This Is Tom Jones: The SHOW (1969 - 1971)

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In the late ‘60s Lord Lew Grade was the owner and controller of Associated Television, and had achieved millionaire status by personally pre-selling many of his seminal TV series such as The Saint and The Avengers to American networks through his own American sales company, ITC.

He first saw Tom Jones rehearsing the Sunday Night At The London Palladium and, after noting the ratings for the singer's previous occasional TV programs, he was inspired to initiate a deal, which would turn the lives of all concerned completely upside down. He asked Martin Starger, who was Vice President in charge of all programming for ABC, to come to England to see Tom Jones at The Talk Of The Town.

Martin Stager was so impressed with his magnetic performance that he gave Lew Grade an order for 24 one-hour shows, initially to be called The Tom Jones Show. Motivated by Martin's enthusiasm, Lew examined Tom's American record sales, and realized that if he could set up a series relatively cheaply in England, he would have a guaranteed audience in the US with returns of at least £20 million from the States alone.

Determined to do the deal, he contacted Tome Jones’ manager, Gordon Mills and set up a series of meetings. Gordon was certain that the idea was perfect for introducing his principal client to the professional world of television and film.

Lew Grade recalled in the 1991 Omnibus TV documentary: "Whenever Gordon came to see me, he brought Tom Jones with him. Tom liked to smoke a cigar and I used to offer him one of mine each time they visited me. Mills was a tough negotiator and the terms he was pushing were hard. Finally, at the third meeting, while Tom was sitting quietly on a couch in the comer smoking a cigar, I said, 'Gordon that's my final offer, and I'll tell you what else I'll do. I'll give Tom a box of cigars for every program he does.' Then Tom, who'd always remained silent at these meetings spoke for the first time. 'You've got a deal!' he said."

Apart of the cigars the deal guaranteed Tom Jones a £9 million fee for a three year contract to film 56 shows, recorded in the Guinness Book of Records in the ‘80s as the largest ever contract to be signed by one individual for a TV series in the U.K.

The pilot was shot on September 16, 1968, and was transmitted on Sunday January 12, 1969. It featured Mireille Mathieu, The Fifth Dimension and Juliet Prowse, and included such Tom Jones standards as It's Not Unusual, Delilah and his cover of Land Of 1000 Dances. The American rights were successfully sold to ABC TV, making Tom Jones the first British entertainer to star in his own regularly scheduled major network. Retitled This Is Tom Jones, the hour-long slot replaced Frost On Sunday in the UK and Jimmy Durante Presents The Lennon Sisters in the US, and commenced in the first week of February 1969 on both sides of the Atlantic.

Tom's tuxedoed image was targeted to appeal to grown-ups as well as to young people. He thought that the black tie created a concert or nightclub atmosphere which is more conducive for adults and enables them to relate more easily to the music."

He was also evidently pleased to have an influence on the layout of This Is Tom Jones. "Every time I've gone to the States to do a guest appearance on somebody else's show, I haven't been able to do what I wanted to do. It's always been, 'do two songs,' and all sorts of restrictions...”

They began filming on January 2, 1969, and spent until April taping first 18 shows. The director and producer of the series was Jon Scoffield, assisted by Nina Blatt; Johnnie Spence was the eminent musical director, Norman Maen was the dance choreographer and Bill Glaze was the production manager. The writers were Tom Waldman, Frank Waldman, Donald Ross and Ronnie Cass, the latter's credits including The Young Ones in 1961 and Summer Holiday in 1963. It was Jon Scoffield's choice to hire Ronnie, partly because he realized that as the writer was Welsh he would understand Tom's speech patterns better than anybody else.

Jon was a no-nonsense producer; brilliant, professional to the end and very astute, building around Tom Jones a super-slick show every week, exerting a control where others had feared to tread.  As the producer he had to stand his ground against the long row of financial executives who felt they had the right to sit in the studio loudly voicing their opinions. Finally Jon insisted on their immediate and permanent departure as he felt their presence marred any sense of intimacy during filming; such an aggressive move had never been made before.

This Is Tom jones was filmed at Elstree Studios, in Hertfordshire, UK, with a lavishly high budget of about £75,000 a show. This was much higher than any comparable series in the UK, and was on a par with any grand Hollywood affair.

A typical programme would start with a close-up of a Shure Unidyne III Microphone. Viewers with a keen eye might note the miniature TJ initials on its side. The mic was a gift from Jon Scoffield, with the letters embossed in the same font as the show's graphics. After the title flashed up on the screen, Tom would sprint down the stairs through the audience and onto the stage, pausing in front of a backdrop spelling out TOM in king-sized letters and there would shake hands with the musical director Johnnie Spence. Opening with his signature tune, It's Not Unusual, Tom would then segue into an adapted version of the song Ain't That Good News, in which he introduced his guests for the show.

Next, Tom moved away from the stage to perform a couple of large-scale production numbers against a bright pink or blue set, with a chorus of garishly garbed dancers in a variety of psychedelic scenes and he would present his first guest, joining them for a duet, which was unusual for the time. The guest then had a solo spot to present one of his or her own numbers.

Tom would reappear for what became known as the 'quiet spot', where he was supposed to sing an easy listening tune sitting in a chair. Tom remembers that he always found it difficult to sit still at this point, as he was so used to dancing. After this showcase, another guest would join him for a medley.

Finally, Tom returned to the stage to perform the 'concert spot' with three songs; an opener, a big ballad and a closer. The lights dimmed, as a moving stage propelled the orchestra forward to surround Tom while he typically loosened his bow tie, sending the all-female audience into paroxysms of lust. The front three rows would be purposely filled with particularly attractive women, which was as important photographically as it was for Tom, who unashamedly encouraged the screaming by accepting towels and kisses. Finally, after announcing forthcoming tours or albums when appropriate, Tom bade farewell in Welsh. It was Ronnie Cass' idea for Tom to say goodbye in Welsh, which was not translated for the viewers. It’s correct meaning was, "May you always be well and be happy", the irony being that Tom doesn't speak Welsh himself. As Ronnie recalls: "I had to teach it to him phonetically, he didn't know what he was saying!"

The first half of the programs each took a week to make, and Tom was busy rehearsing, filming and recording the soundtrack for six of the seven days. He didn't mind the hard work, just the morning hours: "That's the only drawback, I don't like getting up early… but if that's the only drawback, I can put up with it", he said.

The stars would arrive three or four days before their shoot, to be measured for the costumes. The morning of the shoot consisted of a full dress rehearsal and recording of the program would be completed that afternoon.

Every month they shot three or four concert spots in one day: twelve numbers. They did these shows one after the other through the day with the same audience; they didn’t change the audience, just moved them round.

Tom Jones was particularly patient on set. In one particular sequence where Tom was kept sitting and waiting, producer Nina Blatt went up to him and apologized for the delay, receiving the gracious reply, "It's better than carrying bricks. I'm sitting here with a glass of champagne and I'm quite happy!"

After a long day's work, Tom would remain at the studios for a while but he wouldn't socialize much with the crew. Every night he'd come off the show and always phone his wife Linda. She would occasionally visit the set on rehearsal days, as would Tom's father and various other proud family members.

While Tom may have seemed aloof to some, he would socialize freely with guest stars after hours. He loved the social side of the show. He'd be drinking in the bar at Els­tree every night and stars would come out there just to talk to him, just to be part of it.

This Is Tom Jones was always taped twice, once for the English broadcast and again for the American audience. The primary reason for this was that the video system used in Britain is different from that of the United States. The other reason for the two filmings was that the Americans imposed much stricter censorship demands as they had to assuage their southern Bible belt viewers. An American censor called Elizabeth would sit through the dress rehearsal, knitting and taking notes.

"My early TV shows used to get censored," Tom recalled for an interview in 1989. "One woman from ABC watched me doing my routine to 'Satisfaction' by the Stones and she said, 'You can't sing that song and move like that,' because she thought it had a bit of a message." Tom was, of course, suggesting sexual satisfaction, but this was not consi­dered suitable for prime time TV in America. The English crew found American censorship levels very prudish. Even the costumes had to be altered to cover a naked navel.

This Is Tom Jones rapidly became a world-syndicated TV show. Seen in 18 countries, it regularly topped ratings, and attracted a nomination in 1970 for a Golden Globe for Best TV Actor in a Musical or Comedy (sadly unsuccessful)

This Is Tom Jones was such a hit in the US that the core members of the crew were flown in August 1969 to Los Angeles to film six shows. Tom's first American show aired on October 9, 1969 and featured Tony Bennett and Vikki Carr. Johnny Cash and Blood, Sweat & Tears were to join Tom for his next consecutive shows. The winning formula was repeated in 1970, producing a further six shows in the US.

When Tom arrived the ABC network received an unprecedented 30,000 requests for tickets from desperate fans, and even he was unable to secure seats for his own friends. The little groupies would do anything to get to see that show, they would do anything just to touch him.

The crew had not realized until now the extent of Tom's stardom overseas. Back at Elstree studios, they were looked upon merely as production staff for Tom's show, but in Los Angeles Tom's celebrity status extended a little fame onto everyone. The crew were amazed to find five convertible Mustangs waiting for them on their arrival. One night production manager Bill Glaze was stopped by the local police for driving his Mustang the wrong way towards the freeway. Bill explained in his defense that he was English and therefore unused to driving on the right-hand side of the road. On further questioning he verified that his work was filming This Is Tom Jones. Overcome, the policeman said, "My wife would go without a steak dinner to meet Tom Jones!" Bill replied, "You've got it!" Without further ado the policeman tore up the ticket in front of him and in return Bill ensured that the policeman's wife attended the filming of every concert spot while they were in the US.

The American stars were keen to appear on Tom's show in England. It was good for promotional purposes as it allowed them to 'be seen' in the UK. Inevitably there were some personalities who were unable to spare the time to travel or film, so the show literally came to them. Jon was mainly responsible for choosing which faces appeared on This Is Tom Jones, but Gordon and Tom also had a say in shaping the guest list.

"In those days, the big singers on American television were people like Perry Como and Andy Williams and Dean Martin," Tom Jones said in an interview for the Daily Telegraph in 1998. "ABC wanted me to be like them, but every chance I could get, I would sing something a little different, something harder than the usual stuff of the time. And I would get great people to come on the show, like Little Richard and Jerry Lee Lewis.”

As far as Tom and Jon were concerned, the weekly invitations were an unspoken agreement. In return for the easier personalities which Jon knew would satisfy ABC's ratings, Tom was allowed to choose the musicians who inspired him most. "It was a trade-off," Tom conceded in a publicity release. "I'd say, 'Look, if I have to have Barbara Eden or Robert Goulet on, I gotta have Aretha Franklin and Ray Charles.' " So when Barbara Eden, the comedienne star of I Dream Of Jeannie surfaced twice on Tom's show, she was joined by Wilson Pickett in the first instance and Jerry Lee Lewis in the second.

Tom didn't think twice about the presence of Barbara Eden on the latter show; he was far too busy immersing himself in a to-die-for medley with his lifetime idol, encompassing Jerry Lee's classics 'Great ƅalls Of Fire', 'Down The Line', 'Long Tall Sally' and 'Whole Lotta Shakin' Goin' On'.

 

 

The appearance on This Is Tom Jones of Janis Joplin, arguably the finest white blues and soul singer of her generation, caused ructions behind the scenes. "She thought I was really straight, like an establishment TV figure because being on bloody TV the rebel side had gone away from it," Tom said to Q magazine in 1991. Janis Joplin came in smoking grass and said to Jon, “What key does your boy sing in?” Jon replied, 'Don't worry about keys, he'll do it.' Unconvinced, the extrovert singer thought she could easily outstrip Tom with her stunning three octave roar during their duet on Raise Your Hand. Tom remembers the result as a real "rock 'n' roll scream-up... and after it she said, 'Man! You can really sing!' She was so surprised.

 

Another notable American counter-culture act to appear on the show was the 'super-group' Crosby, Stills, Nash & Young, on October 25, 1969. Fresh from their appearance at the Woodstock Festival two months earlier, CSN&Y were at the height of their popularity, but eyebrows were raised at the sight of these long haired, moustachioed musicians in their faded jeans and fringed jackets on mainstream TV. In the event they sang Stephen Stills' keening anthem 'You Don't Have To Cry' and Tom joined them for David Crosby's 'Long Time Gone', one of the best known revolutionary compositions from the era which was later chosen to open the Woodstock movie. Crosby was later mortified by the memory of singing with the tuxedoed Tom, but Stills quipped: "I really dig Tom Jones... he's got incredible chops."

Tom struck up a fantastic rapport with Sammy Davis Jr., the black veteran mimic, dancer and singer hailing from the Vaudevillian tradition. Sammy and Tom made such a great double act joking around with each other and zany Jo Anne Worley in Sammy's first brief appearance on This Is Tom Jones that he returned for a second show devoted entirely to the duo.

As well as offering a showcase to big names, This Is Tom Jones made stars of less publicly acknowledged musicians, in particular Big Jim Sullivan. Big Jim took the idea of having a solo guitar number to Jon Scoffield, along the same lines as Tom's 'quiet spots', who approved and gradually incorporated it into the show. The statuesque guitarist gained something of a fan base as the series progressed. Tom enjoyed sharing the limelight, typically introducing his pal with "The lad parked here with the guitar is not a guest, he's family ladies and gentlemen, my guitarist Big Jim Sullivan. Big Jim's a man of few words, he just lets the guitar do all the talking for him." Big Jim often performed country numbers when they realized that it was popular.

In November 1969, Tom forged an alliance for the first time with The Treorchy Male Choir, a well-established Welsh male voice choir that had then been performing traditional music native to their country for over 20 years. Tom suggested to the production staff that his baritone range would be a good match for such an ensemble. The Treorchy Male Choir was brought in for a special Christmas edition of Tom's show, filmed at Elstree studios and also featuring guests Millicent Martin, David Fry and Joan Collins. Bob Griffiths, spokesman for the Choir recalls: "We were invited to appear with Tom in November 1969 and we couldn't believe that we would be appearing with such a huge star... It was absolutely tremendous. We were mixing with all the stars and we were there for three days."  To celebrate the success of the filming Tom joined the choir in the canteen buying a rather expensive round of beer for the 100 plus members and the Welshmen talked, laughed and sang into the early hours of the morning.

 

In November 1970 the choir was invited back to Elstree to film with Ella Fitzgerald and Rudolph Nureyev. Ms. Fitzgerald was so impressed with the choir that she dedicated her special arrangement of 'Just A Closer Walk' to them.

Three months later a section of the choir accompanied Tom on a jovial, alcohol assisted sketch which celebrated the singers' Welsh roots for the Burt Bacharach Show, and was also filmed at the Elstree Studios. "The idea was that Tom would be talking to Burt Bacharach about his songs," laughs Bob Griffiths today. "Burt would say, 'Well, where do you come from, Tom?' and Tom would say, 'I come from a place called Pontypridd.' " Tom complimented the legendary songwriter by informing him that everyone in Wales knew his songs. When the composer feigned surprise Tom bet him that if they could be transported to any pub in the Valleys, there would be a group of choristers singing Burt's 'Raindrops Keep Falling On My Head'. Bob continues: "They would fade out to a pub scene and there we were, singing the song in Welsh. They had actual beer in the glasses, not colored water! We had done this song about four or five times when Jon Scoffield said, 'No, it's not right' ". A waiter went round and filled the choristers' empty glasses. "After Tom had done about five or six shots, we'd had five or six pints of beer and loosened up a bit. And Jon Scoffield said, 'Yes, that's it, now you've got it!' "

Tom was graced with the presence of many of the finest performers of this century on his ground-breaking show. Among the many other diverse guests featured in both musical spots and sketches were The Bee Gees, Paul Anka, Peter Sellers, Nancy Sinatra, The Who, Ray Charles, Sonny & Cher, Wilson Pickett, Smokey Robinson, and Aretha Franklin. Contrary to popular belief, Elvis Presley never appeared on the programme. "He was booked, but never appeared. A contract problem. When he came out of the Army he did a special with Frank Sinatra and the contract said until he did a second Sinatra show he couldn't do anybody else... I had everybody else on except Elvis," Tom later explained.

As This Is Tom Jones developed, Jon Scoffield decided to incorporate an element of comedy into Tom's act, reinforcing Gordon's thinking that a public perception of his star as a skillful all-round performer would pave the way to Hollywood. The Ace Trucking Company, a comic group consisting of Patti Deutsch, Michael Mislove, Bill Saluga, George Terry, and Fred Willard became an integral part of the show. Jon loved their genuine 'Greenwich Village' type of stand-up performance, which would soon escalate into hilarious improvisation. Although Jon admits today that many thought he was slightly mad in hiring the group to augment Tom's comic routines, they were much appreciated on set and became regulars in the last series.

Nina Blatt remembers that in the sixties feminism had become a major issue and even this was tackled, albeit in a sardonic fashion, on This Is Tom Jones. Cynicism aside, the very inclusion of such a progressive theme in a program of this nature was in itself almost unheard of. Guest star Anne Bancroft led the way by appearing in a scene set in a bathtub where Nina remembers the bubbles began to sink at an alarming rate. Anne soldiered on with a forced smile, debating the ideals of feminism against respectful chivalry. The subject was addressed once more in a kitchen scene where Anne played the wife to an exaggeratedly chauvinistic Tom, pretending to gratefully agree with everything her husband says, only too happy to spend her life cooking and cleaning for him. As soon as Tom exits the set she rejoices in the appearance of several brightly clad ladies, who enter the kitchen chanting, "Ban The Man! Women Unite! Girl Power!"

Tom was often happy to send himself and others up during the topical diversions. In one program, he appeared as a janitor for the fictional 'Funky Records' label. The record company staff were supposed to be searching for a new singer, the joke being that the talented Tom was right under their noses. When they hear the janitor singing while he cleans, they remark, "Did anyone tell you had an interesting voice?" Tom replies, completely deadpan: "Only my friend Engelbert, but what does he know?!"

 

Perhaps the most infamous aspect of Tom's sojourn at Elstree was his caravan, and what occurred within. The glorified dressing room was rather romantically described in official publicity material as a "special five room chalet built inside the studio grounds to provide him with a home from home." The caravan, which was used for 'entertaining', was kept very well hidden for security reasons. Only the runners knew of the caravan's secret location next to the wardrobe department. It was either Gordon or Jon's method of keeping Tom's wayward inclinations out of the way of prying eyes. TV producer Stewart Morris claimed on the BBC Omnibus documentary that, "Tom used to have a driver called Chris Ellis who waited in the wings with towels... If Tom spied someone in the audience who he thought was interesting Chris would go around during the show and they would be invited to join him for the inevitable Dom Perignon on ice. And there would be Tom with the towel around his neck in a dressing gown ready to meet them. Chris would stand guard outside the door."

By far the longest affair the caravan witnessed was with a minor American actress, Joyce Ingalls. A model for the Eileen Ford Model Agency and the Sears catalogue, Joyce would later become notorious as the third party in the breakup of Anthony Hopkins' marriage in 1996. According to anonymous sources, Joyce moved into Tom's caravan in January 1970 and declared the trailer off-limits to all visitors. A controlling, on-and-off relationship transpired over the next 18 but in the end, Toms loyalty to Linda overcame the romance and Joyce was dispatched on a plane, leaving the singer for good. Meanwhile, the caravan (the subject of many an 'in-joke' about how its lyres needed frequent changing even though it never went anywhere) was eventually inherited by none other than Engelbert Humperdinck, when he commenced work on his rival show.

This Is Tom Jones was cancelled after a memorable two-and-a-half seasons at the beginning of February 1971. It was undoubtedly the most phenomenally successful of any show of its genre. The final farewell show was filmed entirely as a concert spot in England and was very emotional for all involved. That was the last many fans saw of This Is Tom Jones until it was released on a specially compiled highlights video in November 1993.