speaker 1: these northern clubs while they were like glorified workingmen's clubs 703 00:42:32,916 --> 00:42:35,356 Speaker 1: that I had played in South Wales. So that's what 704 00:42:35,716 --> 00:42:40,356 Speaker 1: what happened. So it's been a problem, maybe a nice problem, 705 00:42:40,396 --> 00:42:43,636 Speaker 1: I don't know. But my audience has always been a 706 00:42:43,756 --> 00:42:47,556 Speaker 1: wide variety of people, you see. So I could play 707 00:42:47,556 --> 00:42:50,116 Speaker 1: the kids, you know, even in Wales, I could play 708 00:42:50,156 --> 00:42:54,996 Speaker 1: a ymca to teenagers on a on a Friday night 709 00:42:55,276 --> 00:42:58,196 Speaker 1: and play a workingmen's club on a Saturday to adults. 710 00:42:58,796 --> 00:43:02,236 Speaker 1: So the same thing basically has gone through my career. 711 00:43:02,676 --> 00:43:05,436 Speaker 1: I would play the Talk of the Town, for instance, 712 00:43:05,516 --> 00:43:08,316 Speaker 1: which was a huge nightclub in London in the sixties, 713 00:43:08,676 --> 00:43:10,916 Speaker 1: and my agent, my American agent, came to see me 714 00:43:10,956 --> 00:43:13,036 Speaker 1: there and he said, you've got to play the Copacabana 715 00:43:13,076 --> 00:43:16,316 Speaker 1: in New York. This is where where it's hat. So 716 00:43:16,716 --> 00:43:20,236 Speaker 1: I said, okay. So then I played the Copacabanner and 717 00:43:20,276 --> 00:43:23,636 Speaker 1: they were saying, to be funny enough, they said, are 718 00:43:23,676 --> 00:43:25,516 Speaker 1: you scared, you know, because it's like a lot of 719 00:43:25,556 --> 00:43:28,676 Speaker 1: gangsters go in there. And I said, excuse me. If 720 00:43:28,716 --> 00:43:32,236 Speaker 1: you've played, if you've sung to coal miners and their 721 00:43:32,316 --> 00:43:36,436 Speaker 1: wives and girlfriends, you know, the mafia does a scape. 722 00:43:36,836 --> 00:43:39,636 Speaker 1: It's the only differences. They got guns, you know, we 723 00:43:39,676 --> 00:43:42,556 Speaker 1: didn't have guns. But to get over to those people, 724 00:43:42,956 --> 00:43:45,116 Speaker 1: you know, you've got to be able to deliver. So 725 00:43:45,436 --> 00:43:47,836 Speaker 1: that was a big thing. In sixty eight. I played 726 00:43:47,876 --> 00:43:50,676 Speaker 1: the Talk of the Town in sixty seven in London, 727 00:43:50,956 --> 00:43:53,116 Speaker 1: and then sixty eight I went into the Coopa in 728 00:43:53,116 --> 00:43:55,676 Speaker 1: New York and it was tremendous, you know, to play 729 00:43:55,916 --> 00:43:59,796 Speaker 1: a place where all these giants of American show business 730 00:43:59,876 --> 00:44:02,996 Speaker 1: had played before. Everyone. Yeah. Then that led to the 731 00:44:03,036 --> 00:44:07,876 Speaker 1: Flamingo in Vegas and the Douville in Miami. You know, 732 00:44:07,876 --> 00:44:11,876 Speaker 1: so a lot of these clubs then nightclubs. But then 733 00:44:11,876 --> 00:44:14,836 Speaker 1: when my TV show hit, you know, became so big 734 00:44:15,156 --> 00:44:20,156 Speaker 1: that I started playing arenas. Wow, you know, basketball arenas 735 00:44:20,636 --> 00:44:23,716 Speaker 1: which people people have never played before, you know, they've 736 00:44:23,756 --> 00:44:29,436 Speaker 1: never they'd never had musical venues. Maybe Madison Square Gardens, 737 00:44:29,636 --> 00:44:32,556 Speaker 1: I think maybe it was the only one, but all 738 00:44:32,716 --> 00:44:37,796 Speaker 1: all these big basketball arenas. Then I started playing because 739 00:44:37,796 --> 00:44:40,356 Speaker 1: the club's got too small. Even though I was still 740 00:44:40,356 --> 00:44:42,396 Speaker 1: playing Las Vegas. You know, I would still go back 741 00:44:42,396 --> 00:44:46,476 Speaker 1: to Vegas, which I used to moan about because I say, 742 00:44:46,716 --> 00:44:48,916 Speaker 1: how come I can make as much money or one night, 743 00:44:49,236 --> 00:44:51,996 Speaker 1: you know, playing an arena and they got to play 744 00:44:52,196 --> 00:44:54,596 Speaker 1: you know, a week, two shows a night in Las Vegas. 745 00:44:54,796 --> 00:44:56,756 Speaker 1: But they said, well, you know that's that's the way 746 00:44:56,756 --> 00:44:59,396 Speaker 1: it is. But there you go. You do it when 747 00:44:59,436 --> 00:45:01,636 Speaker 1: you're young, you know. It's it's you get in front 748 00:45:01,676 --> 00:45:04,836 Speaker 1: of up in front of people, whether it's two thousand 749 00:45:04,916 --> 00:45:08,316 Speaker 1: or twenty thousand, you're performing, and that's that's what I do. 750 00:45:08,676 --> 00:45:12,676 Speaker 1: How the audiences react to different songs in different parts 751 00:45:12,716 --> 00:45:16,956 Speaker 1: of the world, is it pretty consistent or are there variations? 752 00:45:17,556 --> 00:45:19,956 Speaker 1: It's about the Yeah, it's about the same, you know. 753 00:45:20,036 --> 00:45:22,956 Speaker 1: I mean, I'm always aware if it's an English speaking audience. Yes, 754 00:45:23,476 --> 00:45:25,156 Speaker 1: if you know, if I'm in Britain, or I'm in 755 00:45:25,196 --> 00:45:28,596 Speaker 1: America or Australia or Canada or you know, I'm aware 756 00:45:28,596 --> 00:45:31,476 Speaker 1: of it. But all of European countries, you see, all 757 00:45:31,516 --> 00:45:34,796 Speaker 1: the different countries, they love all all the stuff that 758 00:45:34,836 --> 00:45:38,836 Speaker 1: I do, you know. So a surprise that I had 759 00:45:38,876 --> 00:45:41,876 Speaker 1: in the seventies when I went to Japan, so I said, 760 00:45:42,116 --> 00:45:46,516 Speaker 1: to promote there any songs you think would go over 761 00:45:46,636 --> 00:45:49,676 Speaker 1: you know, more in Japan than and he said, well, 762 00:45:49,716 --> 00:45:52,716 Speaker 1: you have to do Danny Boy. I said Danny Boy, 763 00:45:52,836 --> 00:45:55,716 Speaker 1: because I had done it on my TV show, you know, 764 00:45:55,796 --> 00:45:59,356 Speaker 1: and they saw me doing Danny Boy, and I said, 765 00:45:59,396 --> 00:46:03,676 Speaker 1: well to the Japanese people understand the story of and 766 00:46:03,716 --> 00:46:07,596 Speaker 1: he said, it's the emotion. Wow, they feel your emotion 767 00:46:07,676 --> 00:46:09,996 Speaker 1: when you sing it. Yeah, so that was a big 768 00:46:09,996 --> 00:46:12,916 Speaker 1: surprise to me that that I had to keep Danny 769 00:46:12,956 --> 00:46:17,956 Speaker 1: Boy in the show in Japan especially. Yeah. Yeah, but 770 00:46:18,036 --> 00:46:21,436 Speaker 1: what I play Israel, you know, ma Yiddishamama in Israel 771 00:46:21,556 --> 00:46:25,716 Speaker 1: is fantastic, fantastic. What's the part of your working life 772 00:46:25,716 --> 00:46:30,276 Speaker 1: that you most enjoy being on stage? That's the fun part, 773 00:46:30,396 --> 00:46:33,036 Speaker 1: you know, That's that's the part like all roads lead 774 00:46:33,116 --> 00:46:35,876 Speaker 1: to the stage, yes, you know, everything that I do 775 00:46:36,316 --> 00:46:42,116 Speaker 1: is it all sort of helps getting me to getting 776 00:46:42,196 --> 00:46:44,036 Speaker 1: the people in there, you know, so that I can 777 00:46:44,116 --> 00:46:47,836 Speaker 1: go on. But to be on the stage giving it, 778 00:46:48,116 --> 00:46:52,516 Speaker 1: you know, and receiving from the audience is a tremendous feeling. 779 00:46:52,516 --> 00:46:56,036 Speaker 1: There's nothing else like it. It's like the closest thing 780 00:46:56,116 --> 00:46:58,676 Speaker 1: to sex. You know, when you're going up the steps 781 00:46:58,676 --> 00:47:02,236 Speaker 1: onto the stage, you know, or just walking from the 782 00:47:02,236 --> 00:47:05,556 Speaker 1: wings onto the stage is anticipation. Is the build up 783 00:47:05,756 --> 00:47:07,716 Speaker 1: before you make love, you know, and when you're when 784 00:47:07,756 --> 00:47:11,076 Speaker 1: you're actually you know, when you're when you're in it, 785 00:47:10,476 --> 00:47:14,556 Speaker 1: it's like and then the coming down afterwards, you know, 786 00:47:14,596 --> 00:47:18,676 Speaker 1: the relaxing part after you do the show. Yeah, if 787 00:47:18,716 --> 00:47:22,356 Speaker 1: I go to dinner after the show, the food taste better, 788 00:47:22,436 --> 00:47:26,156 Speaker 1: the wine taste better, everything beautiful. It is better after 789 00:47:26,236 --> 00:47:28,396 Speaker 1: that show. Do you get nervous at all before going 790 00:47:28,396 --> 00:47:31,676 Speaker 1: on stage? Well, as I say, like before sex, you know, 791 00:47:31,716 --> 00:47:35,796 Speaker 1: before before making love. Let's say, you know, when you 792 00:47:35,836 --> 00:47:38,636 Speaker 1: get that exciting feeling, you know, and then you get 793 00:47:38,636 --> 00:47:41,596 Speaker 1: at it, of course. And then the only time if 794 00:47:41,636 --> 00:47:43,556 Speaker 1: I get nervous is if I've if I've got a 795 00:47:43,596 --> 00:47:46,316 Speaker 1: cold or something, you know that I feel that I'm underpowered. 796 00:47:46,436 --> 00:47:48,836 Speaker 1: I'm will it work? You know? Will my voice work 797 00:47:49,236 --> 00:47:51,996 Speaker 1: as well as I wanted to? So I'll get a 798 00:47:51,996 --> 00:47:56,036 Speaker 1: bit nervous then, but no, excited yes, but nervous no. 799 00:47:56,516 --> 00:47:58,836 Speaker 1: And how long does it take to come down after 800 00:47:58,876 --> 00:48:02,076 Speaker 1: the show? Like? How soon can you sleep after a show? Oh? 801 00:48:02,116 --> 00:48:04,796 Speaker 1: A long time. I'm a night owl anyway, you know. 802 00:48:04,836 --> 00:48:09,236 Speaker 1: So it's show business is perfect for me because I 803 00:48:09,236 --> 00:48:11,316 Speaker 1: I live at night anyway, I always have done ever 804 00:48:11,356 --> 00:48:14,196 Speaker 1: since I was a kid. So it's uh, it's great. 805 00:48:14,276 --> 00:48:17,356 Speaker 1: You know. I like to be awake at night. I 806 00:48:17,396 --> 00:48:20,396 Speaker 1: think the world looks better at night. You know, when 807 00:48:20,396 --> 00:48:22,676 Speaker 1: you're in a city, if you if you go out 808 00:48:22,716 --> 00:48:25,676 Speaker 1: into a city in the daytime, it's bedlam, you know. 809 00:48:25,716 --> 00:48:28,596 Speaker 1: You go out at night, things like a much calmer, Yeah, 810 00:48:28,636 --> 00:48:31,716 Speaker 1: and most people are asleep, so there's less energy. Yeah, 811 00:48:31,756 --> 00:48:34,516 Speaker 1: and it's a it's a more peaceful world at night, Yes, 812 00:48:34,636 --> 00:48:37,036 Speaker 1: I think so. So it's it's great, you know, to 813 00:48:37,076 --> 00:48:39,436 Speaker 1: go to a restaurant and you know, and and just 814 00:48:39,556 --> 00:48:44,356 Speaker 1: relax with some friends and it's it's that's it's lovely. 815 00:48:44,396 --> 00:48:47,036 Speaker 1: It's it's a lovely feeling, the whole thing. And if 816 00:48:47,036 --> 00:48:48,876 Speaker 1: I'm going to do a runner, you know, I'm getting 817 00:48:48,916 --> 00:48:51,596 Speaker 1: a limousine and go somewhere else or come on, jump 818 00:48:51,636 --> 00:48:55,036 Speaker 1: on a plane, whatever it is. It's just a great 819 00:48:55,156 --> 00:48:59,876 Speaker 1: feeling when when you've achieved that that show. Are you 820 00:48:59,956 --> 00:49:04,716 Speaker 1: ever surprised by what songs people react to that you've sung, Yeah, 821 00:49:04,956 --> 00:49:07,596 Speaker 1: going as big as as they have. Yeah. You know, 822 00:49:07,676 --> 00:49:10,236 Speaker 1: when when I recorded the Green Green Grass of Home, 823 00:49:10,516 --> 00:49:13,596 Speaker 1: I heard the Jerry Lee Lewis version. It was I 824 00:49:13,636 --> 00:49:15,956 Speaker 1: bought it on an album in sixty five in a 825 00:49:16,036 --> 00:49:18,036 Speaker 1: colony record shop in New York and he was called 826 00:49:18,316 --> 00:49:22,676 Speaker 1: Country Songs for city Folk and he was doing country 827 00:49:22,716 --> 00:49:25,756 Speaker 1: songs of the day, you know, of that time, and 828 00:49:25,956 --> 00:49:28,156 Speaker 1: the Green Green Grass of Home was a Porter Wagner song. 829 00:49:28,796 --> 00:49:31,836 Speaker 1: So he did that. But that's the first time I 830 00:49:31,916 --> 00:49:34,676 Speaker 1: heard it was Jerry Lee Lewis doing it. So I thought, oh, 831 00:49:34,716 --> 00:49:36,796 Speaker 1: I got to do that. You know, that's a great song, 832 00:49:37,436 --> 00:49:39,796 Speaker 1: you know, a surprise thing. You know, the man is 833 00:49:39,876 --> 00:49:43,036 Speaker 1: in his cell dreaming about all this, which I thought 834 00:49:43,116 --> 00:49:46,236 Speaker 1: was tremendous. So I thought, well, let's try it. And 835 00:49:46,556 --> 00:49:50,236 Speaker 1: it became a monster, you know, it became huge, which 836 00:49:50,236 --> 00:49:52,156 Speaker 1: I didn't expect. I thought it was going to be 837 00:49:52,196 --> 00:49:54,596 Speaker 1: a good record, and I think that was thanks to 838 00:49:54,716 --> 00:49:57,356 Speaker 1: Les Read as well, who did the arrangement, because he, 839 00:49:58,196 --> 00:50:00,996 Speaker 1: you know, he stretched it. He made it more of 840 00:50:01,076 --> 00:50:05,116 Speaker 1: a pop record as opposed to a country record. You know. Yeah, 841 00:50:05,116 --> 00:50:07,956 Speaker 1: so I didn't expect that. Oh and watch the Pushy 842 00:50:07,956 --> 00:50:11,036 Speaker 1: Cat when I assured that. When Bert Bakrack sang that 843 00:50:11,076 --> 00:50:12,836 Speaker 1: and played it to me, you know, he played the 844 00:50:12,836 --> 00:50:16,276 Speaker 1: piano and sang it live, I thought he was joking. 845 00:50:16,436 --> 00:50:18,796 Speaker 1: I said, you, you know, you must be joking. I 846 00:50:18,836 --> 00:50:22,316 Speaker 1: can't say that. He so he demoed the record and 847 00:50:22,356 --> 00:50:24,156 Speaker 1: he said take it away of I listened and live 848 00:50:24,236 --> 00:50:25,876 Speaker 1: with it and see what do you think? And then 849 00:50:25,876 --> 00:50:28,796 Speaker 1: I went in and recorded it. I still didn't think 850 00:50:28,996 --> 00:50:31,276 Speaker 1: that there was going to be anything, and then of 851 00:50:31,316 --> 00:50:33,996 Speaker 1: course you know, it was the Woody Allen film. Yes, 852 00:50:34,156 --> 00:50:35,956 Speaker 1: the film was a hit, the song was a hit, 853 00:50:35,996 --> 00:50:38,876 Speaker 1: and there you go. It's a strange song. It's definitely 854 00:50:38,956 --> 00:50:42,156 Speaker 1: a strange song. Oh the chord changes, I mean I 855 00:50:42,276 --> 00:50:45,516 Speaker 1: never heard car change just like that. You know, da 856 00:50:45,676 --> 00:50:49,836 Speaker 1: da da da da da da da da da what 857 00:50:50,476 --> 00:50:52,676 Speaker 1: you know? What is this? It sounds like a like 858 00:50:52,716 --> 00:50:56,236 Speaker 1: a German drinking song, you know, like a beer hall song. 859 00:50:56,636 --> 00:50:59,876 Speaker 1: Dash right exactly. So you don't know, you know you 860 00:51:00,356 --> 00:51:02,516 Speaker 1: I didn't. I didn't think that that was gonna be 861 00:51:02,556 --> 00:51:05,516 Speaker 1: as anywhere near what happened to that. Is it as 862 00:51:05,596 --> 00:51:08,236 Speaker 1: much fun making music now as it's been from the 863 00:51:08,236 --> 00:51:11,996 Speaker 1: beginning for you? Oh yeah, definitely. I think it's even more. 864 00:51:12,036 --> 00:51:16,116 Speaker 1: You get more freedom now as when I first started off. 865 00:51:16,516 --> 00:51:19,636 Speaker 1: You'd get with an arranger, you know, you'd picked the songs, 866 00:51:20,356 --> 00:51:23,676 Speaker 1: you'd you'd set the key, you get the arrangement done, 867 00:51:23,916 --> 00:51:26,516 Speaker 1: so all those things were done before you stepped into 868 00:51:26,556 --> 00:51:29,796 Speaker 1: the studio, and then you'd have a three hour session 869 00:51:30,596 --> 00:51:34,116 Speaker 1: to do three songs, and like the first hour was 870 00:51:34,156 --> 00:51:37,876 Speaker 1: taken up by getting the balance, and then you'd know 871 00:51:37,996 --> 00:51:42,156 Speaker 1: you'd do the other two after that, So you'd have 872 00:51:42,196 --> 00:51:46,236 Speaker 1: to get three songs within three hours. Wow, And studio 873 00:51:46,276 --> 00:51:49,076 Speaker 1: time was very expensive. So they told me, you know, 874 00:51:49,156 --> 00:51:52,556 Speaker 1: in the record company, so it was different, and they 875 00:51:52,636 --> 00:51:56,636 Speaker 1: had a singles division and then if you were selling 876 00:51:57,596 --> 00:52:00,836 Speaker 1: a lot of singles, then you'd you could make an album. 877 00:52:00,956 --> 00:52:04,116 Speaker 1: Then you'd go to the album section of the record company. 878 00:52:04,796 --> 00:52:08,636 Speaker 1: So they had two different two different sections, and then 879 00:52:08,676 --> 00:52:11,116 Speaker 1: you'd have a bit more time, but still you'd still 880 00:52:11,116 --> 00:52:13,876 Speaker 1: have to try and get three songs in three hours. 881 00:52:14,196 --> 00:52:17,956 Speaker 1: Now I'm going to be recording with Ethan John's you know, great, 882 00:52:18,156 --> 00:52:20,356 Speaker 1: We're going to start off and go to the studio 883 00:52:21,116 --> 00:52:26,356 Speaker 1: in the real world in Peter Gabriel Studio in Boxing 884 00:52:26,436 --> 00:52:30,756 Speaker 1: Wilsha and which I've recorded many times, and then well 885 00:52:30,956 --> 00:52:32,716 Speaker 1: we'll live there, you know. We'll go in there for 886 00:52:32,756 --> 00:52:36,676 Speaker 1: a few weeks and start kicking stuff around, you know, 887 00:52:36,756 --> 00:52:40,236 Speaker 1: with a rhythm section, and and see what happens. Do 888 00:52:40,276 --> 00:52:42,956 Speaker 1: you ever love a song and then record it and 889 00:52:43,076 --> 00:52:46,436 Speaker 1: feel like it's not right to to release. Yeah? With 890 00:52:46,636 --> 00:52:49,676 Speaker 1: letd Cohen, for instance, I wanted I wanted to do 891 00:52:49,716 --> 00:52:52,996 Speaker 1: a Leond Cohen song so and I loved I'm Your Man, 892 00:52:53,476 --> 00:52:55,556 Speaker 1: so we went in. I thought, oh, I gotta do this, 893 00:52:55,796 --> 00:52:58,236 Speaker 1: you know, yeah, you know, I'll do anything for you. 894 00:52:58,236 --> 00:52:59,996 Speaker 1: You know, I'll be this and i'll be that whatever 895 00:53:00,036 --> 00:53:02,516 Speaker 1: it is. I'm your man. And we were all set 896 00:53:02,556 --> 00:53:05,596 Speaker 1: to do that. And then we tried it and it 897 00:53:05,636 --> 00:53:07,756 Speaker 1: was okay, but it wasn't as good as I thought 898 00:53:07,796 --> 00:53:11,396 Speaker 1: it would be. Then Ethan said, look, if you really 899 00:53:11,436 --> 00:53:15,316 Speaker 1: like Leonard Cohen, but about Tower of Song, And I said, 900 00:53:15,676 --> 00:53:18,436 Speaker 1: let me listen. Well, when I heard it, I loved it, 901 00:53:18,916 --> 00:53:22,756 Speaker 1: and so we then tried it. You know, well let's 902 00:53:22,796 --> 00:53:26,916 Speaker 1: try it and it was great, Oh fantastic. Well, thank 903 00:53:26,916 --> 00:53:29,276 Speaker 1: you so much for doing this. It's such a pleasure. 904 00:53:29,516 --> 00:53:34,196 Speaker 1: I'm a lifelong fan. I continue listening and anytime, and 905 00:53:34,556 --> 00:53:37,596 Speaker 1: this was an opportunity for us to speak. And I 906 00:53:37,676 --> 00:53:39,516 Speaker 1: went back and listened to a stuff that I haven't 907 00:53:39,556 --> 00:53:42,356 Speaker 1: listened to recently, and again every time I hear it, 908 00:53:42,356 --> 00:53:45,716 Speaker 1: it blows my mind. So I thank you. Oh good, well, 909 00:53:45,756 --> 00:53:47,996 Speaker 1: thank you. I'm coming from you. That's that's a compliment 910 00:53:47,996 --> 00:53:50,236 Speaker 1: because I've loved the things that you've done, you know, 911 00:53:50,396 --> 00:53:53,836 Speaker 1: the records that you've made tremendous. Thank you so much. 912 00:53:54,276 --> 00:53:59,676 Speaker 1: All right, Rick tick Hare, thanks to Tom Jones for 913 00:53:59,716 --> 00:54:03,036 Speaker 1: taking us through his incredible career. To hear more of 914 00:54:03,036 --> 00:54:05,756 Speaker 1: our favorite Tom Jones songs, check out our playlist at 915 00:54:05,796 --> 00:54:09,396 Speaker 1: broken record podcast dot com. Be sure to subscrib to 916 00:54:09,436 --> 00:54:12,596 Speaker 1: our YouTube channel at YouTube dot com slash broken Record Podcast, 917 00:54:12,716 --> 00:54:15,356 Speaker 1: where you can find all of our new episodes. You 918 00:54:15,356 --> 00:54:18,676 Speaker 1: can follow us on Twitter at broken Record. Broken Record 919 00:54:18,716 --> 00:54:22,076 Speaker 1: is produced with help from Lea Rose, Jason Gambrel, Bentaladay, 920 00:54:22,156 --> 00:54:26,396 Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafey. 921 00:54:26,476 --> 00:54:30,316 Speaker 1: Our executive producer is Mia Lobell. Broken Record is a 922 00:54:30,356 --> 00:54:33,236 Speaker 1: production of Pushkin Industries. If you like this show and 923 00:54:33,356 --> 00:54:37,476 Speaker 1: others from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus 924 00:54:37,556 --> 00:54:41,196 Speaker 1: is a podcast subscription that offers bonus content an uninterrupted 925 00:54:41,236 --> 00:54:44,476 Speaker 1: ad free listening for four ninety nine a month. Look 926 00:54:44,476 --> 00:54:48,036 Speaker 1: for Pushkin Plus on Apple podcast subscriptions, and if you 927 00:54:48,116 --> 00:54:50,596 Speaker 1: like the show, please remember to share, rate, and review 928 00:54:50,676 --> 00:54:53,596 Speaker 1: us on your podcast app or theme musics by Kenny Beats. 929 00:54:53,876 --> 00:54:54,876 Speaker 1: I'm justin Richmond.