#58 Tom Jones- Delilah

What’s New in the world of crooners Pussycat?

(Decca)

Released: 12^th July 1968

Producer: Peter Sullivan

Topped the chart:

4^th August 1968 (for 1 week)

15^th September 1968 (for 1 week)

2 weeks total

Continuing to work our way through the “easy listening” boom of the late 60s, we’ve already seen a number of crooners hitting it big, albeit briefly: Val Doonican’s rocking chair and laidback vibe covered for a distinctly average voice, Andy Williams kept it distinctly old-fashioned, and Scott Walker completely turned the genre on its head in genuine style.

None are quite like Tom Jones.

Having lived through his “grandad has his hands down his leather pants on the wedding dancefloor” era of the late 90s and sitting looking a bit confused in a spinning chair on TV talent competitions, it’s hard to remember just what an astonishing singer he was in his heyday. He could deliver enough force to launch a rocket to the moon, backed with the intensity of a million Welsh male voice choirs all singing at once- it’s not for nothing that there’s a story (apocryphal, probably) that he fainted in the studio at the end of that gigantic note at the end of Thunderball. Whether it’s true or not, you can believe it.

So, it’s a shame that on Delilah, his first time at the top of the UK album chart, the songs he is given just don’t match up to his talent; as wishy-washy as the material on the Val Doonican album, but with a voice screaming for the heavens to set it apart. There are one too many mid-tempo nothings to fill each side: Lingering On lives up to its title and outstays its welcome, My Elusive Dreams is the very definition of naff, challenged only by the syrupy, Spector-ish backing vocals on One Day Soon.  Much of the music here has a vaguely European feel, orchestrations you can imagine backing a Cornetto ad.

As forgettable as much of it is,  there are some nice moments here and there. Heart of Mine is a nice change of pace, bringing together a little Mariachi and the oh-so-trendy Tijuana brass to leap out of the grooves. You Can’t Stop Love is mostly mediocre but does feature a Lennon-McCartney-esque switch to the minor key on the chorus, while the full-blooded brass on Why Can’t I Cry adds some much-needed grit beyond Jones’ voice.

Then we come to the title track itself, one of Jones’ signature songs. It’s an odd piece of music: a murder ballad in the tradition of old blues songs, but one that bursts into a big Sweet Caroline-style chorus. Delilah was caught up in its own controversy in recent years when Welsh rugby decided that having generations of fans singing a song about a man murdering his spouse after she cheats on him might not be sending the right message. Of course, everyone who disagreed then reacted in an entirely reasonable and fair manner…

Nick Cave (a man familiar with a murder song or 12) dismissed the furore as he considered the song unworthy of such a fuss. It’s certainly beautifully arranged (those Psycho-inspired string stabs earn their pay alone) and Jones gives it everything he has as always, but it’s definitely bonkers. Thankfully, it still manages to outpace the album’s other murder ballad, Laura, an arrangement that tosses the song away, not earning the right to its subject matter.

Judged on its own, Tom Jones’ 60s material suggests him as a half-decent singles act, which is significantly less than that voice deserves. This won’t be our last hour with Mr Jones, and while this music might not set the world alight, at least it doesn’t suffer the indignity of a Wyclef Jean feature. More on that much later…

Score: 5/10

Tracklisting:

SIDE A

1.      Delilah

2.      Weeping Annaleah

3.      One Day Soon

4.      Laura

5.      Make This Heart of Mine Smile Again

6.      Lingering On

SIDE B

7.      You Can't Stop Love

8.      My Elusive Dreams

9.      Just Out of Reach

10.  Only a Fool Breaks His Own Heart

11.  Why Can’t I Cry

12.  Take Me