THE polar opposite from his last album, the experimental electronic opus 24 Hours, Praise & Blame is a back-to-basics affair on which Tom Jones revisits his musical inspirations. This concept worked wonders for Johnny Cash, Neil Diamond and Dolly Parton, who returned to her bluegrass roots.

Tom Jones came to prominence via the miners’ working mens’ club circuit, which led him to Vegas, via the Talk of the Town. But spiritually, Tom claims another heritage: the blues and spiritual folk music. Assisted by rocker Ethan Johns, Praise & Blame includes spiritual classics such as Strange Things, Nobody’s Fault But Mine and Ain’t No Grave, supplemented by Bob Dylan’s What Good Am I? and the Memphis Blues of John Lee Hooker’s Burning Hell.

Although a landmark album in TJ’s catalogue for breaking boundaries, Praise & Blame is too restrained for such a powerful performer. Jones may well love Memphis Blues, but the blues stifle the power and intensity of the voice we all know.

This is an important album for the septuagenarian powerhouse, but if this album was really intended as a return to his roots, Jones misses by at least one continent. Surely an album featuring a choir such as the Pontarddulais Male Voice Choir, or indeed a collection of pub classics, would prove more authentic and real, if that was the motivation.