Honestly, if you think Tom Jones is just about throwing underwear and kitschy Vegas residencies, you’re missing the actual muscle behind the music. Sir Tom—or Thomas John Woodward if we’re being formal—is a vocal powerhouse who has basically outlived every musical trend of the last sixty years.
He didn't just survive; he dominated.
Most people know the big ones. You can’t go to a wedding without hearing "It's Not Unusual" or a karaoke bar without someone screaming "Delilah" at the top of their lungs. But the story of Tom Jones popular songs is actually a weird, jagged timeline of soul, country, and even electronic dance music. It’s not a straight line of success. It’s a series of massive peaks, weird experimental valleys, and one of the greatest comebacks in pop history.
The 1965 Explosion: It’s Not Unusual and Pussycat
Before 1965, nobody knew who this Welsh guy was. He was playing working-class clubs in South Wales with a group called Tommy Scott and the Senators. Then came "It's Not Unusual." It was originally meant for Sandie Shaw, but she heard Tom’s demo and told him he had to release it himself. Smart move.
The song hit number one in the UK and cracked the top ten in the US. It’s got that brassy, punchy energy that defined the mid-60s.
Then you had "What's New Pussycat?" which is just pure Burt Bacharach madness. It’s a frantic, Broadway-style delivery that’s actually incredibly difficult to sing. People joke about it now, but at the time, it cemented him as a transatlantic star. He wasn't just a British singer; he was a global brand.
When the Voice Got Darker: Delilah and Green Grass
By the late 60s, Tom started leaning into a more sophisticated, slightly raunchier persona. This is where "Green, Green Grass of Home" comes in. It’s actually a cover of a country song, which seems like an odd choice for a Welsh soul singer.
It worked.
The song stayed at number one in the UK for seven weeks. It’s a bittersweet, narrative track about a prisoner dreaming of home, and Tom’s delivery is surprisingly restrained. It showed he had more than just "the belt."
Then there’s "Delilah" (1968). It is arguably his most famous song, but have you actually listened to the lyrics? It’s a dark, operatic tale of a crime of passion. It’s basically a murder ballad with a massive brass arrangement. It reached number two in the UK and became an anthem for sports fans and late-night revelers everywhere. The sheer power required to hit those notes at the end is why "The Voice" became his nickname.
The 70s Swagger and the US Market
In 1971, Tom released "She's a Lady." Written by Paul Anka, it became his biggest hit in the United States, peaking at number two on the Billboard Hot 100. It’s pure swagger. It’s the sound of 1970s Las Vegas—expensive, confident, and a little bit dangerous.
But then things got a bit quiet on the pop charts.
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He didn't stop, though. He pivoted to country music in the late 70s. "Say You'll Stay Until Tomorrow" hit number one on the Billboard Country charts in 1977. It’s a side of Tom many people forget. He has this genuine "gospel grit" that lets him slide between genres without it feeling like a gimmick.
The Art of the Comeback: Kiss and Sex Bomb
The 80s were rough for most 60s legends, but Tom Jones isn't most legends. In 1988, he teamed up with The Art of Noise for a cover of Prince’s "Kiss."
It was a total reinvention.
Suddenly, the guy your mom loved was cool again. The production was sharp, electronic, and modern. It put him back in the Top 10 and proved he could adapt to the MTV era without looking desperate.
Then came the Reload album in 1999. This was a stroke of genius. He collaborated with everyone from The Cardigans ("Burning Down the House") to the Stereophonics ("Mama Told Me Not to Come"). The standout, of course, was "Sex Bomb" with Mousse T. It was a massive club hit in 2000. It’s fun, it’s funky, and it leaning into his "Welsh lothario" image with a wink.
The Later Years: Praise, Blame, and Growing Old
If you stop at "Sex Bomb," you’re missing the best part of his career. Since 2010, Tom has been working with producer Ethan Johns on a series of stripped-back, bluesy, and spiritual albums like Praise & Blame and Spirit in the Room.
In his 2025 and 2026 live shows, he’s been opening with "I'm Growing Old."
It’s haunting.
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His voice has lowered into a rich, weighty baritone. He’s covering Leonard Cohen’s "Tower of Song" and Bob Dylan’s "Not Dark Yet." These aren't pop hits in the traditional sense, but they are among the most critically acclaimed works of his life. He’s proving that he’s not just a "hit-maker" but a serious interpreter of song.
Why These Songs Still Work
The longevity of Tom Jones popular songs comes down to three things:
- Technical Mastery: Even in his mid-80s, his pitch and control are better than singers half his age.
- Emotional Intelligence: He knows when to shout and when to whisper. He understands the "story" in a lyric.
- Adaptability: He never got stuck in one decade. He moved from the British Invasion to Vegas crooning, to Country, to Synth-pop, to Soul-Blues.
If you’re looking to really understand his impact, don’t just stick to the Greatest Hits. Go listen to "I (Who Have Nothing)" from 1970 to hear the raw, almost desperate power he could project. Then listen to "Talking Reality Television Blues" from his 2021 album Surrounded by Time. The contrast is insane.
To truly appreciate the evolution of his music, start by listening to his Praise & Blame album for the raw soul, then jump back to his 1960s Decca recordings to hear the youthful "raucous" sound that record executives originally found "too hot" for the BBC. Seeing him live in 2026 is the best way to witness how he weaves these different eras into a single, cohesive narrative of a life spent on stage.