Podcasts about white records

April's Full Episode: Dance Like a Chicken (Mexico) Story: With help from a fluffy chicken, a drooly dog, and a bubblegum-chomping frenemy, a brave girl teaches her town an important lesson about giving people space to be themselves.Region: MexicoSticky Situation: What do you do when you see someone being unkind?Unstick Tricks by: Sally (Age 5), Rhys (Age 8), Addison (Age 6), and Cam (Age 4)Feelings Focus: Setting boundaries; being brave; showing kindnessKnow a kid with great advice for Sticky Situations? Tell us! Details at www.storypillar.com/unsticktricks. Ready to try your hand writing short stories for kids? Check out www.storypillar.com/storysubmissions. Make a donation! Support Storypillar!https://ko-fi.com/storypillar Info/Get in Touch: Website: www.storypillar.com Instagram: @storypillar Join our mailing list Created, Written, and Produced by: Meg Lewis Sound Design/Audio Editing: Meg Lewis and Nate BlaweissStorypillar Theme Song: Lyrics by Meg Lewis Music by Meg Lewis, Andy Jobe, and Suzanna Bridges Produced by Andy Jobe Episode Cover Art Mackenzie Allison Sound Effects and Additional Music: -Freesound.org -Suzanna Bridges (As Sparky) -Pixabay Artists: AlanaJordan, Grand_Project, JuliusH, White_Records, FJRAC_Travel_Vlog, BackgroundMusicForVideo© 2025 PowerMouse Press, LLC

Sneak Attack!!! 3.8: Leading Ladies, Musical Bread Trucks, and Flowery Civet ButtsJoin Sneak for facts about our next Storypillar destination and kid-approved jokes that will make you laugh your face off! Region: Sri LankaFacts: First Female Prime Minister, Head Waggles, and Musical Bread TrucksAnimals: Golden Palm CivetsJokes: Bread and Caves! Links for Kids: Sri Lankan CavesThe Sri Lankan Head WaggleMusical Bread Trucks in Sri LankaGolden Palm Civet FactsCheck out our fantasterrific pod friends…Snoriezzz, Opal Watson: Private Eye, and The Kids Book Review Podcast: For Kids, by KidsInfo/Get in Touch: Website: www.storypillar.com Instagram: @storypillar Shop at: storypillarstore.threadless.comSupport Us: https://ko-fi.com/storypillar Please subscribe, rate, and review wherever you love listening! Created, Written, and Produced by: Meg Lewis Storypillar Theme Song: Lyrics by Meg Lewis Music by Meg Lewis, Andy Jobe, and Suzanna Bridges Produced by Andy Jobe Episode Cover Art: Mackenzie Allison and Meg LewisSound Effects and Additional Music: -Joke Time Song: https://freesound.org/people/BlondPanda/sounds/659889/ -Pixabay Artists: Bineleyas Mystical Fusion, Shinded Beats Music Indian Music With Sitar, White_Records© 2024 PowerMouse Press, LLC

How far will the boys go in the quest to cross the finish line first? Strap in for part two of Race to Edinburgh, as the Ginger Ninja and Damo head to Scotland to perform their new show, Chortle Combat, live at #EdFringe! Additional music: Toward the Mountains by Gioele Fazzeri, Money by Soul Prod Music, Tense Detective by Good B Music, Waltz to Paris by Abidos Music, Fury of Perun by White Records, and BGM Fight by Chen 24. Enjoy ad-free listening on Patreon! Hosted on Acast. See acast.com/privacy for more information.

Casual conversational sentences in Canto and Mando for topics in medical and non-medical settings. sister video (ep #36): www.youtube.com/@notnowigottago/videos soundtrack Music by Maksym Dudchyk from Pixabay Epic orchestral music, Background cinematic Hip Hop beat and violin White_Records

In this episode, I shared my story of being diagnosed with autoimmune diseases since 2005 and my doctor's prescription of warfarin (a type of rat poison) to me, which I took daily from Aug 2010 to Oct 2022, with various side-effects. I also shared on how accessing my Akashic Records allowed me to fully heal my autoimmune diseases and to successfully cut off warfarin since Nov 2022. Lastly, I shared more details of my monthly meditation circles, with my next meditation event on "Quantum Healing of Physical Body with Blue Buddha & Earth Dragons". You may also purchase a replay on my website here after the event.Read the transcript here.Credits to music used: lemonmusicstudio, The Cradle of Your Soul; White_Records, Deep Relaxation Meditation. Nervous System Healing

Masonai sukūrė savotišką instrukciją visoms po jų atsiradusioms, slaptumo siekiančioms organizacijoms. Jų ritualai, simboliai ir vertybės tiesiogine prasme pakeitė pasaulio raidą, o aukšto profilio nariai tik sustiprino aplinkinių įtarumą. Tačiau ar paskalos apie tarptautinę konspiraciją, manipuliacijomis ir bedieviškais ritualais griaunančią pasaulio tvarką, turi bent krislą tiesos? Epizode pasakojame apie masonų organizacijos ištakas, kaip ji apaugo pavojingais mitais, bei kaip jie pakeitė Lietuvos valstybės likimą. Kas gręsia už masoniškų paslapčių atskleidimą? Kas buvo pirmasis masonas? Kurie šventi Lietuvos istorijos dokumentai - masonų darbas? Ir kuri kita organizacija prisiekė amžiną kovą prieš laisvuosius mūrininkus?   Iliustracija: @tinymischiefs   Muzika: LexinMusic, ArctSound, White_Records, Geoffrey Burch, Daddy_s_Music, Ashot-Danielyan-Composer, Walter Mazzaccaro, RomanBelov, FASSounds Nuoroda į Turing College mokymų programą: https://bit.ly/4aSy1uV

OSINT mindset podcast №9 Задонатить на хороший звук: https://gitbook.osint-mindset.com/index/podderzhat-proekt В этом выпуске мы обсудим развитие успешного сообщества, work-life balance и кое-что о самом Soxoj. Голоса: - Pandora (https://pandoral.me#OSINT #soxoj #community #intelligence #mindset #anonymity#OSINT #soxoj #community #intelligence #mindset #anonymity) - Soxoj (https://soxoj.com) 00:00 Интро 00:55 Приветствие 01:17 Про анонимность 04:39 Как создать успешное сообщество? 06:51 С чего начался OSINT Mindset? 08:37 Первая встреча с OSINT 11:09 Немного про ARG 12:32 Синдром самозванца 13:47 Будущее сообщества и SOWEL 16:54 OSINT – профессия или навык? 18:04 Хейтеры и подражатели 20:41 Ограничение потоков информации 22:06 Любимые авторы Soxoj 24:30 Про ChatGPT 25:39 Ритуалы и привычки 26:41 Секрет Soxoj 28:00 Пожелания слушателям Упоминаются в подкасте: - https://github.com/soxoj/counter-osint-guide-ru - https://sowel.soxoj.com/about (пароль osinterdam) - https://hacktoria.com/ - https://twitter.com/Sox0j - https://cybdetective.com/ - https://www.osintcurio.us/ Поддержать проект: https://gitbook.osint-mindset.com/index/podderzhat-proekt Music: - Calm Christmas Music by soundplusua https://soundplusua.com/royalty-free-music/calm-christmas-music/ - We Wish You a Merry Christmas xmas background short music 30 second by White_Records https://pixabay.com/ru/music/we-wish-you-a-merry-christmas-xmas-background-short-music-30-second-178228/ - Xmas background short music We Wish You a Merry Christmas 20 second by White_Records https://pixabay.com/ru/music/xmas-background-short-music-we-wish-you-a-merry-christmas-20-second-181734/#OSINT #soxoj #community #intelligence #mindset #anonymity

Welcome to the BONUS Christmas Special of the What THE Golf Podcast, featuring David Taylor! (5:00) Tea it Up - Yorkshire Gold (8:30) David Taylor gets his Christmas present early at Crossvines/Poolesville Golf Course! (29:00) Eddie and David discuss their golf goals for 2024 (43:00) Eddie and David's golf joke competition You've heard David Taylor on the show, now check out his prose: https://www.amazon.com/stores/David-Taylor/author/B01GXDVP9M?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true Thanks to our sponsor, Chasing Aces Golf!  Please visit them at www.ChasingAcesGolf.com Also, thanks to White Records for their version Carol of the Bells, available at www.Pixabay.com Finally, please reach out to us with any questions or comments at WhatTHEGolfPodcast@gmail.com and follow us on Instagram @WhatTHEGolfPodcast

As Koss and Griff seek answers, Mistake has an eventful night back in her dorm tower. Meanwhile, Gary tries the memory antidote on his first humanoid test subject. Roleplay Radio is an improvised narrative-based TTRPG podcast. Our Main Campaign is set in Strixhaven, a magical university full of mystery, intrigue, and academic mishaps. It is based on the 5e module ‘Strixhaven: A Curriculum of Chaos', under the Fan Content Policy.   Roleplay Radio is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC.   Roleplay Radio's WorldAnvil: https://www.worldanvil.com/w/roleplay-radio3A-strixhaven-roleplayradio   Roleplay Radio's Discord Server: https://discord.gg/DfgN9D2fKb   MUSIC CREDITS:   “Impervious” Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/dorian-pinto/impervious License code: RPKG2BH3S7PQYDSN “Tinkerbelle” Music by geoffharvey from Pixabay “Fairytales” by Danijel Zambo License code: YNZ0T8LW0TJYK9HY “Funny Background Music for vlog” Music by White_Records from Pixabay “Telling the Story” Music by geoffharvey from Pixabay "The Snow Queen" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ Sneaking Out by Victor Cooper Music from Tunetank.com “Pieces of Light” by Tobias Voigt License code: HMVCRBQEIIDKLVSW “Land of Fantasy” by David Fesliyan from www.fesliyanstudios.com Anitra's Dance by michaelhersch2 from Pixabay “Stomp Clap Snaps” Music by Diamond_Tunes from Pixabay “Action epic cinematic victory” Music by DaddysMusic from Pixabay “Let's get this done” Music by geoffharvey from Pixabay I Knew a Guy by Kevin MacLeod Creative Commons Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/   “Ravel – Ma Mere I'Oye” Music by intersubjektiv from Pixabay “Enchanted” by Peter Cavallo License code: 0UBG0S1ECT1GEVBF "Dark Mountain Haze" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ “Magic Forest” by Kevin MacLeod License code: LZBVSMCTHYAGEJQO “Sneaking Fox” Music by SergeQuadrado from Pixabay Desolation Music by SergeQuadrado from Pixabay “Gossip” by Soundroll License code: OOOFMLLHJG43IRRF “Fairy Tale Fantasy” Music by Music_For_Videos from Pixabay "Wizardtorium" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ “Scary Spooky Creepy Horror Ambient Dark Piano Cinematic” Music by SoundGalleryByDmitryTaras from  “An Alien Presence” Music by geoffharvey from Pixabay "Hot Pursuit" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Decline" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Marionettes Music by Lexin_Music from Pixabay "The Chamber" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Ruby” by Moire License code: T2K12YJPQ2QX11ZS “Dark Goddess” Music by geoffharvey from Pixabay “Cranky Monster” by Eric Matyas “Pizzicato” Music by Oleg Kirilkov from Pixabay Deep in the Dell Music by geoffharvey from Pixabay March of the Spoons by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Tiny Kingdom” by David Fesliyan Mysterioso March by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/   “Realm of the Fairy” Music by geoffharvey from Pixabay Track: Wrong Answer Music by https://www.fiftysounds.com

The F Squad heads to Furygale, where a duel between Rampart Sooviij & Javenesh Stoutclaw is scheduled to take place. Roleplay Radio's WorldAnvil: https://www.worldanvil.com/w/roleplay-radio3A-strixhaven-roleplayradio   Roleplay Radio's Discord Server: https://discord.gg/DfgN9D2fKb   Roleplay Radio is an improvised narrative-based TTRPG podcast. Roleplay Radio is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. MUSIC CREDITS: "Serene" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Beilstone” Music by Andreas-Woll-Music from Pixabay “Sneaky Rascal” by David Fesliyan from www.fesliyanstudios.com “What's in the Biscuit Tin” Music by geoffharvey from Pixabay “Fairy Tale Fantasy” Music by Music_For_Videos from Pixabay “Mr Badger” Music by Geoff Harvey from Pixabay “Woodland Tales” Music by Geoff Harvey from Pixabay “Sneaking in the Warehouse” Music by brolefilmer from Pixabay "Deadly Roulette" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Bugs in the Attic” by Matt Stewart-Evans License code: DVUKNZ9XV953LFAC   “Sneaky Feet” Music by geoffharvey from Pixabay   Short but Strong by Savfk https://www.free-stock-music.com/savfk-short-but-strong.html   Comedy Cinematic Inspiring Music by RomanSenykMusic from Pixabay  "The Other Side of the Door" Kevin MacLeod "Decline" Kevin MacLeod "Hot Pursuit" Kevin MacLeod “Scary Spooky Creepy Horror Ambient Dark Piano Cinematic” Music by SoundGalleryByDmitryTaras from Pixabay   Dances and Dames Kevin MacLeod “Creepy” by Pecan Pie License code: XCOZB4ZUJXTYZ4CH   “The Epic Hip Hop” Music by Anton_Vlasov from Pixabay “Dramatic Hop Hip Beat” Music by White_Records from Pixabay “In the Hall of the Metal King” Music by nakaradaalexander from Pixabay "Not As It Seems" Kevin MacLeod “Old West Gunslingers” by David Fesliyan   Midsummer's Night in the Woods by Justin Allan Arnold | https://www.ifnessfreemusic.com Music promoted by https://www.free-stock-music.com Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/   “The Sorcerer's Apprentice” by Richard Bodgers License code: OCNGWTM8IE6E8FGP   “Battle Metal” Music by nakaradaalexander from PixaBay "Unholy Knight" Kevin MacLeod   Witch by Damiano Baldoni | https://soundcloud.com/damiano_baldoni Music promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY 4.0 https://creativecommons.org/licenses/by/4.0/   “Ska of the Mountain King” License code: LAXCXDREWS80CDZM “Funny Background Music for vlog” Music by White_Records from Pixabay “Sleuthing in the Dark” by David Fesliyan “Creepy Mood” Music by SoulProdMusic “Looming” by Yeti music License code: HJ9FVG74WFSAHDHG   I Knew a Guy by Kevin MacLeod Contemplate the stars by Meydän | https://linktr.ee/meydan Music promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY 4.0https://creativecommons.org/licenses/by/4.0/ Track: Wrong Answer Music by https://www.fiftysounds.com

During a night at the Bow's End Tavern, the F Squad learns about special Trading Cards that have been circulating around Strixhaven… Roleplay Radio is an improvised narrative-based TTRPG podcast. Our Main Campaign is set in Strixhaven, a magical university full of mystery, intrigue, and academic mishaps. It is based on the 5e module ‘Strixhaven: A Curriculum of Chaos', under the Fan Content Policy. Roleplay Radio is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. Roleplay Radio's WorldAnvil: https://www.worldanvil.com/w/roleplay-radio3A-strixhaven-roleplayradio Roleplay Radio's Discord Server: https://discord.gg/DfgN9D2fKb MUSIC CREDITS: Fantasy Magic by LifeSaturation from Pixabay Secrets of the old Library” Music by geoffharvey from Pixabay “Comedy from Hollywood” Music by Magnetic_Trailer from Pixabay “Telling the Story” Music by geoffharvey from Pixabay "Sneaky Adventure" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Make Believe” by Giulio Fazio Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/giulio-fazio/make-believe License code: FLFBBAWR5IAAJOG7 “Cute Creatures” Music by geoffharvey from Pixabay “Lid” Music by anrocomposer from Pixabay “World of Illusion” Music by geoffharvey from Pixabay “Fairytales” by Danijel Zambo Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/danijel-zambo/fairytales License code: YNZ0T8LW0TJYK9HY “Funny Comedy” Music by Vivaleum from Pixabay “Before the Sky Sheds a Tear Music by geoffharvey from Pixabay “Buddy” by Jonny Easton Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/jonny-easton/buddy License code: NFMWB4UENKMRUTAP “That is my Comedy” Music by Paolo Argento from Pixabay “Dramatic Hop Hip Beat” Music by White_Records from Pixabay Dances and Dames Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ "Deadly Roulette" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ “Sleuthing in the Dark” by David Fesliyan from www.FesliyanStudios.com

Età consigliata: 4+Alice è una bambina inglese molto curiosa. Un giorno, mentre sta leggendo un noiosissimo libro senza figure, vede un Bianconiglio, e lo segue nel Paese delle Meraviglie.Dal capolavoro per l'infanzia di Lewis Carroll, una riduzione a cura de Le Storie del Gatto Blu.Disponibile anche in versione video leggi e ascolta sul nostro canale Youtube.Visita e segui la nostra pagina instagram @lestoriedelgattoblu_!Credits layout & cover vectors: armagan, marinazlochin - www.freepik.comMusics by: geoffharvey, White_Records, MondayHopes, Jon_Nathan, Muzaproduction - www.pixabay.comCopyright 2023 © Le Storie del Gatto BluCopyright 2023 © Silvia Festa

Heute sind wir zu dritt, wir haben uns den lieben Max als Verstärkung eingeladen und die war auch bitter nötig, denn auf unserem Stapel der Schande lag ein ganzer Stapel an Spielen. Ein Stapel im Stapel sozusagen, quasi Inception und wir sind wie DiCaprio, Hardy & Page weiter und weiter in die in die Untiefen der Wundertüte der Spiele-Offensive vorgedrungen.5 Spiele warteten da auf uns:Die rote Kralle / Antoine Noblet / Corax GamesGAP / Frank Noack & Rico Besteher / funbotCloud City / Phil Walker-Harding / Blue OrangeMeeple Land / Cyrille Allard & Frédéric Guérard / Blue OrangeMerw / Fabio Lopiano / Giant Roc00:00:00 Intro00:02:06 Die Rote Kralle00:11:07 Quiz: Spiele mit Katzen00:17:29 Gap00:23:30 Quiz: Spiele mit Set Collection00:29:47 Cloud City00:36:43 Quiz: Spiele mit 3D Komponenten00:42:19 Meeple Land00:50:05 Quiz: Spiele mit Theme Park Thema00:54:40 Merv01:06:38 Quiz: arabische Spiele01:12:33 Siegerehrung und TschüssikowskiMusik und Soundeffekte:whoosh by qubodup (freesound.org)comedy detective by Onoychenkomusic (pixabay.com)simple lofi beat for you by u_hx6vlzlzl7 (pixabay.com)elevator music by yellowtree (freesound.org)floating abstract by ComaStudio (pixabay.com)get happy on your feet by musictown (pixabay.com)arabic music for video 1 minute oriental hip hop for short video by White_Records (pixabay.com) Feedback und Geschenke an bretterlatethannever@gmail.com oder per PN auf Twitter | Instagram | Facebook | Bluesky (@bretterlate)

As diferenças ideológicas entre os Estados Unidos e a União Soviética deram início à Guerra Fria em 1947, e nas três décadas seguintes, as tensões entre as superpotências só aumentaram à medida que elas se envolviam em uma corrida armamentista nuclear. No final dos anos 1960, as relações começaram a melhorar, mas esse período de cooperação chegou ao fim com a invasão da União Soviética ao Afeganistão em dezembro de 1979. Alguns anos mais tarde, uma estudante americana decidiu fazer alguma coisa para tentar mudar a trajetória da Guerra Fria. Havia apenas um empecilho: ela tinha apenas 10 anos de idade. Mesmo assim, Samantha Smith conseguiu chamar a atenção do líder da União Soviética, que respondeu ao seu apelo pela paz em 25 de abril de 1983. Voz nas vinhetas Marina Jardim (Podcast de Garagem e Sessão Aleatória) Músicas usadas na edição Music by Musictown from Pixabay Music by wildsound159 from Pixabay Music by OB-LIX from Pixabay Music by HarumachiMusic from Pixabay Music by AudioCoffee from Pixabay Music by White_Records from Pixabay Music by Music_For_Videos from Pixabay Music by Ashot-Danielyan-Composer from Pixabay Music by Andrewfai from Pixabay Efeitos sonoros https://freesound.org         Muito obrigado aos produtores virtuais que acreditam e apoiam esta iniciativa: Fabiano F. M. Cordeiro (Fab 97,4 FM) Ricardo Bunnyman (AutoRadio Podcast) Marcos Coluci Marcelo Machado (Podcast de Garagem) Danilo de Almeida (Doublecast, Já Ouviu Esse Disco) Willian Floyd (Fermata Podcast) Seja também um apoiador do 80 WATTS em uma das plataformas abaixo.     This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Background vector created by freepik - www.freepik.com  

Il primo serial killer americano, il più diabolico tra gli assassini, un genio della truffa… chi era davvero quest'uomo dall'aspetto mite e dai grandi baffi, che conquistava una donna dopo l'altra e amava vendere scheletri alle facoltà di medicina? Inauguriamo la quarta stagione di Ottocento oscuro con la prima storia dedicata ai casi celebri. La splendida voce a inizio episodio è quella inconfondibile di Mauro Conte. Buon ascolto Music by GeoffreyBurch, SergeQuadrado and White_Records from Pixabay

Depois de Ricardo Darín, o nome da vez no audiovisual argentino é o de Guillermo Francella, um ator que nós carinhosamente apelidamos de "Gui", e que atua em “Meu querido zelador”, série do Star Plus e em “A Extorsão”, filme da HBO. Gui é o cara! Para contribuir com o nosso podcast, acesse: https://www.padrim.com.br/foradoscriptpodcasts Músicas: - Adeline. Background tango dance hip hop. Fun music for video by White_Records - https://pixabay.com/music/beats-adeline-background-tango-dance-hip-hop-fun-music-for-video-150282/ - Night In Venice by Kevin MacLeod |https://incompetech.filmmusic.io/song/5763-night-in-venice | License: https://creativecommons.org/licenses/by/4.0/ 

Since its launch in 2016, FWR has been dealing records online and at record fairs around the country. It wasn't until 2018 that head honcho, Flat White Chris decided to start releasing records under the Flat White name, and launched as a label. Already with eight releases to its name, the label has showcased talents such as Jacques Renault, Last Nubian, Garrett David, Byron The Aquarius, Felipe Gordon, (to name a few) as well as Flat White Chris himself. The label prides itself on championing up and coming artists from around the globe, as well as those from the UK and specifically, Leicester City. So far, releases have been played by Gilles Peterson on BBC Radio 6Music, had features with the likes of Dj Mag and Mixmag, as well as being stocked by record stores all over the world. Back in October 2018, Chris launched his very own label night in Leicester, Flat White Fridays. This has been a resounding success with Chris's 6+hour vinyl sets establishing a real following in less than a year. Monthly bookings (past and future) include Felipe Gordon, Kassian, Cleanfield, City Fly Records, Danny Langan and of course, SlothBoogie. The mix includes a mix of new, old and forthcoming tracks, a couple of which will be out on FWR in the very near future. I like to think this is the sort of noise you can expect if you were to come to one of the Flat White label nights in Leicester.

For the ninth release on Flat White Records, we welcome U.S based producer, rapper, singer and all-around artist, VRGO. Located in Alabama, Anthony Jamal (VRGO) takes pride in basing his music on feelings and emotions, rather than targeting specific genres and audiences. Something that can be felt in his productions. Link: @theimageryxx @wind-horse-records

Follow the instagram for updates/news/vinyl and general music chat - www.instagram.com/bsidepodcasts/ Follow the facebook here - www.facebook.com/BsidePodcasts/ Bside Incoming: Flat White Records Chris Thorpe, founder of Flat White records has got a passion for music with the extensive record collection to match. Little surprise then that this mix spans across many genres, jazz, hip hop, soul, disco, funk, all the way through to pumping garage, techno, and of course his specialist subject, house. Throwing regular parties in Leicester have earned him the right to go toe to toe with some of the best in the business: Artwork, Detroit Swindle, Horse Meat Disco, PBR Streetgang, and past guest Hidden Spheres to name but a few. Beyond the decks he has masterminded the Flat White Records label which prides itself on producing “feel good music” from a mixture of internationally renowned artists and locally recognised talents. Their releases are stocked in record shops globally and have featured on some of the world best loved platforms: Boiler Room, Gilles Peterson's Radio 6 Music show, DJ Mag and Mixmag. Now finding his feet as a producer himself you can find his tracks on The Groove Stage, Novaj 新し Records, 1980 House Recs, and of course his own imprint. This Bside is a showcasing of his eclectic style and a glimpse into what Chris is capable of in his 6+ hour vinyl sets as part of his ever successful Flat White Fridays events. Soak up the good vibes in the sunshine! Check out Flat White Records releases - https://flatwhiterecords.bandcamp.com/ Flat White Records SC - https://soundcloud.com/flatwhiterecords Thanks to Molly Hickey for the beautiful artwork as always. www.instagram.com/mollyth.art/

Welcome to episode ten of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Double Crossin’ Blues” by Johnny Otis, Little Esther, and the Robins. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources Like last week, this episode talks about a musician losing the use of some fingers. If you want to help others like Johnny Otis, you might want to check out a charity called the One-Handed Musical Instrument Trust, which invents and provides instruments for one-handed musicians. As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are a lot of cheap compilations of Johnny Otis’ material — this one seems to be the best value for money, and contains two other songs I already have podcasts written about, and two more that I’m almost certainly going to cover. This CD covers Little Esther’s first couple of years, including all her recordings for Savoy along with some of those from Federal. And this double-CD set contains almost everything the Robins recorded, though for some unknown reason it doesn’t contain their three most well-known songs. Much of the biographical information about Johnny Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. Both Otis and Ralph Bass are interviewed in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We talked last week about playing an instrument with missing or damaged fingers. Today, we’re going to talk about how a great musician losing the use of a couple of fingers led directly to several of the biggest careers in rhythm and blues.   When we think of the blues now, we mostly think of guitar-based music – people like Robert Johnson and Muddy Waters – rather than piano-based musicians and the more vaudeville style of what’s called “classic blues”, people like Ma Rainey or Bessie Smith. And that tends to give a rather ahistorical perspective on the development of rock and roll.   Rock and roll when it started — the music of the mid fifties — is not really a guitar-based music. It’s dominated by the piano and the saxophone, and that domination it takes from jump band rhythm and blues. We’ve already heard how blues shouters in jump bands were massively influential for the style, but of course the blues, along with the jump bands, fed into what was just becoming known as “rhythm and blues”, and that in turn fed into rock and roll.   There were two real links in the chain between the blues and rock and roll. And we’ll definitely talk about the Chess label soon. But to the extent that there was any influence at all from what we now think of as the blues, it was mostly down to one man, Johnny Otis. It’s probably safe to say that if Johnny Otis had never lived, the whole of 1950s music would be totally different.   We’re going to be talking about Johnny Otis *a hell of a lot* in this podcast, because to put it as simply as possible, Johnny Otis was responsible for basically every good record that came from the West Coast of the US between about 1947 and 1956. I have three more Johnny Otis-related records lined up between now and the middle of February, and no doubt there’ll be several more after that.   Johnny Otis had his first hit in 1945, with “Harlem Nocturne”, which featured his friend Bill Doggett on piano:   [excerpt of “Harlem Nocturne”]   After “Harlem Nocturne” became a hit, and partly through the connection with Doggett, he got the opportunity to tour backing the Ink Spots, which exposed him to a wider audience. He was on his way to being a big star.   At that time, he was a drummer and vibraphone player. And he was one of the great drummers of the period — he played, for example, on Ilinois Jacquet’s version of “Flying Home”, and on “Jamming With Lester” by Lester Young.   He was leading a big band, and had been trying to sound like Count Basie, as you can hear if you listen to the records he made at that time, but that soon changed when the jump bands came in. Instead, Otis slimmed down his band to a much smaller one and started playing this new R&B music, but he still wanted to give the people a show. And so he started the Johnny Otis Show, and rather than devote the show to his own performances, he would tour with a variety of singers and groups, who’d all play with his band as well as perform in different combinations. These singers and groups would be backed by the Johnny Otis band, but would be able to put out their own records and put on their own shows. He was going to use his fame to boost others — while also giving himself more stars for his show, which meant more people coming to the shows.   One thing that’s very important to note here is that Otis was a white man who chose to live and work only with black people. We’ll be talking more about his relationship with race as we go forward, but Johnny Otis was *not* the typical white man in the music industry — in that he actually respected his black colleagues as friends and equals, rather than just exploiting them financially.   He also lived in the Watts area of LA, the black area, and did all sorts of things in the community, from having his own radio show (which was listened to by a lot of the white kids in the LA area as well as its intended black audience — both Frank Zappa and Brian Wilson talked about listening to Johnny Otis’ show as children) to running a pigeon-breeding club for the local children. One of the kids who went along to learn how to breed pigeons with Johnny Otis was Arthur Lee, who later went on to be the leader of the band Love.   He was always a bit of an entrepreneur, and someone who was doing twenty different things at the same time. For example, he kept chickens in coops outside his house in Watts, running The Progressive Poultry company with a friend of his, Mario Delagarde, who was a bass player who worked with Johnny “Guitar” Watson and who died fighting in Cuba with Castro against Batista. Apparently, the chickens they sold were too popular, as Otis lost the use of a couple of fingers on his right hand in a chainsaw accident while trying to build more chicken coops — though as he said later, he was still able to play piano and vibraphone with only eight fingers. After a doctor botched an operation on his hand, though, he couldn’t play drums easily.   But it was because of his damaged hand that he eventually discovered Little Esther. Otis prided himself on his ability at discovering artists, and in this case it was more or less by accident. One night he couldn’t sleep from the pain in his hand, and he was scared of taking painkillers and becoming addicted, so he went for a walk.   He walked past a club, and saw that Big Jay McNeely was playing. McNeely – who died in September this year – was one of the great saxophone honkers and skronkers of rhythm and blues, and was a friend of Otis who’d played on several records with him. Otis went inside, and before the show started there was a talent show. These talent shows were often major parts of the show in black entertainment at this time, and were sometimes *hugely* impressive – Otis would later talk about one show he saw in Detroit, where he discovered Hank Ballard, Little Willie John, and Jackie Wilson all in the same night, and none of them were even the winner.   On this night, one girl was impressive, but didn’t win, and went and cried in the back of the theatre. Johnny Otis went over to comfort her, and offered her a job with his band.   That girl was only fourteen when she became a professional blues singer after Otis discovered her (he had a knack for discovering teenage girls with exceptional vocal abilities — we’ll be looking at another one in a few weeks). She was born Esther Mae Washington, but later took the surname of her stepfather and became Esther Mae Jones. A few years from the time we’re talking about, she took the name of a petrol station company and became Esther Phillips.   At first, Otis had trouble getting her a record deal, because of the similarity of her sound to that of Dinah Washington, who was Esther’s biggest inspiration, and was the biggest female R&B star of the period. Anyone listening to her was instantly struck by the similarity, and so she was dismissed as a soundalike.   But Otis had a little more success with a vocal group he knew called the Robins.   We haven’t talked much about doo-wop yet, but we’re at the point where it starts to be a major factor. Doo-wop is a genre that mostly came from the East Coast of the US. Like many of the genres we’ve discussed so far, it was a primarily black genre, but it would soon also be taken up by Italian-American singers living in the same areas as black people — this was a time when Italian-Americans weren’t considered fully “white” according to the racial standards then prevalent in the US. (As an example, in the early 1960s, the great jazz bass player Charles Mingus was asked why, if he was so angry at white people, he played with Charlie Mariano. Mingus looked surprised and said “Charlie’s not white, he’s Italian!”)   But at this point doo-wop was very much on the fringes of the music business. It was music that was made by people who were too poor to even afford instruments, standing around on street corners and singing with each other. Usually the lead singer would try to sound like Bill Kenny of the Ink Spots, though increasingly as the genre matured the lead vocalists would take on more and more aspects of gospel singing as well. The backing vocalists — usually three or four of them — would do the same kind of thing as the Mills Brothers had, and imitate instrumental parts.   And in the tradition of the Ink Spots’ “top and bottom”, these bands would also feature a very prominent bass vocal — though the bass singer wouldn’t speak the words like Hoppy Jones, but would instead sing wordless nonsense syllables. This is where the name “doo wop”, which was only applied later, comes from — from the singer singing things like this:   [excerpt “Count Every Star”, by the Ravens]   That’s the Ravens, one of the first and most successful of the new vocal groups that came along. We’re not doing a whole episode on them, but they caused a huge explosion of black vocal groups in the late forties and early fifties — and you can tell how influential they were just by looking at the names of many of these bands, which included the Orioles, the Penguins, the Flamingos and more.   And The Robins were another of these “bird groups”. They started out as a vocal group called the A-Sharp Trio, who entered a talent contest at a nightclub owned by Johnny Otis and came second (the performer who came first, the guitarist Pete Lewis, Otis got into his band straight away). Otis gave the A-Sharp Trio a regular gig at his club, and soon decided to pair them with another singer who sang there solo, turning them into a quartet. They were originally called the Four Bluebirds, and under that name they recorded a single with Otis — “My Baby Done Told Me”:   [Excerpt: the Four Bluebirds “My Baby Done Told Me”]   However, they didn’t like the name, and soon settled on the Robins.   The Robins recorded with Otis on various labels. Their first single, “Around About Midnight”, was a remake of Roy Brown’s earlier “Long About Midnight”, and it’s really rather good. Take a listen:   [“Around About Midnight”]   A quick note there — that’s noted as their first single on some discographies I’ve seen. Others, however, say that these original tracks weren’t released until a few months after they were recorded. It’s definitely from their first session under the name The Robins though.   That was recorded on the Aladdin label, a record label that also had recordings by Ilinois Jacquet, Louis Jordan, Wynonie Harris, and many, many more early R&B people who we’ve touched upon in this podcast and will touch upon again I’m sure. But soon after this Otis and the Robins — and Esther Mae Washington — would all go on to another label, Savoy.   Ralph Bass, the A&R man who signed Johnny Otis to Savoy, is another of those white back-room people who devoted their life to black music who keep showing up at this stage of the story, and he’s another one we’ll be seeing a lot of for the next few episodes. Born Ralph Basso, he’d been an amateur musician and had also worked for Shell. When he was working for Shell, one of his jobs had been to organise corporate events, and because of the war there was a lack of musicians to play them, and he’d taken to playing records through an amplifier, becoming one of the very first live DJs.   He’d always had a love of music — he used to sneak into the Savoy Ballroom to watch Chick Webb as a teenager — and when he was playing these records, he realised that many of them sounded awful. He was convinced he could make records that sounded better than the ones he was playing, and so he decided to write to every record company he could find, offering his services. Only one record company answered — Black and White Records in Los Angeles. They weren’t certain that they could use him, but they’d give him an interview in a few weeks if he flew to LA.   Bass flew to LA two weeks before his interview, and started preparing. He asked the musicians unions for a list of who they thought their most talented local musicians were, and went to see them all live, and chat to some of them. Then, when he went into the actual interview and was asked who he would record, he had an answer — he was going to record Sammy Franklin and his Atomics doing “The Honeydripper”.   But he still didn’t actually know anything at all about how to make a record. He had a solution to that too. He booked the band and the studio, then got to the studio early and told the engineers that he didn’t have a clue about how to record sound, but that his boss would be expecting him to, and to just go along with everything he said when the boss got there, and that the engineers would really be in charge. The boss of Black and White Records did get there, shortly afterward, and Bass spent the next half hour tweaking settings on the board, changing mic placements, and a thousand other tiny technical differences. The boss decided he knew what he was doing and left him to it. The engineers then put everything back the way it was originally. The record came out, and it didn’t do wonderfully (for reasons we’ll discuss next week) but it was enough to get Bass firmly in place in Black and White Records.   Over the next few years, he produced dozens of classics of jazz and blues, including “Stormy Monday” by T-Bone Walker and “Open the Door, Richard” by Jack McVea:   [excerpt: “Open the Door, Richard”]   That record was based on an old routine by the black comedian Dusty Fletcher, and it was Bass who suggested that the old routine be set to music by McVea, who had previously been a saxophone player with Lionel Hampton’s band. It became a massive hit, and was covered by Count Basie and Louis Jordan, among others — six different versions of the song made the R&B top ten more or less simultaneously in the first few months of 1947.   But the problem with “Open the Door, Richard” was that it was actually too successful — the record label just assumed that any of its records would sell that well. And when they didn’t, Bass had to find another label to work with.   Bass had proved his ability enough that he ended up working for Savoy. For most of its time, Savoy was a jazz label, but while Ralph Bass was in charge of A&R it was, instead, an R&B label, and one that put out some of the greatest R&B of its time. He had an eye for talent and a real love for good rhythm and blues music.   And so when Ralph Bass saw the Johnny Otis revue performing live, he decided that Savoy needed to sign *all of them* — Otis and his band, Esther, the Robins, everyone. He got in touch with Herman Lubinsky, who was the owner of Savoy Records, and got Lubinsky to come down to see Otis’ band. During intermission, Lubinsky met up with Otis, and got him to sign a record contact — the contract only specified a one percent royalty, but Lubinsky promised he’d triple the royalty rate after Otis’ first hit with Savoy. Like many of Lubinsky’s promises, this proved to be false.   When the Otis band, Esther, and the Robins went into the studio together, Esther was so intimidated by the studio that she started giggling, and while they did manage to cut a few songs, they didn’t get as much done as they wanted to in the session. But at almost literally the last minute — twenty minutes before the end of the session, Otis came up with a song that was, like “Open the Door Richard”, based around a comedy routine from a well-known black comedy act. In this case, a double act called Apus and Estrellita — Esther and Bobby Nunn of the Robins engaged in some good-spirited comedy back and forth, copied from their routines.   [excerpt “Double Crossin’ Blues”]   Those lines “How come you ain’t in the forest?” “I’m a lady”, “they got lady bears out there!” take on a bit of a different colour when you realise that “lady bear” was, at the time, slang for an ugly, sexually aggressive woman.   Herman Lubinsky, the head of Savoy Records, was not impressed with the record or with Esther Phillips, and according to Bass “I sent the record to Lubinsky and asked for five dollars to pay for the kid’s expenses — lunch and all that, coming to Hollywood from Watts. He shouted ‘Whaddaya mean five bucks? For what?’ He wouldn’t give me the five bucks”.   Lubinsky put the recording aside until a DJ in Newark asked him if he could look through the new recordings he had to see if there was anything that might be a hit. The DJ loved the record, and even ran a competition on his radio station to pick the song’s name, which is where the title “Double Crossing Blues” comes from. Although as Bass said “Everybody who was involved with the record got double-crossed. The songwriter, Johnny and I, the Robins, everybody connected with it.”   Lubinsky was suddenly so sure that the record was going to be a success that he phoned Bass at five in the morning, Bass’ time, waking him up, and getting Bass to go and wake Johnny Otis up so they could both go and track down Esther and her mother, and get them to sign a contract immediately. It was around this point that Esther’s stage name was decided upon — Lubinsky said to Otis “you need a stage name for that girl,” to which Otis replied “which girl? Little Esther?” and Lubinsky said “that’s perfect!” And so for the next few years, Esther Washington, who would later be Esther Phillips, was Little Esther, and that was the name under which she became a phenomenon.   The record went to number one on the R&B charts, and was the biggest thing in the genre in years. In July 1950, Billboard published its annual listing of best-selling R&B acts. Johnny Otis came first, Little Esther second, and the Robins came fourth   But the record’s success caused friction between Otis and the Robins, who he later described as the people “who hummed behind Little Esther”. They decided that they were the big stars, not Little Esther, and that they were going to go on tour on their own. Otis had to find another male singer to sing the parts that Bobby Nunn had sung, and so he found his new singer Mel Walker, who would be the main lead vocalist on Otis’ future records, and would duet with Little Esther on more than a few of them. The Robins offered Otis a job as musical director for twenty dollars a night, but Otis refused.   The Robins would go on to have many, many successes themselves, some of which we’ll talk about later, but Otis, Mel Walker, and Little Esther went on to have a string of hits in various combinations as well — “Mistrustin’ Blues”, “Deceivin’ Blues”, “Dreamin’ Blues”, “Wedding Boogie”, “Rockin’ Blues”… Otis also had a 1951 hit with “All Nite Long”, which would later be referenced in records by both Frank Zappa and Talking Heads:   [excerpt “All Nite Long”: Johnny Otis]   We’ll be seeing much more of Johnny Otis, and of the Robins, as the story goes on, but this is the only time we’ll be talking about Little Esther. In her first year, she had an amazing seven records make the R&B top ten, three of them (including “Double Crossin’ Blues”) going to number one. She was regarded as one of the finest R&B vocalists of her generation, and had a promising future.   She decided, after a year on Savoy with Johnny Otis, to go solo and to move with Ralph Bass to Federal Records, a new label Bass had joined after falling out with Herman Lubinsky. According to Bass, Lubinsky often blackmailed his employees, in order to get leverage over them. But he was unable to find any dirty secrets about Bass — not that Bass didn’t have them (and not necessarily that he did, either — I don’t know) — but that he didn’t mix his business and personal lives. He didn’t hang out with the musicians he worked with or with his colleagues, and so there was no vector for Lubinsky to get any kind of leverage over him.   So Lubinsky sent Bass to a party for a distributor at the last minute, which ran until three or four AM, and then when Bass’ wife phoned up to ask where he was, Lubinsky claimed not to know, causing Bass and his wife to have a row.   Bass instantly realised that Lubinsky was trying to mess with his marriage in order to get some leverage over him, and decided he was simply not going to go back to work the next day. Instead, he went to King Records, who set up a subsidiary, Federal, for Bass to run. Bass took Little Esther with him, but Johnny Otis and the Robins were both still on Savoy.   Over the next few years, Bass would produce a lot of records which would change the course of rhythm and blues and rock and roll music, but sadly his further collaborations with Little Esther simply weren’t as successful as the work they’d done together with Johnny Otis. She stopped having hits, and started doing heroin.   She moved back in with her family in Houston, and played odd gigs around the area, including one with Otis, Big Mama Thornton, and Johnny Ace, which we’ll talk about in a future episode but which must have traumatised her further. Eventually her career got a second wind, and she had a few minor hits in the 1960s and 70s under her new name Esther Phillips.   Most impressive of these was “Home is Where the Hatred is”, a song by Gil Scott-Heron that she recorded in 1972:   [excerpt “Home is Where the Hatred is”: Esther Phillips]   That song clearly meant a lot to her, given her own history with drugs, and the album it came from, From A Whisper to a Scream, was nominated for a Grammy for Best R&B Vocal Performance (Female). Aretha Franklin won the award, as she did every year from 1968 through 1975 inclusive — and to be fair, that’s one of the few examples of the Grammies actually recognising talent when they saw it, because if it’s possible to give Aretha Franklin an award between 1968 and 1975, you give Aretha Franklin that award. But this time, Aretha said publicly that she didn’t deserve the award, and gave it to Phillips. Sadly, Esther Phillips never won the award in her own right — she was nominated four times, but all during that period of Aretha dominance.   She continued having minor hits into the 1980s, but she never recaptured that brief period when she was the biggest female star in R&B, back in 1950. She died in 1984, aged only 48. Johnny Otis, who by that time was ordained as a minister, performed her funeral.

Welcome to episode ten of A History of Rock Music in Five Hundred Songs. Today we're looking at "Double Crossin' Blues" by Johnny Otis, Little Esther, and the Robins. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Resources Like last week, this episode talks about a musician losing the use of some fingers. If you want to help others like Johnny Otis, you might want to check out a charity called the One-Handed Musical Instrument Trust, which invents and provides instruments for one-handed musicians. As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are a lot of cheap compilations of Johnny Otis' material -- this one seems to be the best value for money, and contains two other songs I already have podcasts written about, and two more that I'm almost certainly going to cover. This CD covers Little Esther's first couple of years, including all her recordings for Savoy along with some of those from Federal. And this double-CD set contains almost everything the Robins recorded, though for some unknown reason it doesn't contain their three most well-known songs. Much of the biographical information about Johnny Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. Both Otis and Ralph Bass are interviewed in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We talked last week about playing an instrument with missing or damaged fingers. Today, we're going to talk about how a great musician losing the use of a couple of fingers led directly to several of the biggest careers in rhythm and blues.   When we think of the blues now, we mostly think of guitar-based music – people like Robert Johnson and Muddy Waters – rather than piano-based musicians and the more vaudeville style of what's called “classic blues”, people like Ma Rainey or Bessie Smith. And that tends to give a rather ahistorical perspective on the development of rock and roll.   Rock and roll when it started -- the music of the mid fifties -- is not really a guitar-based music. It's dominated by the piano and the saxophone, and that domination it takes from jump band rhythm and blues. We've already heard how blues shouters in jump bands were massively influential for the style, but of course the blues, along with the jump bands, fed into what was just becoming known as "rhythm and blues", and that in turn fed into rock and roll.   There were two real links in the chain between the blues and rock and roll. And we'll definitely talk about the Chess label soon. But to the extent that there was any influence at all from what we now think of as the blues, it was mostly down to one man, Johnny Otis. It's probably safe to say that if Johnny Otis had never lived, the whole of 1950s music would be totally different.   We're going to be talking about Johnny Otis *a hell of a lot* in this podcast, because to put it as simply as possible, Johnny Otis was responsible for basically every good record that came from the West Coast of the US between about 1947 and 1956. I have three more Johnny Otis-related records lined up between now and the middle of February, and no doubt there'll be several more after that.   Johnny Otis had his first hit in 1945, with "Harlem Nocturne", which featured his friend Bill Doggett on piano:   [excerpt of "Harlem Nocturne"]   After “Harlem Nocturne” became a hit, and partly through the connection with Doggett, he got the opportunity to tour backing the Ink Spots, which exposed him to a wider audience. He was on his way to being a big star.   At that time, he was a drummer and vibraphone player. And he was one of the great drummers of the period -- he played, for example, on Ilinois Jacquet's version of "Flying Home", and on "Jamming With Lester" by Lester Young.   He was leading a big band, and had been trying to sound like Count Basie, as you can hear if you listen to the records he made at that time, but that soon changed when the jump bands came in. Instead, Otis slimmed down his band to a much smaller one and started playing this new R&B music, but he still wanted to give the people a show. And so he started the Johnny Otis Show, and rather than devote the show to his own performances, he would tour with a variety of singers and groups, who'd all play with his band as well as perform in different combinations. These singers and groups would be backed by the Johnny Otis band, but would be able to put out their own records and put on their own shows. He was going to use his fame to boost others -- while also giving himself more stars for his show, which meant more people coming to the shows.   One thing that's very important to note here is that Otis was a white man who chose to live and work only with black people. We'll be talking more about his relationship with race as we go forward, but Johnny Otis was *not* the typical white man in the music industry -- in that he actually respected his black colleagues as friends and equals, rather than just exploiting them financially.   He also lived in the Watts area of LA, the black area, and did all sorts of things in the community, from having his own radio show (which was listened to by a lot of the white kids in the LA area as well as its intended black audience -- both Frank Zappa and Brian Wilson talked about listening to Johnny Otis' show as children) to running a pigeon-breeding club for the local children. One of the kids who went along to learn how to breed pigeons with Johnny Otis was Arthur Lee, who later went on to be the leader of the band Love.   He was always a bit of an entrepreneur, and someone who was doing twenty different things at the same time. For example, he kept chickens in coops outside his house in Watts, running The Progressive Poultry company with a friend of his, Mario Delagarde, who was a bass player who worked with Johnny “Guitar” Watson and who died fighting in Cuba with Castro against Batista. Apparently, the chickens they sold were too popular, as Otis lost the use of a couple of fingers on his right hand in a chainsaw accident while trying to build more chicken coops -- though as he said later, he was still able to play piano and vibraphone with only eight fingers. After a doctor botched an operation on his hand, though, he couldn't play drums easily.   But it was because of his damaged hand that he eventually discovered Little Esther. Otis prided himself on his ability at discovering artists, and in this case it was more or less by accident. One night he couldn't sleep from the pain in his hand, and he was scared of taking painkillers and becoming addicted, so he went for a walk.   He walked past a club, and saw that Big Jay McNeely was playing. McNeely – who died in September this year – was one of the great saxophone honkers and skronkers of rhythm and blues, and was a friend of Otis who'd played on several records with him. Otis went inside, and before the show started there was a talent show. These talent shows were often major parts of the show in black entertainment at this time, and were sometimes *hugely* impressive – Otis would later talk about one show he saw in Detroit, where he discovered Hank Ballard, Little Willie John, and Jackie Wilson all in the same night, and none of them were even the winner.   On this night, one girl was impressive, but didn't win, and went and cried in the back of the theatre. Johnny Otis went over to comfort her, and offered her a job with his band.   That girl was only fourteen when she became a professional blues singer after Otis discovered her (he had a knack for discovering teenage girls with exceptional vocal abilities -- we'll be looking at another one in a few weeks). She was born Esther Mae Washington, but later took the surname of her stepfather and became Esther Mae Jones. A few years from the time we're talking about, she took the name of a petrol station company and became Esther Phillips.   At first, Otis had trouble getting her a record deal, because of the similarity of her sound to that of Dinah Washington, who was Esther's biggest inspiration, and was the biggest female R&B star of the period. Anyone listening to her was instantly struck by the similarity, and so she was dismissed as a soundalike.   But Otis had a little more success with a vocal group he knew called the Robins.   We haven't talked much about doo-wop yet, but we're at the point where it starts to be a major factor. Doo-wop is a genre that mostly came from the East Coast of the US. Like many of the genres we've discussed so far, it was a primarily black genre, but it would soon also be taken up by Italian-American singers living in the same areas as black people -- this was a time when Italian-Americans weren't considered fully "white" according to the racial standards then prevalent in the US. (As an example, in the early 1960s, the great jazz bass player Charles Mingus was asked why, if he was so angry at white people, he played with Charlie Mariano. Mingus looked surprised and said "Charlie's not white, he's Italian!")   But at this point doo-wop was very much on the fringes of the music business. It was music that was made by people who were too poor to even afford instruments, standing around on street corners and singing with each other. Usually the lead singer would try to sound like Bill Kenny of the Ink Spots, though increasingly as the genre matured the lead vocalists would take on more and more aspects of gospel singing as well. The backing vocalists -- usually three or four of them -- would do the same kind of thing as the Mills Brothers had, and imitate instrumental parts.   And in the tradition of the Ink Spots' "top and bottom", these bands would also feature a very prominent bass vocal -- though the bass singer wouldn't speak the words like Hoppy Jones, but would instead sing wordless nonsense syllables. This is where the name "doo wop", which was only applied later, comes from -- from the singer singing things like this:   [excerpt "Count Every Star", by the Ravens]   That's the Ravens, one of the first and most successful of the new vocal groups that came along. We're not doing a whole episode on them, but they caused a huge explosion of black vocal groups in the late forties and early fifties -- and you can tell how influential they were just by looking at the names of many of these bands, which included the Orioles, the Penguins, the Flamingos and more.   And The Robins were another of these "bird groups". They started out as a vocal group called the A-Sharp Trio, who entered a talent contest at a nightclub owned by Johnny Otis and came second (the performer who came first, the guitarist Pete Lewis, Otis got into his band straight away). Otis gave the A-Sharp Trio a regular gig at his club, and soon decided to pair them with another singer who sang there solo, turning them into a quartet. They were originally called the Four Bluebirds, and under that name they recorded a single with Otis -- "My Baby Done Told Me":   [Excerpt: the Four Bluebirds "My Baby Done Told Me"]   However, they didn't like the name, and soon settled on the Robins.   The Robins recorded with Otis on various labels. Their first single, "Around About Midnight", was a remake of Roy Brown's earlier "Long About Midnight", and it's really rather good. Take a listen:   ["Around About Midnight"]   A quick note there -- that's noted as their first single on some discographies I've seen. Others, however, say that these original tracks weren't released until a few months after they were recorded. It's definitely from their first session under the name The Robins though.   That was recorded on the Aladdin label, a record label that also had recordings by Ilinois Jacquet, Louis Jordan, Wynonie Harris, and many, many more early R&B people who we've touched upon in this podcast and will touch upon again I'm sure. But soon after this Otis and the Robins -- and Esther Mae Washington -- would all go on to another label, Savoy.   Ralph Bass, the A&R man who signed Johnny Otis to Savoy, is another of those white back-room people who devoted their life to black music who keep showing up at this stage of the story, and he's another one we'll be seeing a lot of for the next few episodes. Born Ralph Basso, he'd been an amateur musician and had also worked for Shell. When he was working for Shell, one of his jobs had been to organise corporate events, and because of the war there was a lack of musicians to play them, and he'd taken to playing records through an amplifier, becoming one of the very first live DJs.   He'd always had a love of music -- he used to sneak into the Savoy Ballroom to watch Chick Webb as a teenager -- and when he was playing these records, he realised that many of them sounded awful. He was convinced he could make records that sounded better than the ones he was playing, and so he decided to write to every record company he could find, offering his services. Only one record company answered -- Black and White Records in Los Angeles. They weren't certain that they could use him, but they'd give him an interview in a few weeks if he flew to LA.   Bass flew to LA two weeks before his interview, and started preparing. He asked the musicians unions for a list of who they thought their most talented local musicians were, and went to see them all live, and chat to some of them. Then, when he went into the actual interview and was asked who he would record, he had an answer -- he was going to record Sammy Franklin and his Atomics doing "The Honeydripper".   But he still didn't actually know anything at all about how to make a record. He had a solution to that too. He booked the band and the studio, then got to the studio early and told the engineers that he didn't have a clue about how to record sound, but that his boss would be expecting him to, and to just go along with everything he said when the boss got there, and that the engineers would really be in charge. The boss of Black and White Records did get there, shortly afterward, and Bass spent the next half hour tweaking settings on the board, changing mic placements, and a thousand other tiny technical differences. The boss decided he knew what he was doing and left him to it. The engineers then put everything back the way it was originally. The record came out, and it didn't do wonderfully (for reasons we'll discuss next week) but it was enough to get Bass firmly in place in Black and White Records.   Over the next few years, he produced dozens of classics of jazz and blues, including "Stormy Monday" by T-Bone Walker and "Open the Door, Richard" by Jack McVea:   [excerpt: "Open the Door, Richard"]   That record was based on an old routine by the black comedian Dusty Fletcher, and it was Bass who suggested that the old routine be set to music by McVea, who had previously been a saxophone player with Lionel Hampton's band. It became a massive hit, and was covered by Count Basie and Louis Jordan, among others -- six different versions of the song made the R&B top ten more or less simultaneously in the first few months of 1947.   But the problem with "Open the Door, Richard" was that it was actually too successful -- the record label just assumed that any of its records would sell that well. And when they didn't, Bass had to find another label to work with.   Bass had proved his ability enough that he ended up working for Savoy. For most of its time, Savoy was a jazz label, but while Ralph Bass was in charge of A&R it was, instead, an R&B label, and one that put out some of the greatest R&B of its time. He had an eye for talent and a real love for good rhythm and blues music.   And so when Ralph Bass saw the Johnny Otis revue performing live, he decided that Savoy needed to sign *all of them* -- Otis and his band, Esther, the Robins, everyone. He got in touch with Herman Lubinsky, who was the owner of Savoy Records, and got Lubinsky to come down to see Otis' band. During intermission, Lubinsky met up with Otis, and got him to sign a record contact -- the contract only specified a one percent royalty, but Lubinsky promised he'd triple the royalty rate after Otis' first hit with Savoy. Like many of Lubinsky's promises, this proved to be false.   When the Otis band, Esther, and the Robins went into the studio together, Esther was so intimidated by the studio that she started giggling, and while they did manage to cut a few songs, they didn't get as much done as they wanted to in the session. But at almost literally the last minute -- twenty minutes before the end of the session, Otis came up with a song that was, like "Open the Door Richard", based around a comedy routine from a well-known black comedy act. In this case, a double act called Apus and Estrellita -- Esther and Bobby Nunn of the Robins engaged in some good-spirited comedy back and forth, copied from their routines.   [excerpt "Double Crossin' Blues"]   Those lines "How come you ain't in the forest?" "I'm a lady", "they got lady bears out there!" take on a bit of a different colour when you realise that "lady bear" was, at the time, slang for an ugly, sexually aggressive woman.   Herman Lubinsky, the head of Savoy Records, was not impressed with the record or with Esther Phillips, and according to Bass "I sent the record to Lubinsky and asked for five dollars to pay for the kid's expenses -- lunch and all that, coming to Hollywood from Watts. He shouted 'Whaddaya mean five bucks? For what?' He wouldn't give me the five bucks".   Lubinsky put the recording aside until a DJ in Newark asked him if he could look through the new recordings he had to see if there was anything that might be a hit. The DJ loved the record, and even ran a competition on his radio station to pick the song's name, which is where the title "Double Crossing Blues" comes from. Although as Bass said "Everybody who was involved with the record got double-crossed. The songwriter, Johnny and I, the Robins, everybody connected with it."   Lubinsky was suddenly so sure that the record was going to be a success that he phoned Bass at five in the morning, Bass' time, waking him up, and getting Bass to go and wake Johnny Otis up so they could both go and track down Esther and her mother, and get them to sign a contract immediately. It was around this point that Esther's stage name was decided upon -- Lubinsky said to Otis "you need a stage name for that girl," to which Otis replied "which girl? Little Esther?" and Lubinsky said "that's perfect!" And so for the next few years, Esther Washington, who would later be Esther Phillips, was Little Esther, and that was the name under which she became a phenomenon.   The record went to number one on the R&B charts, and was the biggest thing in the genre in years. In July 1950, Billboard published its annual listing of best-selling R&B acts. Johnny Otis came first, Little Esther second, and the Robins came fourth   But the record's success caused friction between Otis and the Robins, who he later described as the people "who hummed behind Little Esther". They decided that they were the big stars, not Little Esther, and that they were going to go on tour on their own. Otis had to find another male singer to sing the parts that Bobby Nunn had sung, and so he found his new singer Mel Walker, who would be the main lead vocalist on Otis' future records, and would duet with Little Esther on more than a few of them. The Robins offered Otis a job as musical director for twenty dollars a night, but Otis refused.   The Robins would go on to have many, many successes themselves, some of which we'll talk about later, but Otis, Mel Walker, and Little Esther went on to have a string of hits in various combinations as well -- "Mistrustin' Blues", "Deceivin' Blues", "Dreamin' Blues", "Wedding Boogie", "Rockin' Blues"... Otis also had a 1951 hit with "All Nite Long", which would later be referenced in records by both Frank Zappa and Talking Heads:   [excerpt "All Nite Long": Johnny Otis]   We'll be seeing much more of Johnny Otis, and of the Robins, as the story goes on, but this is the only time we'll be talking about Little Esther. In her first year, she had an amazing seven records make the R&B top ten, three of them (including "Double Crossin' Blues") going to number one. She was regarded as one of the finest R&B vocalists of her generation, and had a promising future.   She decided, after a year on Savoy with Johnny Otis, to go solo and to move with Ralph Bass to Federal Records, a new label Bass had joined after falling out with Herman Lubinsky. According to Bass, Lubinsky often blackmailed his employees, in order to get leverage over them. But he was unable to find any dirty secrets about Bass -- not that Bass didn't have them (and not necessarily that he did, either -- I don't know) -- but that he didn't mix his business and personal lives. He didn't hang out with the musicians he worked with or with his colleagues, and so there was no vector for Lubinsky to get any kind of leverage over him.   So Lubinsky sent Bass to a party for a distributor at the last minute, which ran until three or four AM, and then when Bass' wife phoned up to ask where he was, Lubinsky claimed not to know, causing Bass and his wife to have a row.   Bass instantly realised that Lubinsky was trying to mess with his marriage in order to get some leverage over him, and decided he was simply not going to go back to work the next day. Instead, he went to King Records, who set up a subsidiary, Federal, for Bass to run. Bass took Little Esther with him, but Johnny Otis and the Robins were both still on Savoy.   Over the next few years, Bass would produce a lot of records which would change the course of rhythm and blues and rock and roll music, but sadly his further collaborations with Little Esther simply weren't as successful as the work they'd done together with Johnny Otis. She stopped having hits, and started doing heroin.   She moved back in with her family in Houston, and played odd gigs around the area, including one with Otis, Big Mama Thornton, and Johnny Ace, which we'll talk about in a future episode but which must have traumatised her further. Eventually her career got a second wind, and she had a few minor hits in the 1960s and 70s under her new name Esther Phillips.   Most impressive of these was "Home is Where the Hatred is", a song by Gil Scott-Heron that she recorded in 1972:   [excerpt "Home is Where the Hatred is": Esther Phillips]   That song clearly meant a lot to her, given her own history with drugs, and the album it came from, From A Whisper to a Scream, was nominated for a Grammy for Best R&B Vocal Performance (Female). Aretha Franklin won the award, as she did every year from 1968 through 1975 inclusive -- and to be fair, that's one of the few examples of the Grammies actually recognising talent when they saw it, because if it's possible to give Aretha Franklin an award between 1968 and 1975, you give Aretha Franklin that award. But this time, Aretha said publicly that she didn't deserve the award, and gave it to Phillips. Sadly, Esther Phillips never won the award in her own right -- she was nominated four times, but all during that period of Aretha dominance.   She continued having minor hits into the 1980s, but she never recaptured that brief period when she was the biggest female star in R&B, back in 1950. She died in 1984, aged only 48. Johnny Otis, who by that time was ordained as a minister, performed her funeral.

So here we are at number 150! While Leicester based @flatwhiterecords may be a young label, the releases they have put out so far have been solid gold (alongside the art direction), and the upcoming stuff promises to be of the same calibre. We're obviously also big fans of the broken, heavily swung & jazzy influenced house they put out and this mix by label bossman @flatwhitechris showcases just that kind of music, so let the weekend vibes commence! Facebook | https://www.facebook.com/flatwhiterecords/

It's April and for this month we have ArchiveOne delivering a powerful mix, perfect match for our spring attitude. ArchivOne or Cristiano De Luca was born in 1995 in Naples. DJ, producer and remixer. his life has revolved around its ultimate goal: demonstration of his musical vision in the form of DJ Set as well as his productions. He is a musically versatile artist who likes to get lost in the sound worlds, taking all kinds of influences from different genres and incorporates them into his productions. Despite this, his heart beats fast for Techno, is the heartbeat of his city that inspired him so generously. In 2015 he founded together with his friend his first Label : Off the White Records, with its first two releases was a great success. His new music caught the attention of new and old artists of the Techno getting feedback from Bleak, Chris Liebing, DVS1, Luca Agnelli, Sam Paganini, Thomas Hessler, DJ Hyperactive, SLAM, Blind Observatory, Tommy Four Seven, Xhei, Dyad, SNTS, Bas Mooy, Zadig and many more . Links: https://www.facebook.com/archivOne/ http://www.residentadvisor.net/dj/archivone @dj-cristiano-de-luca LISTEN / DOWNLOAD / SHARE

ArchivOne or Cristiano De Luca was born in 1995 in Naples. DJ, producer and remixer. Begins to approach the music at age 8, he started playing drums, guitar and piano. Since then, his life has revolved around its ultimate goal: demonstration of his musical vision in the form of DJ Set as well as his productions. ArchivOne is a musically versatile artist who likes to get lost in the sound worlds, taking all kinds of influences from different genres and incorporates them into his productions. Despite this, his heart beats fast for Techno, is the heartbeat of his city that inspired him so generously. In 2015 he founded together with his friend his first Label : Off the White Records, with its first two releases was a great success. His new music caught the attention of new and old artists of the Techno getting feedback from Bleak, Chris Liebing, DVS1, Luca Agnelli, Sam Paganini, Thomas Hessler, DJ Hyperactive, SLAM, Blind Observatory, Tommy Four Seven, Xhei, Dyad, SNTS, Bas Mooy, Zadig and many more ....

1 Drop of Raki feat. Jo.Ke, (Iannis Ritter Canson Remix) - Viken Arman - Denature Records 2 Mo Slowtion - Platzdasch - GENTS & DANDYS 3 The Trumpeter (Original Mix) - Hernan Serrao - Pro-B-Tech Records 4 Crack In The Wall feat. Mi.li.an (Tim Engelhardt Remix) - Florian Kruse & Hendrik Burkhard - Audiomatique 5 Dakini - Hamza - Wind Horse Records 6 Mountains Of The Moon (Original Mix) - Cornucopia - microCastle 7 2 Sides to the Coin (Original Mix) - Jos & Eli - Sudbeat 8 Forced Signal (Original) - Julian Dep - LuPS Records 9 Aeternum (Alfonso Muchacho Remix) - Esthetique - Majestic Family Records 10 Under The Sky (Original Mix) - FictiOne - Stellar Fountain Deep 11 Hi & Low (Fake Mood & Mirida Remix) - WhoMadeWho 12 The Heart Of Noise (Morttagua Remix) - Jean-Michel Jarre & Rone 13 Andromeda (Following Light Remix) - eNc (Irl) - Crop Circle 14 Light 197 (Original Mix) - FictiOne - Stellar Fountain Deep 15 The Hider (Original Mix) - Christopher Ivor - Manual Music 16 Palmascal (Samu L. Remix) - Ray Okpara - Smiley Fingers 17 Infection (Original Mix) - Sebastian Busto - Massive Harmony Records 18 Dreams (Onez!e Deep Sleep Remix) - Traveltech - Hot Cue Music 19 Ingrato (Original Mix) - Th Moy 20 Confusion (Jonny Burg Remix) - Kiz Pattison - Se-Lek-Music 21 Candor (Original Mix) - Daniel Daraban - Dark & White Records

Off White Records Podcast #01 Artist : https://soundcloud.com/dj-cristiano-de-luca Tracklist The Exaltics - Why The Exaltics - The Snake Mountin Surgeon - Badger Bite Stranger - Highest Sense ArchivOne - Machine Plukkk - B1 Ontal - Simulacron Helena Hauff - Culmination of Frustration Ansome - Coffin Dodge Rodge Ansome - Bearded Lady (JoeFarr Remix) Stranger - Play Some Rave For Me Bio ArchivOne or Cristiano De Luca was born in 1995 in Naples. DJ, producer and remixer. Begins to approach the music at age 8, he started playing drums, guitar and piano. Since then, his life has revolved around its ultimate goal: demonstration of his musical vision in the form of DJ Set as well as his productions. ArchivOne is a musically versatile artist who likes to get lost in the sound worlds, taking all kinds of influences from different genres and incorporates them into his productions. Despite this, his heart beats fast for Techno, is the heartbeat of his city that inspired him so generously. In 2015 he founded together with his friend his first Label : Off the White Records, with its first two releases was a great success. His new music caught the attention of new and old artists of the Techno getting feedback from Bleak, Chris Liebing, DVS1, Luca Agnelli, Sam Paganini, Thomas Hessler, DJ Hyperactive, SLAM, Blind Observatory, Tommy Four Seven, Xhei, Dyad, SNTS, Bas Mooy, Zadig and many more ....