Tom Jones International

It has lots of errors — incorrect song titles and biographical disinformation — but this review of Tom in AC from jambase.com also has lots of praise, even though some of it isn’t too clear: “Jones commanded us to watch as a mirrored ball suspended from the ceiling high over head in the grand theater shined like artificial starlight in a planetarium, the vastness of outer space brought inside as light rained across the room for Sex Bomb, a great get up and dance song. The audience responded with moves of their own, and Jones responded with I Like The Way You Move and closer Prince’s Kiss. Little could be smoother or sexier.”

Anyhow, this review also has some good photos by Rod Snyder. If you want to see them, you’ll find them at photonet.com.

Tom Jones :: 05.03.08 :: Harrah’s Casino :: Atlantic City, NJ

At Harrah’s Casino in Atlantic City, in a very proper theater seating about 1300 people, a velvet curtain concealed the stage as bright light peaked out and sound washed over the room. After a moment the curtain rose and the eleven-piece band appeared in small groups across the stage underneath a video screen showing images of outer space, Earth and the moon. We saw the topography of their surfaces and then a motorcade, as Sir Thomas John Woodward, better known as Tom Jones entered, giving us the thumbs up to begin our revels.

The Welsh singer, whose career began with Beat Boom stars Tommy Scott and the Senators in 1963, started the show by asking the audience to Raise Your Hand as he took us across the threshold of time, through space, into a musical journey spanning 40 years. Second song, Help Yourself, composed by Burt Bacharach and Hal David for the musical “What’s New Pussycat?” nostalgically transported me back to 1965. The carefully produced and polished show highlighted the individual band members and their talents. The sound is big, fresh and clear.

Just help yourself to my lips, To my arms just say the word and they are yours Just help yourself to the love In my heart your smile has opened up the door

It’s an invitation to go back to a time of school dances and parties where you hold someone special tightly in your arms, the taste of first kisses sweet as candy lingering in his delivery. His raw power and the impact of those lyrics coupled with his passionate sexuality are central to this man’s enduring, immense popularity. His uninhibited willingness to give all of himself to his audience is still fully evident today.

He sings blues, gospel, pop, jazz and country with equal facility. George Jones’ tender “He Stopped Loving Her Today,” a ballad about unrequited love, moved my heart deeply for lovers remembered. Then, he jumped right into “Delilah,” a tale of jealousy and its tragic results. The roomful of fans sang wildly, and we were swept away with a horn blare. The arrangement of light upon the stage and very subtle color changes were synchronized with the carefully executed moves of Jones and the band in this classy, well designed display of pure entertainment.

Jones’ versatility and respect for all types of music continued with Howlin’ Wolf’s 300 Pounds of Heavenly Joy, delivered in a style Elvis would be proud of. Jones also tackled songs by Jerry Lee Lewis, Van Morrison, Roger Cook and chestnuts like Here Comes That Rainy Day Feeling Again, Fly Me To The Moon and That Old Black Magic, which he used to perform as a duet with guests on his ’60s TV show. Jones succeeded on this diverse array in an honest and believable way, and although they are from different eras, he delivered each in a timeless fashion.

A gospel version of Bill Withers’ Grandma’s Hands found him singing about unconditional love accompanied by a skillfully played acoustic guitar. Van Morrison’s Some Peace of Mind was a smash, then smoke and hot lights introduced She’s A Lady, with its colorful brass and hip thrusts. Then back to a familiar sad song, “I’ll Never Fall In Love Again,” and a parade of adoring fans pay their special tribute to him by tossing their knickers onstage. Without stopping, he went back to country with Green Green Grass of Home, followed by more pop with What’s New Pussycat? which featured Jones, with a pussycat smile on his face, cutely dancing across the stage, moving lightly on his feet. By this point, they tweaked the set to include Randy Newman’s You Can Leave Your Hat On, offered with the sexiest of deliveries.

Jones commanded us to watch as a mirrored ball suspended from the ceiling high over head in the grand theater shined like artificial starlight in a planetarium, the vastness of outer space brought inside as light rained across the room for Sex Bomb, a great get up and dance song. The audience responded with moves of their own, and Jones responded with I Like The Way You Move and closer Prince’s Kiss. Little could be smoother or sexier.

Tom Jones is the one of best British performers of many genres, entertaining and reminding us that we should cherish our dreams and love those who help support them. Yes, Sir Tom, hats off to you!