Free Tom Jones - the Life by Sean Smith

stage’. Tom was mesmerised and would use that performance as a template for his own.
    The night was made even more memorable when he spotted Jerry Lee’s car leaving, followed him in a taxi and jumped out to ask for his autograph when they stopped at a red light. The fact that Jerry Lee was happy to oblige under these slightly bizarre circumstances made a lasting impression on Tom. He has never underestimated the importance of fans and always made time for them when he became famous.
    While Tom continued to be obsessed with Jerry Lee’s music, he did absorb the influence of other singers – chiefly great black artists with distinctive and soulful voices, including Solomon Burke, Ray Charles and, in particular, the rich tones of Brook Benton. The American singer had a breakthrough hit with ‘It’s Just a Matter of Time’ in 1959. Tom would listen intently to the way he used the whole range of his voice to carry a song. Play a Brook Benton song and you can easily imagine Tom singing it. Vernon admits that Tom had a much broader knowledge of music than the rest of the band and listening to records at his house was a musical education.
    Tom was always keen to find new material, however. One day, after a rehearsal at the Y, he noticed that Keith was carrying a new record by Johnny Kidd and the Pirates called ‘A Shot of Rhythm and Blues’. Keith told him that it was fabulous, so they went to Cliff Terrace to listen. Tom loved it. ‘“Leave this with me,” he said. “I’ve got to learn the words and we’ll do it next time.” So I left it there and I never saw it again from that day to this.’
    Tom improved dramatically as a performer with The Senators. He was more confident and didn’t just stand and sing. They used to do a version of the UK number one ‘The Twist’, by Chubby Checker, in which Tom would twist over to Keith and the guitarist would twist back to him. They were only messing about, but the crowd always loved it.
    They had regular work and a supportive following. During these early days, they had no formal manager, but Horace Turner, the father of the drummer, Alva, helped them for the sheer enjoyment of it. He took no commission for sorting out their fees, bookings and regular work. On Tuesday nights, they played the Empress Ballroom in Abercynon; Wednesday, they rehearsed from 7 p.m. until 10 p.m., so they could make the pub for a beer before closing; Thursday, they travelled to Caerphilly for their favourite night of the week at the Bedwas Working Men’s Club, popularly known as the Green Fly; and Friday, they still had their usual alcohol-free night at the YMCA in Pontypridd. Many other local venues formed an orderly queue to sign them up when it became clear that they could fill the place. They played often at the Memorial Hall in Newbridge, known to everyone as the Memo, the Cwm Welfare Club in Beddau and the Regent Ballroom in Hopkinstown, on the west side of Pontypridd.
    The band was being paid between £12 and £15 a night, which left them with £2 or £3 each after petrol and other expenses. Tom acquired a reputation for never putting his hand in his pocket to buy a drink. Vernon recalls with a smile, ‘The only way he would buy a drink would be if you turned him upside down and shook him.’ Keith also confirms, ‘I can’t remember too many times when he bought me a pint, put it that way. Nothing comes to mind.’
    The reality of Tom’s situation was that he was the odd man out, because he had a wife and son at home and had to hand most of his wages over to Linda. He was still signing on the dole every week for his twelve shillings and sixpence. From time to time, he would take on a manual job, but, as Gill Beazer remembers, ‘He never really worked.’
    On 26 May 1962, Tom had his first mention as a singer in the
Pontypridd Observer
. A young reporter called Gerry Greenberg had seen them rehearsing at the Wheatsheaf one evening and, because he was keen to be involved in the local