charlie: he is a wide-ranging voice with the force of an entire brass section, or windtunnel, distilled into a single instrument. he has just released his 41st studio album. here is tom jones in our studio presleying "elvis aslee "ues" from his album

long-lost suitcase." ♪ ♪ i was thinking that night about elvis the day that he died i was thinking that night about elvis as aay that he died country boy that combed his red hair he put on the shirt his mother made and he went on the air girlook it like a chorus and he shook it like a harlem queen he shook it like a midnight rambler, baby like you never seen, like you

seen ♪een, never ♪ i was thinking that night about elvis the day that he died day that he died i was thinking that night about elvis, the day that he died, day that he died ♪ ♪ how he took it all out of black-and-white grabbed his wand in the other hand and he held on tight ♪ ♪ he shook it like a hurricane he shook it like to make it break and he shook it like a holy roller, baby , his souloul at stake at stake ♪ ♪ i was thinking that night

about elvis died, day thate he died i was thinking that night about elvis day that he died, day that he died ♪ alone in long decline thinking how happy john henry was when he lay down and died when he shook it and he rang like silver he shook it and he shined like gold he shook it and he beat that steam drill, baby bless my sould, bless my soul ♪ he shook it and he beat that

steam drill, baby bless my soul, what's wrong with ? ♪ charlie: i am pleased to have certain tom jones at the table for the first time and what an honor it is. began when you heard "rock around the clock"? sir tom: that's when i first heard rock 'n roll. but i was first saying long before that. i was born in 1940 and my mother said i could sing before the walk. sir tomcharlie: did you have tuberculosis? sir tom: i had tb when i was 12. i was bedridden. for the first year.

the second year i could get up one hour per day. i stayed warm. when they discovered i had it, there were these tb hospitals in scotland and switzerland. charlie: sanatoriums? sir tom: exactly. my mother said if you sent him there he will never get well. charlie: stay here with me and i will make him well. sir tom: and she did. we lived in a three-story house. they put me in a room on the middle floor. my mother was up and down stairs all day because the doctor said, you cannot worry about anything. stress is the worst thing. shehe took it to heart and nursed me through it. charlie: you have said an interesting thing to me. you said that to be great in music, you have to have young ears. what do you mean young ears? sir tom: to keep them open.

there are some people who have been in the business as long as i have and they say it is not like it used to be. it has all changed. it hasn't really. you still have to get in front of a microphone and sing. i have always kept my ears open. i have always been interested in new sounds and new singers. to know what is going on. i don't want to be an oldie burt t goodie, i want to be still in the ring. i am proud of the records i have made the cut at the time they were made to very good records. up. stand i don't want to live in the past. i don't want to go on the road and say i will do the greatest hits forever. charlie: how do you take care of your voice? sir tom: get plenty of water and get eight hours sleep if possible. go easy on the alcohol. i never got into drugs.

i never fancied any of that. but, alcohol, you have to be careful. everything in moderation. charlie: how many dates do you do for your? sir tom: i used to do -- do you do per year? sir tom: i used to do a lot more than i do now. i used to do about 200 per year. some years have more than others, but i did a european tour for june, july, and august which was packed for three months. i am always singing somewhere. i love to sing. charlie: are you happiest when you are singing? sir tom: definitely. i don't know what life is like without it. i have always sung since i was a child. take that away, i would not know what to do. charlie: who has influenced you the most? sir tom: a lot of people. mostly american roots music.

jackson was the first gospel singer i heard. i went to a presbyterian chapel. we've to do a song called the old rugged cross. i always loved that song and i heard mahalia jackson sing it and then i thought why don't we do it like them? she must have read gofundme, and becausebbed off on me, in school they would say why are you singing this like a negro spiritual? i said i do not know what that is, i am just singing it like i feel it. i must have heard it. jerry lee lewis says i was born with what i got. sir tom: were you influenced by -- charlie: were you influenced by presley? sir tom: definitely. when rock 'n roll came, elvis was doing what i was doing basically.

he was reassuringly. charlie: where did "delilah" come from? sir tom: it came from a man named les reed. i had been friendly with him. he did the arrangement on the green green grass of home. he took it from the country. and spread it out. les has been a friend of mine for a long time. i was looking for a new song he came up with "delilah." charlie: little tape. -- roll tape. delilahmy my why why why delilah? see that you are no good for me

but i was lost like a slave that no man could free ♪ charlie: how many undergarments did you get thrown at you for delilah? sir tom: quite a few. get from the you sheer sense of saying to the world that this is one of the sex symbols of our time? sir tom: the initial thing with the underwear was the copacabana. i was standing on the same level as the people sitting at the tables. they were giving the table napkins because i was sweating. this woman stood up and lifted it -- like this. and i said, be careful you do not catch a cold. clubs int workerman's south wales, whatever happened

to try to turn it to your advantage. working men's clubs. coal miners. bottle,meone throws a you try to catch it and say thank you very much and drink a drop. but whatever. when that happened, i did something and handed it to. but it taught up with cash i did some thing and handed it back. but it caught up with me. people would say there is tom jones, throw underwear at him. but it backfired. gnet.ame like a nicker-ma i never meant it to be. charlie: what is your biggest passion outside of music? sir tom: that is a good question. i don't really have. music is my life. i know it is an old cliche. sir tom: presley --

presley came over to you once and said, how do you sing like that? sir tom: yes, when i first met him. it was at paramount studios. i went to talk about a movie and they said elvis is here and he would like to say hello. i didn't know he existed -- i didn't know that he knew i existed. elvis was walking toward me singing, and i thought, if the boys back home could see me now. when i used to sing in pubs and clubs, i used to sing a lot of elvis presley songs. i said i will meet elvis one-day. they would say, tom, we love you, but please. i said i am telling you. so when i was shaking his hand, all of these guys faces were flashing in front of me. 1965 upfriends from

until about two years before he died, because he started pushing everyone away from him. charlie: american blues had a big influence. sir tom: definitely. listened60's, we all to roots music. cocker, the, joe caulker, th beatles, the stones. all of us of a certain age. i am the same age as john lennon. we were all listening to that and wanting to do it. then it came about -- like bb king said, if it were not for the british rock bands, the blues might have died. but they brought it and sold it back to america. charlie: you are also on the same wavelength as frank sinatra. you were friends. sir tom: yes, but when i was in vegas at the same time as frank

sinatra and elvis presley, i recorded an album called "from the heart." it was a bunch of standards that i did with big arrangements. elvis had bought it, and i said what you think? and he said, we don't do that, tom. we leave that to frank. he said "we." ,don't go there. i said, i like a lot of standards. but he said, don't go there, don't recorded. when i would see frank sinatra, he would say forget that rock 'n roll. you are a great jazz singer. you could really get into just. i said -- into jazz. i was in a position where frank sinatra was trying to pull me one way and elvis presley another. what a position to be in.

being pulled by two of the greatest singers ever. charlie: what was it about sinatra? sir tom: think it was the tone of his voice. he had a demanding tone. and he was a very good singer. i learned to appreciate frank sinatra later on. rock 'n roll in the 50's hit me hard. when that came in, i thought all the other stuff is old-fashioned. when you get older, and you realize more about music, than when you are a teenager, then frank sinatra started to make a lot of sense. i started to watch a lot of his old movies. there was one song when he did "old man river" in a musical. you hear how great his voice was. he had a quality, and he set a trend. singers after that wanted to sound like frank sinatra.

charlie: in the 80's, things calm down a bit? sir tom: for me? well, what happened was i got complacent. not meeting to. because of the success in the 1960's and 1970's, i was playing arenas in america. throughout the 1980's, trying to get songs but they were not coming my way. i thought, maybe they won't. maybe i will just wait until a song comes. playing places that maybe i should not have been in. that's why -- i started in massachusetts, playing in a place with a head weddings in the daytime and singers at night. my son was working the lights. mark, trying to get the spotlight to the chandeliers that were still hanging from the afternoon. my son made me

aware. he said, do you really want to play these places? and i said, yeah, you're right. he made me aware. charlie: so you did what? sir tom: when my manager, gordon mills -- there was a musical written by two british writers. they sent over these songs to l.a. they said they had been looking for a singer to sing the songs. they had gone to the opera singers, but they were too operatic. they tried with pop singers, but they did not have the range. so it has all come down to you. you are the only one. so, i was listening to it, and meanwhile, gordon mills had cancer and he died.

and my son and my daughter-in-law just took over. my son had been working with me and knew me better than anybody else. we listened to the songs and mark said, why don't we bring and mikeiegela nd to l.a. and try them. charlie: you are a family man? sir tom: of you. oh yeah. together wife and i have been years. i was 16 and she was 70. charlie: how did she feel about all that sex symbol stuff? sir tom: she knew i was aiming for that. when i said i have got to go to london, i met gordon mills. she knew that he was in show business and could do something. charlie: you call this open over the top and -- you call this

"over the top and back." meeting? sir tom: i went over the top into those comfortable areas, and said wait a minute, let's get back to recording properly. so now i am back. especially with these albums i am doing now. they are more like what i was doing in wales. back to brass tacks. with a resume -- rhythm section singing blues, country, gospel flavored songs. now i am doing it. charlie: this is a montage of you. roll tape. golly miss molly ♪ ♪ every time i think about the bright lights i think about you ♪ day older andher

deeper in debt ♪ like a johnny with a ball headed sally ♪ that is the life. sir tom: i am still having it. [laughter] charlie: who took this picture? sir tom: i cannot remember the photographer, but it is a recent one. the one in the back is 1964. charlie: how old were you? sir tom: 24. charlie: you are 75? yeah.m: charlie: great to see you. sir tom: i watch you, and my wife. big fence. ♪ charlie: steve martin and 80

burquelle are here. steve martin called it an accident. a follow-up to their grammy award-winning debut album. here is the trailer for "so familiar." got my four wheels on the

pavement if you look you will find me gone got the title to the metal -- pedal to the metal my radio on got you in the rearview mirror that dark roadn the road you are on i have been there i will goe there anywhere but i won't go back ♪ charlie: i am pleased to have steve martin and edie at this table. congratulations. you said this was a giant accident. what did you mean? steve: i meant that it was not by design. it was kind of a coincidence,

and we have had such great fortune come from it. not talking financially, but artistically. it was just a couple bits of serendipity that edie ran into me at a party, and said i would like to write a song with you. i had never written a song with anyone, nodding going, yeah, sure. said i have to call her. charlie: before you got together, did you send her something? steve: the first time we didn't. i just came to your house. nejraedie: we were both so shy. i could not believe he was showing me the tune. i thought the suggestion would float away like feathers on the wind. steve: we didn't really know how to work together or how it was done.

i would play the song and she would walk around with it. we were both a little tense, and she said let's just record and i will spend time with it. so i recorded it and she sent this beautiful tune which is in our physical. open -- our musical. the sun has got to shine. charlie: tell me about it. steve: it is hard to discuss. it is opening at the kennedy center, that it is coming to broadway in march. the music is based around the type of music we write. we agreed that we both love musicals, and we grew up on them. one of the great assets were strong melodies. that is kind of the way we think that we write or try to write. we found a story -- am i talking too much? [laughter] charlie: what were you surprised about with steve? steveedie: his heart. i knew he was a smart guy, and

everybody knows how funny he is. me a version of the script very early on and he had written the most beautiful scene. had so much heart and love that i was moved. up the phone pick and said i cannot believe you have written this. did not mean to be insulting, of course. it was the most gorgeous thing. steve: he and i are -- edie and i are alike. i don't think either of us is crazy all stop we get along and don't make -- crazy. we get along and don't make demands. charlie: what was your training? edie: i don't have any training. [laughter] singing around the house. my mom singing around the house. she allowed for a house that was not shy. it was like a soundtrack to life. we were encouraged to sing along. charlie: what is the process for

writing a song? edie: with steve i am invited -- inspired by his then joe track -- banjo track. images settle in my subconscious when i listen to them. the music dictates how you will sing and in what key. steve: you also have many ways of writing songs. the way that we define it is one thing, but you can improvise a new song. edie: that is my favorite thing to do. just pay attention to what is flowing through the consciousness. charlie: steve brings out the best in your? steve: and likewise. edie: thank you. charlie: how does that work? because she understands what you are capable of? steve: here is what the best collaboration is. where the other person is doing something you cannot do as well. edie's lyrics -- she has written

the lyrics for the show, and i think they are stunning. first of all, when you write a musical, -- when you write a regular song, one person is singing, but in a musical you have several people singing in various characters. she has excelled at that. opinions coming back and forth. you have annexed for challenge in a musical -- an extra challenge in a musical that the song does not reiterate what came in the scene before. the song has to reveal new information, new story, new thoughts. charlie: you have said that he does not write stock banjo parts. edie: they are not banjo parts like i have ever heard before. there are very melodic.

it is not what i would expect. way.ays in an original t.at is how i hear it is that charlie: you say it is not bluegrass. it is americana. steve: bluegrass is a very genre which runya generally means banjo, mandaoli, bass. , violin. ours swings a different way. i don't define it as bluegrass at all, just music. charlie: this is you and 80 edie performing the grammy-winning song "love has, for you."

you."or she had a job with the men from the bank family tried to give that child away tried to erase what you done when she held that sweet boy in her arms none of their words meant a thing when she held that sweet boy in her arms she heard the quiet angel sing ♪ love, love, love has come for you ♪ performing in front

of an audience, singing and playing the banjo, is it the upe sensation has stand comedy? steve: in that show, i'm so glad we taped it, we toured that show for several years. it was consummate changing. and glad -- constantly changing. i am glad we have some kind of record. but there is a lot of comedy in that show. i'm glad i do not have to do 1.5 hours a standup. i get to break it up with songs, make jokes with the band, make a joke with edie. it is a relaxing way to work. charlie: this is a clip of "won't go back." >> ♪ i have been there i have done that i will go anywhere ♪t i won't go back

♪ i have been there i have done that i will go anywhere but i won't go back ♪ ♪ never never never going back back never never going never going back ♪ you once said about the banjo, if you are sitting at home playing and your spouse seinfeldlook, jerry

is doing an evening of original songs for the basoon. steve: i forgot about that. charlie: you are past that? steve: i have been playing for 50 years. charlie: why the banjo? steve: from the first time that i heard it, i loved it. i loved it for several reasons. it has this ability to be played at high speed, hard driving, fast speed. what i really was interested in it for was its capacity for melancholy. it is a very american sound. copeland never used it, but he didn't need to. i love a banjo with strings and it is an emotive instrument.

it has gone through a huge complex history. ♪ ♪ we are supposed to be together i know i feel it way down deep in my soul we are never meant to be a part i keep you here inside of my heart i always have always will always always always will ♪ ♪ i always have always will always always always will ♪ ♪ we are supposed to be together it's true

♪ i have had my doubts but not about you ♪ ♪ we are not meant to be a part i love you now i have from the start ♪ ♪ i always have always will always always always will ♪ ♪ i always have always will always always always will ♪ ♪ ♪ i always have always will always always always will ♪ i always have always will will ♪always always

♪ charlie: we are pleased to have

ed sheeren here. the video for his single has

been viewed over 730 million times on youtube. he has shared the stage with musical royalty like elton john, beyonce, and the rolling stones. trailer for "jumpers for goal posts." [applause] ♪ >> i will tell you a little secret. every wish i have made comes true. i wished to play wembley. now it has come to it and reality hits. 240,000 people. ♪ >> this is my first headline stadium show. when you play guitar and start on the pub circuit, your dreams

don't stretch that far. armse me into your loving ♪ >> this is the most important milestone so far. real people, buying real tickets, to sit with all these other people to watch me play. ♪ >> [inaudible] [applause] show, then went jay zizza with an and beyonce, then took them to the pub. charlie: you are -- i don't know

how to say it other than a phenomenon. how would you characterize your experience? ethoshave always had an with working harder than anyone else i admire and respect, and trying to be nice. dad always told me to choose someone you admire and to work harder than and be nicer than them. so when i signed, i saw that james blunt had sold however many of back to bedlam. so i took the diary of everything he did that year, and doubled it. we did everything he did and twice as much. we sold half as much, but on this record we sold more. charlie: other than hard work, what else is at the core of this? are you writing lyrics people connect to? ed: i don't know. i have only ever written songs

from the heart. i don't see the point of making music if it is not an expression of self or a form of therapy. if i have a bad day, i want to write a song. i don't want to write it to have a hit, i want to write it to make me feel better. if has never been about the audience or pleasing people. it has just been about myself and my love for music. i guess that has come across. charlie: wembley. this was three concerts over three days. wembley stadium. stadium. ed: [laughter] it was interesting -- charlie: it's not a pub. stadium. ed: it was difficult to cover hand. i don't play with the band. i use a sample pedal. even an arena -- i thought i could not do an arena, but when i did it, and it was fine, i thought we might as well try wembley. the worst that could happen is

fail but you still sold when the. wembley. pets what everyone else does. -- that is what everyone else does. charlie: how many people were there? ed: 87,000 every night. charlie: 87,000. ed: it is a big old stadium. if you fail, you have not lost you achieve, if the possibilities are endless. control of everything that i do. if i want to go off on a tangent to a gig, i don't need to look around and make an signals. or if i mess up, i can rectify it without anyone else worrying about it. i will definitely have a band at some point -- the thing people say to me is they like that i do

not have a band. so why change it? charlie: what is the biggest challenge now? ed: carrying on the momentum. to get up to a stadium level for any artist is kind of the peak, but the challenge from there is staying at that level. to remain at the stadium level. to keep releasing records. not necessarily hit, but connect with people. i have never been worried about my record selling millions of copies, but i have been in tent on writing songs that come -- in tent on writing songs that come from me. than they will come to the shows. the show is always the end goal. i see the album as a commercial to the show. by the album, download the album, however you listen and then come to the show. charlie: are artists getting fair treatment in a world of

spotify and apple music? all the downloading of music? ed: i don't want to be a spokesman for anything. spotifylaying live, so allows me to play large venues around the world. norway -- you cannot buy a record in norway. norway is just modify. if you don't -- just spotify. if you don't have it on spotify, no one will know your music unless they rip it off youtube. i think if you make a record and go out and tour -- 95% of my income comes from live. charlie: that is true of most artists today. ed: it is, but live separates it from who is meant to do it from who is not. if you cannot play an instrument or sing live, you should not be a musician. charlie: [laughter] success words, if your

is based on technology and people -- ed: it's just -- it is different things. really enjoyi it. someone like taylor, when you see her show live, it is a spectacle. the songs come to life. there are lots of things going on, but it is still at the core music. she is someone who sells a phenomenal out of tickets. if you cannot sell tickets because you do not have a good life show -- then you should not. charlie: what happens in the life show? ed: i never walk on as a presence. and one of the first things i say is, my job is to entertain you, and your job is to be entertained. like wrapping them in and saying, i am going to lose my voice and sweat if you are

willing to do the same. charlie: kind of a bruce springsteen approach. ed: i have been influenced by many people. i watched a coldplay dvd numerous times and have taken little tricks that chris martin does with the crowd. even it if it is just, sing this part here. one thing that i learned quite early on -- my friend went to go see u2 and they were singing "streets have no name," and he was in the front row and at the chorus bono goes, now you sing. and my friend was like, no. i paid to see you. now every time i play, i make sure i do the whole song. sing along happens. i give as much as i can, and then you do the sing-along. charlie: do the tattoos tell a story? ed: i am a very strange person.

i am quite eccentric at times. these tattoos can be viewed by someone is quite an eccentric thing. a bit odd. charlie: that is why i asked the question. ed: every tattoo relates to something important to me. this one is by henri matis. of a mother and child. boughtthe first thing i with a paycheck from my mom, a drawing of mother and child. these three boxing gloves -- i sold out madison square garden three times. hegranddad was a boxer, always said when you make it in america cannot you play madison square garden. this one from my granddad who was irish. this from my first take in canada -- first gig in canada. there is lots of stuff.

go,ll relates to -- people what are you going to look like when you are 80, and i think i will look awesome. charlie: your life story will be there. ed: you will have your grandkid on your lap pointing and say that is when i went to do this and that. i like it. i have not got anything on my body that is pointless. you know how people get like ruins an tribal tattoos, just as it looks cool. that when you grow up when the great. people may think that i will look very sad, saggy, ugly, colorful old man, but i will be very happy. charlie: did you have a new one recently? ed: yes. a lion. charlie: why? ed: that was for the wednesday stadium show. it's the biggest stadium you can play in england, and no one ever does it. the england crest.

you have an eagle, we have three lions. the england show would be three lions on the shirt. i wanted to get a lion tattooed on me. the chest would be a very proud place to put it, a centerpiece of all the things i have done in my life. a lot of people think it is odd, but i really like it. you don't have to see it every day, i like it and you do not have to see it. charlie: the documentary. for all posts." ed: americans don't get this because you do not call sweaters jumpers, but in england when you play football in the park, you take off your sweater and use it as a goal post. venue me, playing this like 1500 capacity, that was the first goal. then you move it. to wembley. but now that wembley has

happened, the goalposts are empty. charlie: you said that you never thought about playing wembley because it seemed out of reach. charlie: when you move the goalposts, to see -- ed: when you move the goalposts, you see the next one. charlie: are you business savvy? ed: i have some savvy in terms of mrs. but i do not own stocks or anything. charlie: but you know that you want to do stuff that is good. because your core belief is, if it is good it will sell. ed: no. if it has heart, it will sell. anything that makes anyone feel something will sell. "theis why films like fault in our stars," "the notebook," "saving private ryan." anything that kenexa with human

beings -- that connects with human beings will be good. that is why adele has had the biggest album because it is pain pouring out. charlie: do you have pain in your? ed: i am a happy person because i get the pain out in the songs. my pain might be different to someone else. that might not be on the scale of someone else, but it still creates music. charlie: i'm impressed that you go to africa to look for new sounds. ed: i know a lot of very talented musicians from that side of the world. the thing i like about it is, there is no other reason to make music in ghana, other than to make music. you go to l.a., and everyone is looking for a piece. that one publishing or to play in your band. when you go anywhere else in the world where there is not an

infrastructure, like hollywood, or grammys, or voting, they make music for the hell of it. they make music because they love it. i want to get back to that because i have been surrounded by so many people who make money off me. i want to sit in a room with people that just want to make music. charlie: thank you for coming. when your links don't work egs don't work like they used to before still smile from your cheeks darling, i will be loving you til we're 70 ♪ heart, my

still my heart at 23 i'm thinking about how people fall in love in mysterious ways ♪ ♪ maybe just a touch of the hand ♪ ♪ me i fall in love with you every single day i just want to tell you i am ♪ armse me into your loving ♪ ♪ kissed me under the light of the stars ♪ ♪ place your head on my beating heart ♪ found love right where we are ♪ ♪ when my hair is almost gone

and my memory fades and the crowds won't remember my name when my hands don't play the strings the same way i know that you will still love me ♪ney ever in your smile for my mind and memory ♪ ♪ i'm thinking bout how people fall in love in mysterious ways baby it is all part of the plan mistakes keep making

hoping that you will understand ♪ , take me into your loving arms ♪ ♪ kiss me under the light of the stars ♪ ♪ placed her head on my bidding -- place your head on my beating heart ♪ ♪ maybe we found love right where we are ♪ ♪ >> thank you very much. ♪

>> most people think trouble flameout or drop out. >> this is the beginning of the end for donald trump. >> the beginning of the end for donald trump. i will eat my right hand is the republican nominee. mark: happy 2016. the countdown is over and i was has begun.