TOM JONES — Bent Rej Photography

About the Song

In the realm of popular music, there are songs that capture the zeitgeist of a generation, becoming anthems that transcend time and cultural boundaries. Tom Jones’s “It’s Not Unusual” stands as one such iconic masterpiece, a soulful ballad that has captivated audiences for over five decades. Released in 1965, the song marked Jones’s meteoric rise to stardom, propelling him into the international spotlight and establishing him as a force to be reckoned with in the music industry.

“It’s Not Unusual” is a testament to the power of a well-crafted song, seamlessly blending elements of pop, soul, and orchestral arrangements to create a sound that is both timeless and captivating. The song’s opening notes, a dramatic flourish of strings and horns, immediately set the stage for a journey into emotional depths, while Jones’s powerful vocals, imbued with raw emotion and vulnerability, carry the listener through a whirlwind of love, loss, and self-discovery.

The song’s lyrics, penned by the songwriting duo of Les Reed and Gordon Mills, delve into the complexities of human relationships, exploring themes of heartbreak, longing, and the resilience of the human spirit. Jones delivers each line with a palpable intensity, his voice soaring and plunging through the octaves as he conveys the protagonist’s emotional turmoil. The lyrics, though simple in their construction, resonate deeply, capturing the universal truths of love and loss that have touched countless individuals across generations.

“It’s Not Unusual”‘s impact extends far beyond its musical brilliance. The song has become synonymous with Tom Jones’s larger-than-life persona, his charismatic stage presence, and his powerful vocal delivery. The song’s accompanying music video, featuring Jones’s signature dance moves and expressive facial gestures, further cemented its place in popular culture, becoming an indelible part of Jones’s enduring legacy.

The song’s influence on popular music is undeniable. “It’s Not Unusual” has been covered by countless artists, from Elvis Presley and Nancy Sinatra to Michael Bublé and Paloma Faith, each interpretation adding their own unique flair to the song’s enduring melody. The song’s presence in film and television is equally noteworthy, appearing in soundtracks ranging from “The Full Monty” to “Ocean’s Eleven,” further solidifying its status as a cultural touchstone.

“It’s Not Unusual” remains a timeless classic, a song that continues to captivate audiences with its emotional depth, powerful vocals, and enduring message. It is a testament to the enduring power of music to transcend boundaries, speak to the human spirit, and leave an indelible mark on popular culture.Tom Jones before The Voice - an ex bandmate reveals tales of tunes, girls and Krays - Irish Mirror Online

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Lyrics: It’s Not Unusual

It’s not unusual to be loved by anyone
It’s not unusual to have fun with anyone
But when I see you hanging about with anyone
It’s not unusual to see me cry,
I wanna dieIt’s not unusual to go out at any time
But when I see you out and about it’s such a crime
If you should ever wanna be loved by anyone,
It’s not unusual it happens every day
No matter what you say
You’ll find it happens all the time
Love will never do what you want it to
Why can’t this crazy love be mine?It’s not unusual to be mad with anyone
It’s not unusual to be sad with anyone
But if I ever find
That you’ve changed at anytime
It’s not unusual to find that I’m in love with you

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Gary Stewart never fit the smooth, polished Nashville mold dominating the 1970s. Born in Kentucky and raised in Florida, he possessed a high, quivering vocal delivery that always sounded like it was moments away from breaking completely. Long before stepping into the spotlight himself, Stewart and his songwriting partner Bill Eldridge penned tracks for artists like Stonewall Jackson and Cal Smith. RCA signed him in the early years of the decade, though the label initially struggled to position his unique sound. Everything shifted when producer Roy Dea embraced a raw, unapologetic honky-tonk style. In 1974, “Drinkin’ Thing” broke into the Top 10, quickly followed by his signature masterpiece: “She’s Actin’ Single (I’m Drinkin’ Doubles).” Penned by Wayne Carson, the song captured a man watching his relationship dissolve while his partner acted single and he responded by drinking twice as hard. Stewart’s strained vocals transformed the lyrics from clever wordplay into a nervous breakdown captured in real time. The track soared to No. 1 in 1975, and its parent album, Out of Hand, cemented itself as one of the hardest-hitting country records of the era. Yet the deep instability captured on wax wasn’t just a theatrical performance. As the years rolled on, Stewart battled severe struggles with alcohol and prescription drugs, compounded by heavy personal tragedies that slowed his momentum through the 1980s. Though he eventually returned to live performing with a fiercely loyal cult following, the darkness in his music tragically mirrored his real life. In December 2003, Mary Lou, his wife of over forty years, passed away from pneumonia. Less than a month later, Gary Stewart died by suicide at his Florida home. His legacy was never built on radio polish. What people remembered was the haunting tension that every single syllable might snap before the song reached its end—and how Stewart somehow held it all together just long enough to tell the story.

Long before he became a household name across America, Lefty Frizzell was cutting his teeth on the grueling Texas honky-tonk circuit, tossing out casual phrases that sounded far too good to throw away. One night after a show, an eager friend from Oklahoma tried to keep the party going, prompting Lefty to reply with a golden line: “If you’ve got the money, I’ve got the time.” He hurried home and built a timeless standard right around it. Though building a massive buzz throughout West Texas, Lefty remained an unsigned artist until producer Jim Beck caught wind of his effortless vocal style and began cutting demos with him in Dallas. Armed with those early recordings—including “If You’ve Got the Money”—Beck headed straight for Nashville, initially planning to pitch the tune to Grand Ole Opry star Little Jimmy Dickens. When Dickens passed on the opportunity, it completely altered country music history. Columbia Records producer Don Law listened to the demo and realized the singer on the tape was far more valuable than any other artist he could find, signing Lefty to the label in 1950. That first historic studio session yielded a ferocious double-sided powerhouse, as both “If You’ve Got the Money, I’v Got the Time” and “I Love You a Thousand Ways” rocketed all the way to No. 1, transforming an unknown Texas kid into an overnight superstar. His distinct vocal styling—featuring loose phrasing, stretched vowels, and a conversational delivery—instantly rewrote the blueprint for honky-tonk singing, casting a massive shadow over legends like George Jones and Merle Haggard. The song Little Jimmy Dickens didn’t want didn’t just top the charts; it made the man behind the microphone impossible to ignore

By early 1973, Bobby Bare had already spent more than a decade bouncing between record labels, radio hits, and near-misses, but he was hungry to try something completely different. Captivated by Joe South’s groundbreaking Introspect, Bare dreamed of crafting a cohesive country concept album that functioned as one living world instead of just a patchwork collection of radio singles. When he pitched the idea to his songwriter friends, however, nobody wanted to touch the project. Everything changed on a Saturday night at a Country Radio Seminar party when Bare ran into Shel Silverstein and vented his frustration about failing to find a collaborator. Silverstein listened closely, and by Monday morning, Bare’s telephone was ringing with a promise that an entire album’s worth of material was ready to go. Those songs blossomed into Bobby Bare Sings Lullabys, Legends and Lies. Bare took the reins as producer, keeping the musical arrangements loose and inviting to frame Silverstein’s eccentric characters, dark humor, and folk-tale simplicity with an intimate, living-room atmosphere—even mixing in live audience reactions to make the record feel like a gathering of friends. The creative gamble paid off instantly. “Daddy What If,” recorded as a duet with Bare’s five-year-old son Bobby Jr., climbed to No. 2 on the country charts, while “Marie Laveau” soared to No. 1, marking the sole chart-topping single of Bare’s career and pushing the album into the Top 10. More importantly, that weekend spark ignited a decades-long partnership. Bare went on to record well over a hundred of Silverstein’s compositions whenever he craved material that defied standard Nashville formulas. Bobby Bare set out looking for a single concept record, but he walked away with the creative partner who would define the rest of his legendary career.