Introduction:
In the pantheon of popular music, there are songs that transcend their original purpose, becoming cultural touchstones in their own right. Tom Jones‘s “What’s New Pussycat” is precisely one of those creations—a whirlwind of sound that, while intrinsically linked to the 1965 film of the same name, has long outlived its cinematic origins to become a signature piece in the Welsh crooner’s formidable repertoire. To truly appreciate this remarkable track, one must look beyond its effervescent surface and delve into the fascinating confluence of talent that brought it into being.
The year 1965 was a watershed moment for both Tom Jones and the musical landscape at large. Having burst onto the scene with the explosive success of “It’s Not Unusual,” the young singer was quickly establishing himself as a vocal powerhouse with a charismatic, often raucous, stage presence. His voice, a robust baritone that could effortlessly shift from a soulful rasp to a polished croon, was a unique instrument perfectly suited for the dynamic shifts happening in pop music. It was during this heady period that he was approached by two giants of songwriting, Burt Bacharach and Hal David, to record the title song for an upcoming motion picture.
This collaboration was a meeting of musical minds. Burt Bacharach was, at the time, already a celebrated composer known for his sophisticated arrangements and unconventional melodic structures. His music was a masterclass in a kind of orchestral pop that defied the simple, three-chord conventions of the era. He and lyricist Hal David had a knack for creating songs that were maddeningly complex yet undeniably catchy, with unexpected time signature changes and advanced harmonies that still managed to sound completely natural. For a song to serve as the main title for a film—especially a madcap, swinging-sixties comedy—it required a certain theatricality, a sense of controlled chaos.
The film, a madcap comedy written by a young Woody Allen, was a farce of entangled relationships and absurd situations. The song had to capture that energy, that sense of a world just slightly off-kilter. The choice of Tom Jones to sing the theme was, in hindsight, a stroke of genius. His powerful delivery and magnetic personality were a perfect match for the song’s exuberant, full-throated performance style. While Jones initially had mixed feelings, viewing the song as a “backhanded compliment” from Bacharach who wanted to harness his power for a non-R&B tune, he ultimately delivered a vocal performance that was nothing short of iconic. His voice, with its rich texture and commanding presence, turns a series of playful questions into a grand, almost operatic declaration.
What makes “What’s New Pussycat” so enduring is how it encapsulates the sound of its time while simultaneously showcasing the unique genius of its creators. The instrumentation, with its brassy fanfares and driving rhythm, is a textbook example of Bacharach’s arranging prowess. The lyrics, penned by David, are simple yet effective, framing the entire piece as a series of charming, if slightly insistent, queries. The song is a testament to the power of a strong melody, a brilliant arrangement, and an unforgettable vocal performance. It’s a song that commands attention from its first note, and even today, its energy and charm remain undiminished. It’s not just a song; it’s a statement, a three-minute explosion of pure, unadulterated musicality that cemented Tom Jones‘s place as a global superstar and showcased the unparalleled artistry of the Bacharach-David partnership.