The legendary Welshman, known for his powerful voice and charismatic stage presence, took a bold and unexpected turn with his 38th studio release, Praise & Blame, from 2010. Departing from his usual mainstream sound, Jones embraces the genres of gospel, blues, and roots music to deliver a collection of soulful and introspective songs. With his gritty vocals and heartfelt delivery, Jones showcased that his artistic versatility knew no bounds.

Of course, Jones isn’t the only notable element here for Praise & Blame is a stunningly beautiful recording that has been mixed and mastered with respect. The entire production team and players on this release deserve acknowledgement for all aspects complement Jones' vocals perfectly by adding layers of richness to his captivating vocal performance.

While the music is extraordinarily good, however, the artwork is absolutely horrid. I get it, it shows a place of worship, but the chosen design elements and the photograph itself, aren’t exactly compelling. Seriously, if you saw that on display at your local record store, you’d give it a miss, wouldn’t you?

In my mind, all Tom Jones albums should feature Jones on the cover and while Jones may have wanted the songs to speak for themselves, I feel the artwork on this particular album takes away from the incredible musical experience you’ll have when listening to the record. Nevertheless, we listen with our ears and not our eyes so join me as I take a look at the selection of songs that make up Praise & Blame.

Please note that the shared Apple Music stream below is a playlist I created as the Apple Music edition features the bonus track Burning Hell (Ethan John's Wood Room Version). Regular readers will note my penchant for the original sequencing of albums and as such that is why I’ve chosen to present the album in this manner.

What Good Am I? opens the album with a haunting and introspective track. Jones’ weathered vocals add a layer of vulnerability to the song that works exceptionally well with the monotone rhythm thereby making it a standout tune.

Lord Help picks up the tempo with a blues-meets-gospel song that leaves a lasting impression. I do, however, feel that Jones’ vocals are a little too concealed in the mix but that need not be a detrimental factor as Lord Help is quite the toe-tapper.

Did Trouble Me focuses on Jones’ soulful delivery for the sparse instrumentation, on this song, is a feature that ensures Did Trouble Me remains a poignant and thought-provoking tune.

Strange Things is lively with an upbeat tempo set to the background of a roots musical style. It isn’t, however, the greatest song on the album and part of that conclusion is due to Jones’ vocal delivery as he’s over-performing on this track.

Burning Hell is raw and gritty blues-based rock and roll. Needless to say, I love it! Jones' passionate vocals ensure Burning Hell is an emotionally charged and memorable song and is, without a doubt, one of Jones' greatest recordings.

If I Give My Soul is another exceptional example of the rather stripped-down style of Praise & Blame. It’s this musical technique that ensures Jones’ vocal remains central in the mix while simultaneously intensifying the emotional impact of the songs’ lyrics.

Don’t Knock is a lively and infectious gospel-influenced track. Jones' spirited vocals, and the energetic instrumentation, create an atmosphere that’s hard to resist.

Nobody’s Fault But Mine is incredible! This bluesy rendition showcases Jones' vocal prowess and ability to infuse a song with soulful intensity for few vocalists have such control over their octave range.

Didn’t It Rain with its lively gospel-infused sound, is a toe-tapping track that exudes joy and celebration. Jones' energetic vocals and the vibrant instrumentation create a lively and infectious atmosphere, leaving listeners wanting more.

Ain’t No Grave embraces a rootsy and spiritual vibe that is thoroughly enjoyable. Jones' powerful vocal once again shines through ensuring that Ain’t No Grave is one of the best songs from Praise & Blame.

Run On creates a rousing conclusion to the album that embodies the spirit of traditional gospel music, featuring an energetic and foot-stomping rhythm, with a touch of blues-based rock. Listeners are left with a lasting impression that is both energised and uplifting and Ride On, by default, becomes the quintessential closing track that encourages repeat listens of the album.

While some longtime fans of Jones' earlier hits may find Praise & Blame to be a departure from his familiar style, it is a testament to his evolution as an artist as this album is a standout in his discography, proving that even after decades in the music industry, he can still captivate and surprise his audience. Whether it's the introspective and haunting tracks or the uplifting and celebratory ones, Jones' expressive vocals and the rawness of the arrangements make for a captivating and emotionally charged listening experience from start to finish.