Tom Jones

Most of the current performers contributing to the revival of mid-1960s English pop are female, leaving the door wide open for a new Tom Jones. He hasn't emerged yet, but the old one's still around, and his new record, 24 Hours, is a decent entry in the nostalgia genre. Rather than turning to Rick Rubin or Steve Albini for a stripped-down new style, he's worked with producers Future Cut, and the sound is much more Amy Winehouse or, well, Tom Jones than any kind of departure.

Things start out brassy and energetic, with the rousing "I'm Alive," the Bacharach-esque "If He Should Ever Leave You," the soft and bouncy "We Got Love" and the horn-infused "Give a Little Love." However, they begin to sag thereafter as the play times creep upward from three minutes to four or more. If Jones had managed to release an EP rather than a full-length record, it would've been stronger for deleting tracks like "The Road," a theoretically heartfelt apologetic ballad that shows his voice in fine, tigerish form but goes on too long, and "Seasons," a schmaltzy snoozefest. "Sugar Daddy," written by Bono and the Edge, is hampered not only by its lyrics but by its excessively simple instrumentation. While Jones's cover of Bruce Springsteen's "The Hitter" is well-rendered, it doesn't fit with the rest of the material here. "Seen That Face" and the title track are also disappointments, reaching back 15 years rather than 40, which gives them a tone that's more dated than deliberately retro.

Luckily, Jones closes with "More Than Memories," which is still slow but at least more similar to the front end of the record than the back one, suggesting that you should press the skip button repeatedly to get the best listening experience.

—Hillary Brown
12.15.08

To quote an earlier comeback record from Tom Jones (not that he ever left), he not only has the lead but he knows how to swing it. While it's true that 24 Hours appears close to 50 years after Jones first started playing with local Welsh beat groups, there's still plenty of evidence that this is the same singer who caused timid radio broadcasters to reconsider playing his records and women to throw uncountable pairs of knickers toward the stage. Helmed by production team Future Cut -- also behind tracks by Lily Allen, Estelle, and Kelis, among others -- the record charts a perfect balance between the type of throwback soul that would appeal to fans of the artists mentioned above (plus Amy Winehouse or Nikka Costa) as well as those who treasure his beefy late-'60s productions. After all, not many listeners want to hear a refined Tom Jones. They want the power and bravado of "It's Not Unusual" and "What's New, Pussycat?" And, fortunately, that's exactly what they get here, from the knockout first single "If He Should Ever Leave You," the opener "I'm Alive," the aggressive and flirtatious "Sugar Daddy," and "In Style and Rhythm." Often, when performers attempt to update their sound, they end up sounding hopelessly lost or bewildered, but Jones has changed with the times throughout his career. Just as importantly, he's always chosen collaborators who can pinpoint how his classic sound would work in a contemporary context. Here, it's a pounding and drum-heavy production that still allows room for organic touches (blazing horns, stinging brass, twanging guitars). The quality of the songs is high, and most are kept in-house, so they match his persona well. Besides Future Cut, Tom Jones also gets help on a pair of tracks from two other great producers: Betty Wright and Nellee Hooper. The latter appears on "Sugar Daddy," an excellent song written for Jones by Bono and the Edge, and it also features both of them playing on the track. Best of all, Jones' voice is still strong, only rarely betraying his 68 years on the planet. ~ John Bush, All Music Guide