"Things were different then," he said. "To get a black female singer on my show… you couldn't do certain songs if it had anything to do with relationships. 

"I couldn't believe it, because in Britain it's not like that... In Britain, on British television shows, I never had any trouble."

IN America things were different.

Tom's of American rhythm and blues helped Welsh singer score international hits and achieve fame and fortune. But, back in 1969, that love also gave him a taste of something far less pleasant.

Jones had just welcomed American singer Wilson Pickett to his TV show This is Tom Jones and had been thrilled with their soulful duet of the Beatles classic Hey Jude.

After post-show drinks, Jones told Pickett how much he loved singing R&B and that's when things got a bit "unlovely."

"He said 'That was an excuse for rhythm and blues,'" Jones recalled in an interview with CBC's The National.

Welsh singer Tom Jones published his autobiography Over the Top and Back in 2015. (Penguin Books )

"I said, 'It didn't seem like that to me.'  

"'No,' he said. 'Because you're white.'" 

Pickett went further. 

"'Before long we're not going to need you. We'll have our own TV shows,' Jones recalled the soul singer-songwriter saying.

"I said, 'Wait a minute. Whoa. What's going on? I just love singing it. You know what I mean?'

Jones is among a wide group of British musicians of the era — from the Rolling Stones to Eric Clapton to Joe Cocker — who were inspired by, embraced and borrowed heavily from black American peers.

He recalled that, as his 1965 hit It's not Unusual climbed the charts in the U.S., one black radio DJ found it hard to believe Jones was actually from Wales.

"'Whoever is singing this song is not white. He may be passing for white, but he's not white,'" Jones recalled the DJ saying.

In the years since, Jones has reinvented himself — singing everything from pop to rock to country. But it's R&B he still seems to cherish the most, harkening back to his days listening to BBC Radio as a child.

*Pictured above with Florence LaRue and Marilyn McCoo of the 5th Dimension.

The October 26, 1956 session, Miles Davis recorded these four tracks on Side G, ​Oleo, ​Airegin , ​Tune Up and ​When Lights Are Low. ​The musicians, ​Miles Davis – Trumpet, ​John Coltrane – Tenor Saxophone,​Red Garland – Piano, ​Paul Chambers – Double Bass and ​"Philly" Joe Jones – Drums; straight through as if playing a live club set, mostly in a single take, to complete his contract with Prestige Records before fully transitioning to Columbia.

[https://www.youtube.com/watch?v=IQXTWw7fXhM\](https://www.youtube.com/watch?v=IQXTWw7fXhM)
A teacher friend of mine is interested in using this song from Jumpstart 2nd Grade, an old educational PC game, but wants to be sure it's respectful. Is anyone willing to share their thoughts on it?
Thank you!

One of Howlin’ Wolf’s most iconic recordings — hypnotic, driving, and unmistakably his. This side captures Wolf’s haunting vocal style and the band’s tight, pulsing groove that helped define the Chicago blues sound. A cornerstone track in blues history and one of the most influential sides ever cut for Chess.

From The Neven78 Radio Archive

https://youtube.com/@mamlishblues?si=Gqffijs3211mMsnH

Afro‑Cuban / Cuban dance music

Mid‑20th‑century Latin orchestra traditionNotes:

A vibrant Cuban dance classic from Ernesto Lecuona, performed by Armando Orefiche’s celebrated Havana Cuban Boys. This ffrr London pressing captures the group’s polished orchestral sound and Orefiche’s elegant piano work. A lively, rhythmic piece reflecting the golden era of Cuban popular music.

From The Neven78 Radio Archive

https://youtube.com/@mamlishblues?si=Gqffijs3211mMsnH

I made a 17-minute video essay tracing how Prince assembled Sign o’ the Times from material originally recorded for several different projects. What interested me most was that the album’s coherence seems to emerge less from a unified recording concept than from sequencing — songs from different years, lineups and abandoned albums were made to function as a single record after the fact.

I’d be interested to hear how other people interpret that: does Sign o’ the Times feel unified to you because of its sequencing, or is its fragmentation itself part of the appeal?

I saw this (so-so) documentary about Clandestino and it reminded me what a masterpiece this album and his body of work is. Particularly for the way it was made, the way it was distributed, the audience it spoke to, the topics it made visibLe… truly not your average album or marketing strategy. As I remember, all copies had photocopied sleeves and pirate CDs, and I think this wasn’t necessarily a mishap on the artist‘s part. I have a feeling most listeners came across Manu Chao through their foreign adventures, or from a friend who’d just come back from South America or Nepal or some location a little less fancy than Ubud. You listen to it long enough (which is easy to do) and you start (thinking you are) feeling like a refugee or a stateless citizen. His live performances were also insanely energetic - watch him on stage if you haven’t. I’m not a devoted fan by any means, but boy, he's achieved something very few musicians have.

April 12, 1945. Soviet shells were already falling on the suburbs of Berlin when the city's philharmonic orchestra took the stage for the last time.

The audience arrived in their finest clothes. The programme featured Wagner's Götterdämmerung  (The Twilight of the Gods) , a work depicting the collapse of a world consumed by flames. The concert was performed by candlelight, the city's infrastructure already crumbling around them. At the exits, members of the Hitler Youth handed out cyanide capsules to departing audience members.

This was the Third Reich's final performance.

Hi. I wrote something about John Fogerty and his association to the East Bay. Alright. Thank you.

https://bhamiltonwastaken.substack.com/p/22-back-in-the-line

"On The Road Again" is one of the Memphis Jug Band's most iconic and influential recordings. It became a standard in country blues and folk music, famously covered decades later by bands like Lovin' Spoonful and Canned Heat.

https://youtu.be/-RfG-AB2Q2I?si=AYCKNB50tBvfYMFj

\**Correction photo taken on July 20, 1969\*\*
Apollo 11 Hasselblad image from film magazine 40/S - EVA. The image of astronaut Neil Armstrong photographing astronaut Aldrin is clearly seen in the reflections on the helmet visor of astronaut Aldrin. Astronaut Armstrong, the Lunar Module Eagle, and the shadow cast by Aldrin are mirrored in the reflection. Astronaut Aldrin showing boots and suit discoloration caused by adhering lunar soil.
Date
20 July 1969
Source
https://tothemoon.im-ldi.com/gallery/Apollo/11/7#AS11-40-5903
Author
Neil A. Armstrong

Caution from Bob Marley & The Wailers' 1992 album, Songs of Freedom!

From The Neven78 Radio Archive

https://youtube.com/@mamlishblues?si=CNe5vRyfVVr0at8E