gatherings, weddings, and in his school choir. He did not like school or sports, but gained confidence through his singing talent. At the age of 12, he was diagnosed with tuberculosis. Many years later, he said, "I spent two years in bed recovering. It was the worst time of my life." During this time, he could do little else but listen to music and draw. Career Rise to fame Jones's voice has been described as a "full-throated, robust baritone". According to Jones himself, his young voice was a tenor voice. He said: "What you lose on the top end, you gain on the bottom end. I used to be able to hit a top C when I was young now it's a B flat." He became the frontman in 1963 for Tommy Scott and the Senators, a Welsh beat group. They soon gained a local following and reputation in South Wales. In 1964, the group recorded several solo tracks with producer Joe Meek, who took them to various record labels, but they had little success. Later that year, Decca producer Peter Sullivan saw Tommy Scott and the Senators performing in a club and directed them to manager Phil Solomon, but the partnership was short-lived. The group continued playing gigs around South Wales. Gordon Mills met Jones, became his manager, and introduced him to London, where Mills worked in music. Mills renamed him "Tom Jones", to exploit the popularity of the Academy Award-winning 1963 film. Eventually, Mills got Jones a recording contract with Decca. His first single, "Chills and Fever", was released in late 1964. It did not chart, but the follow-up, "It's Not Unusual", became an international hit after offshore pirate radio station Radio Caroline promoted it. The following year was the most prominent of Jones's career, making him one of the most popular vocalists of the British Invasion. In early 1965, "It's Not Unusual" reached No. 1 in the United Kingdom and the top ten in the United States. During 1965, Mills secured a number of film themes for Jones to record, including the James Bond film Thunderball, and What's New Pussycat? (written by Burt Bacharach and Hal David). Jones was skeptical about the latter song when first approached about it. He said when it was offered to him, he felt it was "sort of a backhanded compliment: 'I've got to have you, but this is the song.'" Jones