Some songs don’t just capture a moment; they define an era, launch a legend, and refuse to fade away even sixty years later. Tom Jones’ breakout hit, “It’s Not Unusual,” is precisely that kind of cultural cornerstone. Released in 1965, the song catapulted a young Welsh singer named Thomas Jones Woodward into the stratosphere of international stardom. But the story behind this horn-drenched, swaggering classic is as compelling and unexpected as the man who delivered it .
At first listen, “It’s Not Unusual” is pure, unadulterated joy—a blast of brass and a powerhouse vocal that practically demands you get up and move. But peel back the layers, and you’ll find a far more intriguing tale. It’s a story of a rejected demo, a generous rival, a rebellious radio ban, and a lyrical dissonance that continues to fascinate listeners today .
A Song Rejected, A Star Born
The song’s origin is a masterclass in serendipity. Written by the acclaimed composer Les Reed and Tom Jones’ manager, Gordon Mills, “It’s Not Unusual” was actually intended for another artist: the barefoot British pop singer Sandie Shaw . Jones, who was still an unknown struggling to find his sound, was brought in to record a demo to pitch the song to Shaw .
The plan, however, spectacularly backfired. When Shaw heard the recording, she was so blown away by Jones’ raw, impassioned delivery that she famously declared, “Whoever’s singing this, it’s his song,” and gracefully stepped aside . It was an act of incredible generosity and foresight. As Jones later recalled, finding a song that fit his unique voice and style was difficult in those early days, and he remains indebted to Shaw for giving him the chance . That demo, originally meant to be a tool for another artist, became the master take that would define his career.
More Than Just a Party Anthem
What made that initial demo so undeniable? It was the sheer power and conviction in Jones’ voice. Initially, his first recording of the song was considered “nice,” but his producer, Peter Sullivan, pushed him for more. “You’ve got a big voice. Nice is not enough. You are not nice!” Sullivan told him .
That instruction unlocked something in the young singer. The final version is a stunning example of what is known as lyrical dissonance—where the music and the lyrics tell two completely different stories . The track is propelled by a driving, energetic beat and a punchy brass section that creates an infectious, party-ready atmosphere . But the lyrics tell a story of agonizing heartbreak and jealousy.
Jones’ narrator is watching the person he loves with someone else, and his reaction is visceral. He declares, “I wanna die” . He sings of his pain as “such a crime” and pleads, “Why can’t this crazy love be mine?” . He tries to convince himself that his torment is normal—”It’s not unusual”—but the mask of composure slips as the song progresses . This thrilling tension between the jubilant sound and the sorrowful words is a key reason why the song remains so compelling. It’s a song that lets you dance while simultaneously feeling the sting of unrequited love .
The “Rebel” Sound of the Swinging Sixties
The recording itself is a piece of music history. The session, which took place on November 11, 1964, at Decca Studios in London, featured some of the top session musicians of the era . Adding to its legendary status, the session reportedly included the then-unknown Reginald Dwight, who would later become the global superstar Elton John, filling in on keyboards . The guitarist on the track is often rumored to be a pre-Led Zeppelin Jimmy Page, though Les Reed himself has stated the only guitarist was Joe Moretti . Regardless of who played the iconic riffs, the track’s sound was fresh, bold, and unforgettable.
It was so bold, in fact, that the BBC initially refused to play it, deeming Jones’ performance and image “too raunchy” . The ban, however, only fueled the public’s curiosity. The song found its audience on the burgeoning “pirate radio” stations, which were not bound by the BBC’s conservative programming. The public demand was so immense that the BBC was eventually forced to relent . This rebellious journey to the top mirrored the spirit of the “Swinging Sixties” and cemented Jones’ image as a charismatic and dangerous new star.
A Cultural Juggernaut
Upon its eventual full release, “It’s Not Unusual” was unstoppable. It shot to Number 1 on the UK Singles Chart and became Jones’ first major hit in the US, peaking at Number 10 on the Billboard Hot 100 . It became a cornerstone of his Las Vegas shows and served as the theme song for his own popular television variety series, “This Is Tom Jones” .
But the song’s legacy extends far beyond the 1960s. It has been featured in countless films, including Tim Burton’s “Edward Scissorhands” and “Mars Attacks!” . However, for a whole new generation, “It’s Not Unusual” is forever linked to one of the most iconic TV moments of the 1990s. The song’s use in “The Fresh Prince of Bel-Air” as the soundtrack to Alfonso Ribeiro’s hilariously awkward “Carlton Dance” gave it a second life as a pop culture punchline . The song’s appearance in that context, with its inherent contradiction of a goofy dance set to a song about suicidal heartbreak, perfectly highlights the complex charm that has made it endure for so long.
An Unusual Legacy
“It’s Not Unusual” is far more than just a hit single. It’s the song that launched a legend, a masterclass in vocal performance, and a fascinating example of how a piece of art can contain multitudes. It’s a song about heartbreak that makes you want to dance, a record banned by the establishment that became a worldwide smash, and a serious tune that became a goofy TV staple. That rich and unusual history is precisely why, over half a century later, Tom Jones’ signature hit remains not only unusual, but utterly timeless.