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Let's see James McDonald and James McCartney take an Importance to History test and see who is the lesser of the two. 😆

@@areareare9953 I bet when you tell people you'll be right back, they all say, thanks for the warning.

Yes. Paul, the most “diplomatic of all The Beatles” and he was dealt the most damage post break up. Linda said that he almost had a breakdown in Scotland in 71-72.

“White guilt”? I think he just appreciates good music.

Nonsense. It's not white guilt. Just the opposite. The British believe they were the saviors of American black music. Because a handful of British artists loved the blues, over time, the entire country took credit for the re- discovery of the great black musicians of the fifties. The truth is that black music was never popular in the UK, and there is nothing wrong with that. What's objectionable, is their re-writing of history to try to make people believe they deserve admiration like they are civil rights champions of some sort.

@@tomcarl8021 Do you have any evidence to support that? I've never heard McCartney claim he saved black American music, but he's made it clear that it inspired him. I once had the opportunity to ask him who was the biggest influence on his bass playing, and he said it was James Jamerson. From my own experience, most of the British people I know who lived through the 1960s loved Motown/Soul. In fact, American jazz, soul, and R&B were extremely popular with the British Mods in Britain in the late 1950s and early 1960s. Not sure that really has any relevance to civil rights, but British people obviously enjoyed, and continue to enjoy, African-American music.

@@malpreece5008 Jerry Wexler was the vice president of Atlantic Records. He conducted a study and found black music never sold in large numbers in the UK throughout the fifties, sixties, seventies. People like Clapton and the Stones brought attention to the music, and that's a great thing. But, have you ever noticed there was also huge backlash and rejection of American black music by the UK? Punk Rock and Britpop, for example? And why is it never discussed how black teenagers in America in the sixties rejected blues for modern bands like Sly and the Family Stone? How's this for evidence.... lookout for any Brit who claims "We brought black music to white America". Because who exactly is "We"? And go tell the Allman Brothers that.

@@tomcarl8021 Do you have a link to that study carried out by Wexler? The British market is far smaller than the American market, so I wouldn’t be surprised if British record sales look extremely small in comparison to American sales. The existence of Punk and Britpop isn’t evidence that British people rejected American music. It is possible to love more than one genre. That said, Britpop/indie was way more exciting than anything coming out of the States by the mid 90s. What did African-American music offer in the 90s? Rap or throwaway pop like Whitney Houston? Bands like Oasis, Blur, Cast, Kula Shaker, OCS, The Verve etc. were ripping it up in the 90s! I’m not sure what your point is about black American teenagers rejecting blues for Sly and the Family Stone in the 70s. Sly did some great songs, and it was his time to shine. That’s just it, I’ve never heard any British musicians claiming they saved black American music. That’s why I asked you for some evidence, which you haven’t provided. What have the Allman Brothers got to do with this? I want to know which British musicians claimed they saved black American music? Surely you have one example?