Strong, True, My Eyes Ain’t Blue. I Am The Woman Of The Ghetto.


Nobody’s Listening. No.49. 24.10.16.

Hullo. This week is the actual first anniversary of the playlist but as I explained last week, we’re holding off the celebrations until NL. No.50. as it’s a nice round number, so keep your ears and eyes peeled for a bumper bag of special-ness next week. Not that this weeks is any less special, in fact it’s one of my favourites so far with some absolute beauties.

We had a theme night over on our facebook page last Saturday night (which you can join Here ) celebrating Motown. As always, our members pitched in with some cracking shares. Thanks for your always invaluable input.

Paulo is here of course with his pick of the week. This time around my very good friend, bandmate and co-creator of Jet Set Willy has gone for a boogielicious belter.

Ready? Ok. Let’s make this precious…

Track 1. Voodoo by Ganglians.

This is the Sacramento bands second visit to the playlist, they made their debut with the reverby lo-fi madness that is ‘Hair’ some months ago now. It’s a pleasure to have them back with this track cribbed from their debut LP, 2009’s ‘Monster Head Room’. More reverby lo-fi madness then, and a cracking way to get things going this week.

Track 2. I’m Your Pimp by Skull Snaps.

‘I wear my Hat to the side, and I walk with a limp’..That’s a pimp alright. This funk outfit released just one LP, 1973’s eponymous effort, then promptly disappeared. As is usually the case with these rare deep-funk records, the drum break for ‘It’s A New Day’ was picked up by the hip hop scene in the late eighties and has since been sampled to death by the likes of Ol’ Dirty Bastard, Das EFX, DJ Jazzy Jeff & The Fresh Prince, Eric B. & Rakim, Digable Planets, DJ Shadow, The Prodigy and Panjabi MC among others. This particular cut has a late Temps, psych/protest soul feel and some hmm, questionable lyrics. It grooves like a bastard though.

Track 3. Trans-Pennine Express by Warm Digits.

I recently heard this north-eastern electronic duo in session for Marc Riley on Six music and immediately decided they were to make an appearance on NL. Whilst I couldn’t source the new material they played, I went back to their debut LP ‘Keep Warm…With The Warm Digits’, and picked this Krautrocky number which cheekily nods to the biggest act of that movement in the title.

Track 4. Outro by Vulfpeck.

Stumbling on new acts is a pastime of mine and it usually makes up a good third or so of these playlists. This American funk outfit were a recent discovery and one I am thrilled about. They’ve been around since 2011 and make some of the most joyful sounds I’ve heard in a long while. This particular track is the opener to their 2012 EP ‘Vollmilch’ and has a thumping piano which gives way to a hyperactive sax line which goes on to dominate proceedings in the best way possible. Fantastic stuff and a fine way to kick off a funky triptych.

Track 5. Boogie Down by Al Jarreau.


For some reason, Paul was a bit apprehensive about submitting this track from the ‘Moonlighting’ Man. He need not have been, it’s a fabulous piece of eighties funk with a squelchy synth line and Jarreau showing off his Jazz chops while scatting in the middle eight. It sits proudly in the middle our trio of funk-eh selections.

Track 6. Listen by Chicago Transit Authority.

Rounding off our three pumping, funking tracks is Chicago Transit Authority and this brassy smack in the gob. Keyboardist Robert Lamm gives a punchy lead vocal, backed by Peter Cetera’s nagging bass and some brilliant axe work from guitarist Terry Kath. This is lifted from their self titled debut released in 1969. Following the threat of legal action from the actual Chicago Transit Authority, the band shortened their name to Chicago and the rest, as they say, is history.

Track 7. Lord, Can You Hear Me? by Low.

Alrighty then, time to slow things down a tad. When a band you love covers a band you love, there’s always some trepidation involved. Fortunately, this Spacemen 3 classic could have been penned by Low themselves, and while I dislike the overused talent show hi-jacked phrase ‘You made it your own’, the Minnesotan dream pop legends show respect for the source whilst uncompromising their own idiosyncratic sound. An all round success.

Track 8. Don’t Let The Kids Win by Julia Jacklin.

We stay slow with our next selection, the title track from Jacklin’s debut LP released a fortnight ago. The live video below showcases the Australians effortless songwriting and affords us an insight into her confessional style. It must break her heart every time she sings the line ‘Don’t let your grandmother die while you wait/ A cheap trip to Thailand’s not gonna make up for never getting to say goodbye,’. A new talent with a very bright future.

Track 9. Flop by Le Système Crapoutchik.

A slight change of pace next with this French psych pop oddity from 1970 which has a pleasingly self effacing title. With lots of CSN&Y harmonies mixed with Beatles-esque guitar and early synth oddness, this band should have been bigger than they were but folded shortly before releasing this posthumous track.

Track 10. Night And Day by Screamin’ Jay Hawkins.

This is probably my favourite Cole Porter song and has been covered by numerous artists, including myself as a karaoke turn on a few drunken occasions in the late nineties. Indeed, it has made an appearance on NL before with Ella Fitzgerald’s take. Here’s the always welcome baritone of Jalacy Hawkins with his version.

Track 11. Nwantinti Die Die by The Ify Jerry Krusade.

We return to our old friends Soundway for the next selection. Nigerian afrobeat with an absolute peach of a drum break. Try keeping still during this one, impossible.

Track 12. The Morse Code For Love Is Beep Beep, Beep Beep, The Binary Code is One One by Sweet Baboo.

Stephen Black is one of a long line of Welsh acts that stretches back to Super Furry Animals and Gorky’s Zygotic Mynci and reaches forward to current indie darling from the valleys, Meilyr Jones. His knack with a singalong chorus is evident here on the standout track from his 2013 LP ‘Ships’.

Track 13. Ego Tripping At The Gates Of Hell by The Flaming Lips.

Perhaps my favourite live act of all time, The Flaming Lips have been a going concern for an astonishing 33 years. If you haven’t yet managed to catch one of their shows may I suggest you rectify this oversight at the first available opportunity. Their recorded output isn’t too shabby either. This lesser played track from their tenth studio LP, 2002’s ‘Yoshimi Battles the Pink Robots’ was released in the form of a remix EP but I’ve gone for the original dreamy take from the parent album. I note they are playing in Brixton in late January. I feel a trip to the old smoke is on the cards..

Track 14. Bound For Magic Mountain by Eat Lights, Become Lights.

Wow. What can I say about this next track but strap yourselves in and prepare for takeoff. I really don’t want to elaborate on that. Just experience it, then do it again.

Track 15. Ja Mil by Detroit Jazz Composers Ltd.

Taken from the ‘Hastings St. Jazz Experience’ LP which was originally released locally in Detroit in 1976, this spiritual jazz piece is a big band blowout with vocalisation from local Soul legend and former NL alumni Kim Weston. This was the collective idea of Ed Nelson, Dedrick Glover and Charles Miller, a huge project involving over 50 musicians, a creative response to a decaying city harnessing the vitality and history of the black experience.

Track 16. Murmurio by Lalo Schifrin.

I realise we’re a bit instrumental heavy this week. There is a reasoning behind this which will become clear when next weeks Birthday playlist drops. That’s all I’ll say for now to avoid any spoilers. Anyway, here’s another from Argentine legend Schifrin, a fast paced take on Luiz Antonio and Djaima Ferreira’s ‘Murmurio’, taken from his 1962 LP ‘Piano, Strings and Bossa Nova’. That album title probably lets you know what to expect here.

Track 17. Honey Suckle Song by Ray Stinnett.

If not for the excellent archaeology of Light In The Attic Records, Ray Stinnett would have remained a footnote in the history of rock n roll. He was a former member of ‘Sam the Sham and The Pharaohs’ who had the massive 1965 hit ‘Wooly Bully’ but they soon disbanded when they couldn’t capitalise on it’s success. He went on to record a solo album ‘A Fire Somewhere’ for A&M, however the label were reluctant to release the record until Stinnett appointed a manager. Having been burned with his previous pop success, he refused and was consequently given his master tapes and relieved of his contract. The LP sat gathering dust on a shelf for forty years before LITA unearthed it in 2012. This track is just one of a wonderful collection of late sixties soul-rock, folk-rock, psych-rock songs that make up this unreleased gem of an album.

Track 18. At Full Height by The Weather Station.

Taken from ‘Loyalty’ their third LP released last year, this is a beautifully gentle song from the Canadian band which is built around Tamara Lindeman’s crystal clear voice and intricately picked guitar.

Track 19. I Wish I Knew (How It Would Feel To Be Free) by Marlena Shaw.

Cover star time next and a song which served as an anthem for the civil-rights movement in America in the 1960’s. We featured Nina Simone’s version last year, but this cut from Ms. Shaw is right up there with the doctor. UK listeners are probably more familiar with it’s writer Billy Taylor’s instrumental version which has been used as the theme tune to the BBC’s flagship movie review show Film (insert year here). Marlena herself is probably most famous for her classic cover of the Ashford and Simpson song ‘California Soul’ which featured on her second LP 1969’s ‘The Spice Of Life’ from which this track is also taken.

Track 20. I’m Glad (1966 Demo) by Captain Beefheart.

And so, to our soul slowie closer. This week it’s a demo of a song which featured on the Captains debut 1967 LP ‘Safe As Milk’. It has more in common with Smokey Robinson than any of Mr Van Vliet’s future experimental jazz blues releases, in fact it’s a virtual retread of Smokey’s ‘Ooh Baby Baby’. And there’s absolutely nothing wrong with that

There you are then. Number 49 done and dusted. Remember to join us next week for an epic playlist celebrating a year since I tentatively shared twenty songs I thought others might dig. And you’ve dug, so ta. See you at the same time and place in seven days.

Until then, stay with me. Baby.

Andrew Orley.

Get Out Of Sour Milk Sea, You Don’t Belong There.


Nobody’s Listening. No.48. 17.10.16.

Hullo. Our first birthday is approaching in the next couple of weeks and I have a bumper playlist planned. I won’t give away the full details just yet, Birthdays are all about surprises after all, but I’ll give you a heads up and tell you to look out for NL No.50. It’s a nice round number and it almost ties in with the date I started compiling these lists of play.

Anyways, we’ve got two more lists to get through before then, starting with numbero forty eight-o, which You’re reading now. Twenty more tracks of varying brilliance including, of course Paulo’s Pick Of The Week. This time around my very good friend, bandmate and ex-member of Parliament for Morley and Outwood has chosen an artist who has already graced the playlist twice before.

Well, alright then, let’s get this party started right.

Track 1. Reality by Black Merda.

These Detroit funksters evolved from sixties R&B group Soul Agents who were Edwin Starr’s backing band in the late sixties, they can be heard on his two big singles ‘Twenty Five Miles To Go’ and ‘War’ (huh!). Adapting their sound with a harder politically charged psych edge, they were signed to Chess who released the self titled debut LP in 1970 from which this selection comes. A follow up record emerged in ’72 but the band split soon after before reforming around ten years ago.

Track 2. Loving You by Matt Costa.

This kicks off with a gorgeous string quartet before a premium pop song bursts forth. Soaked with his Native Californian sunshine, this has lots to love and will stay stuck in your noggin for weeks after just one listen. Let it move in, sleep on your sofa, eat your cereal and use all your internet bandwidth. I bet you miss it when it moves on to another gaff.

Track 3. Bernadette by The Four Tops.

This 1967 Tops classic was released in-between ‘Standing In The Shadows Of Love’ and ‘Seven Rooms Of Gloom’. If there’s a finer trio of singles out there, it’s news to me. Levi Stubbs possessed one of those classic, pleading Baritones that punches you right in the gut and along with The Temptations’ David Ruffin, Motown had two voices that could deliver those Holland,Dozier,Holland songs with every ounce of passion and drive that was intended. Just listen to that false ending before Levi’s cry of ‘Bernadette!’. Pure magic.

Track 4. Fleur Tropicale by Francis Bebey.

Cameroonian artist, writer and musician Bebey released over twenty albums in his career, mostly based around the Makossa style with bold experimental instrumentation, blending traditional African instruments with primitive synths. This is a prime example of his craft.

Track 5. High Notes by La Sera.

I was never a fan of The Smiths having never understood the fawning adoration of the Sausage avoiding lead singer. This never stopped me admiring the music created by the other three. In fact, with a different frontman/woman they would have probably been one of my favourite bands. I mention this as this cut from La Sera could easily have been composed by Johnny Marr. Thankfully we have the far lovelier tones of Katy Goodman fronting this countrified single which comes from their latest LP ‘Music For Listening To Music To’.

Track 6. All I Think About Now by The Pixies.

This comes from The Pixies brand new album released just last month and is a thank you letter/apology from Black Francis to their former bass player and founder member Kim Deal. Current bassist Paz Lenchantin takes on lead vocal duties on this song which has a ‘Where Is My Mind’ feel complete with the ‘Oohs’ Kim used to do so well.

Track 7. Only Waiting by The Magic Gang.

This Brighton four piece are straight out of the wrapper, this track being the title cut from their second E.P. released just last week. They already sound like they’ve been around for years with their confident breezy style that throws up surprisingly infectious hooks and harmonies. Props to the band for including the title of the worlds greatest blog and playlist series in the lyric too. I expect great things of this lot and hope they can keep up this early promise.

Track 8. The Halfwit In Me by Ryley Walker.


As I mentioned in the intro, this is Ryley Walker’s third appearance on the playlist but the first time Mr D’Cruz has opted to feature one of his tunes. He’s really growing on me, this lad. Exceptionally talented, his songwriting and guitar playing are reminiscent of the early seventies folk troubadours whilst remaining contemporary. I’ve included a live performance of the song below so you can appreciate and marvel at his delicate finger-picking.

Track 9. Sunset by Jackie Lomax.

Our cover star this week is an artist who was signed to The Beatles Apple label in 1967. A fellow Liverpudlian, Lomax was a member of The Undertakers who had limited success in the early sixties before he was initially signed as an in house songwriter which led to George Harrison offering to produce a solo LP. The fruits of this labour featured an all star cast including Harrison himself as well as fellow Wackers, McCartney and Starr alongside Eric Clapton, The Wrecking Crew, Klaus Voorman and Billy Preston. Despite the involvement of the cream of the crop, the album had poor sales and Lomax left the label soon after. He went on to release sporadic LP’s and continued to perform up until his death in 2013.

Track 10. Absolute Beginners by David Bowie.

The thin white duke’s mid eighties career has been a source of criticism and ridicule for a good twenty or so years now and while some of that ire is justified, there are flashes of the man’s genius still to be found in his output of that period. This is surely the high-point of those years. The title track from Julien Temple’s 1986 turkey in which he also starred, it reunites him with Rick Wakeman whose Piano is prominent throughout, backing Bowie as he gives a passionate, Sinatra-like vocal, tossing off lyrics like ‘As long as we’re together, the rest can go to hell’- a fantastic line. Special mention must also go to British jazz musician Don Weller who manages to pull off an eighties sax solo that stays just the right side of fromage.

Track 11. Moon Crystal by M83.

Speaking of cheese..This comes from French synthpop act M83’s latest LP ‘Junk’ which was released earlier this year. An instrumental track, it could have easily been the theme to some early eighties U.S. Sitcom which was cancelled after just one season. Nice to see Anthony Gonzalez isn’t taking himself too seriously here.

Track 12. Forget Your Hexagram by Larry Norman.

Next up we have some Christian rock from the artist considered to be the ‘John Lennon’ of that particular genre. This comes from his 1969 debut LP ‘Upon This Rock’ which is thought to be the first ever Christian Rock LP. Don’t run away non believers! (Of which I am a card carrying member incidentally). This is a thoroughly enjoyable piece of swamp rock with a punchy bass line. If you’re having difficulty with the subject matter, just close your eyes and imagine it’s Dr.John.

Track 13. Now And then by Natural Child.

We stay in 1969 for our next selection. Actually, we don’t, for despite this track from Nashville rockers Natural Child sounding like it could have easily been lifted from ‘Let It Bleed’, it was only released two months ago. Not sure what the Windsor Davies connection is on the video below mind..

Track 14. Raunchy by Jim Messina And The Jesters.

Before his stints with Buffalo Springfield and Poco, Messina was a surf guitar prodigy releasing an album in 1964 titled ‘The Dragsters’. This was chock full of the then 16 year old’s guitar licks undercut with revving engines and crowd noise. Very much of it’s time, but also a perfect microcosm of the short lived, fast era.

Track 15. Push Na Ya by Karl Hector And The Malcouns.

With its analogue production techniques and early seventies psychedelic feel, you’d be forgiven if you mistook this for a classic piece of North Saharan Afrobeat. I did, forgive me. It actually comes from German producer and guitarist JJ Whitefield and was the lead track on his 2014 LP ‘Unstraight Ahead’, an album pulsating with African percussive psych sounds married to seventies motorik. Seek it out forthwith.

Track 16. Destiny And Accident by One Two Three Cheers And A Tiger.

The lead singer and guitarist of this Austrian indie-rock combo has a similar voice to The Walkmen’s Hamilton Leithauser who we featured last week. That alone would merit inclusion on the playlist but this 2012 single also has other nice touches, in particular the Strokes-esque guitar line that runs throughout.

Track 17. Sunshine Superman by Mel Tormé.

Mel Tormé featured on our very first playlist with his rendition of the Little/Young 1935 composition ‘You’re A Heavenly Thing’. Here, we find him in his late sixties easy listening peak with a cover of Donovan’s only U.S. chart topper. The velvet fog made easy seem easier than easy, his golden tones dance around this as if the psych-pop classic was always a lounge standard.

Track 18. The Vulture by Labi Siffre.

Taken from his 1975 LP ‘Remember My song’, this track is about a predator who stakes out recently split woman and makes his move. Slightly creepy, but all is forgiven as this has a top notch groove with a great brass/string arrangement. Siffre is one of this countrty’s forgotten greats, popping up every few years or so to remind us he’s there, his early seventies output is Brit funk and soul at it’s absolute zenith.

Track 19. The Bird On The Second Floor by Bernard Cribbins.

British stage and screen legend Cribbins had a short lived chart career in the early sixties with three top 40 singles including the George Martin produced ‘Right Said Fred’ and ‘Hole In The Ground’. This 1963 release didn’t bother the hit parade however and he soon left behind pop music and concentrated on his acting career which thrives to this day at the grand old age of 87.

Track 20. Kiss And Say Goodbye by The Manhattans.

Our soul slowie closer this week is the 1976 No.1. heartbreaker from Jersey City group The Manhattans. Written by their member, Winfred ‘Blue, Lovett. The lyrics and melody came to him late one night. As he later recalled, ‘Everything was there. I got up about three o’clock in the morning and jotted down the things I wanted to say. I just put the words together on my tape recorder and little piano. I’ve always thought that when you write slow songs, they have to have meaning. In this case, it’s the love triangle situation we’ve all been through. I figured anyone who’s been in love could relate to it. And it seemed to touch home for a lot of folks.’ Indeed it did, shifting over a million copies and becoming one of the biggest selling singles of that year.

That’s it for this  week. We’ll be back with number 49 at the same time and place in seven days. Before I go, here’s your usual reminder that our dedicated facebook page can be found Here

So, yeah, I’ll see you all in a weeks time.

Until then, don’t go chasing waterfalls.

Andrew Orley.


All Of These Stories Pass Through Time. All These Verses And Rhymes. All These Heroes And Crimes.


Nobody’s Listening. No.47. 10.10.16.

Hullo. Thanks for joining us yet again for twenty hand picked tunes designed to make you think, sing, dance, laugh and cry. I think that’s all bases covered isn’t it?

Over on our dedicated Facebook page we had a theme night last Saturday which was an unqualified success. Members were invited to post their favourite cover versions and we had some real beauties shared. Massive thanks for all your contributions, it was a thoroughly enjoyable evening. We’ll continue these theme nights maybe once a month, as soon as I can get a few hours on a Saturday night to get involved and think of another theme I’ll let you know. Suggestions are welcome of course. Drop me a message on the Facebook page, which incidentally, if you haven’t yet joined (Why Not?!) can be found Here.

Ok then, on with this weeks offerings which of course features Paulo’s Pick Of The Week in which my very good friend, bandmate and part owner of the racehorse ‘Jumpy Geoff’ has chosen a joyful noise.

Alright then, up up and away in my beautiful balloon..


Track 1. What Would I Want. Sky? by Animal Collective.

We begin with a welcome return for one of the most innovative bands of this still fairly new century. A couple of weeks ago I featured Panda Bear’s epic track ‘Bros’ and in doing so, mentioned that I prefer his voice to Avey Tare’s gruffer vocals. This was maybe a touch unfair. Avey takes the lead on this lead single from the ‘Fall Be Kind’ E.P which was released a few months after their breakthrough LP, ‘Merriweather Post Pavillion’ and he captures the feel perfectly. Using the first officially sanctioned sample of a Grateful Dead track, this carried on the more pop influenced remit of the M.P.P LP before they buggered off to make the frankly nuts LP and film ODDSAC. You’ve got to admire an act that can toss off accessible, sing-a-long songs in-between more avant-garde offerings.

Track 2. Shilela by Hailu Mergia.

We featured Hailu Mergia back in July with Ethiopian funk outfit The Walias Band. Here he is on his own with a cut from his 1985 LP which is entirely self performed and produced, featuring just a drum machine, a Rhodes piano, a Yamaha DX7, and his accordion. It really is a unique sound, and even manages to make the accordion sound appealing. No mean feat.

Track 3. All I Want by Karin Krog.

Norwegian jazz singer Krog has had a long career stretching back to the mid fifties. A versatile artist, she has released countless LP’s in her fifty plus years either as a solo artist or with various duos, quartets and sextets. This particular track comes from her 1975 album ‘We Could Be Flying’ and is a poppy, smooth-jazz hybrid with a fantastically relaxed backing.

Track 4. Set In Negative by Talkingmakesnosense.

Glasgow based ambient drone artist Dominic Dixon goes under the moniker Talkingmakesnosense and this is a beautiful piece he released in 2012. There’s not much info on the web save for a sparse website and a twitter account which doesn’t really tell us much so I’ll just advise you that this is the sort of music in which to lose yourself completely for a few minutes. Give in to its soft caress and come out the other side cleansed.

Track 5. True Thrush by Dan Deacon.

We stay in 2012 for our next track from Long Island native Dan Deacon. This comes from his sixth studio album, ‘America’ and is a typical example of his contemporary electronic sound. Deacon is an artist who never stands still and refuses to tie himself down to any particular genre, he has at various points been a member of a ska band, played Tuba in a folk collective, played guitar for a grindcore band and has also released highly praised classical pieces. He also tours in a converted school bus that runs on vegetable oil. A true renaissance man.

Track 6. Shake Your Money Maker by Elmore James.

Next up we have the king of the slide guitar with what is probably his most famous tune. Cited as an influence to most of the guitar gods of the sixties including the big two, Clapton and Hendrix. The Stones’ Brian Jones was so in awe that according to Keith Richards he insisted on being called Elmo Lewis when they first met.

Track 7. Never Can Say Goodbye by The Jackson 5.

Like many of a certain age, this Clifton Davis penned song first came to my attention via The Communards Hi-NRG version released in 1987. I heard Gloria Gaynor’s disco take soon after that but it took another 15 years or so until I came across this original interpretation featuring a 12 year old Michael giving it his all. It quickly became my favourite of all three versions and never fails to have me singing along complete with all the Oohs.

Track 8. No More Blues (Crega De Sauade) by Jon Hendricks.

It’s been a few weeks since we had any Bossa on the playlist but rest assured, You’re never going to be too far away from the new sound. This time around I’ve gone for Jon Hendricks’ tribute to Jobim taken from his 1961 LP ‘¡Salud! João Gilberto, Originator of the Bossa Nova’. Jobim’s original version is considered to be the first recorded example of B.N. and Hendricks’ take has English wordplay that is quite faithful to the tune and meanings of the Portuguese lyric. Classy stuff.

Track 9. Magic Summertime by Benji Hughes.

This is the lead track from Hughes’ LP released earlier this year ‘Songs In The Key Of Animals’ and features his languid vocal over a driving rhythm that, as the title suggests, conjours up images of lazy, hazy summer days and nights. Oh how close but so far away those times seem as we get deeper into the year. Only six months of darkness to go Kids!

Track 10. Oogum Boogum Song by Brenton Wood.


This is just an absolute Joy, it’s one of those records that makes you smile as soon as you hear the first twelve notes. Released just a few months before his biggest hit, the no less wonderful ‘Gimme Little Sign’, it has an easy soul feel that you want to hear again after it’s all too short two and a bit minutes is up. Former NL cover star Alex Chilton also does a cracking version but nothing touches Wood’s original for sheer feel good factor. Excellent work yet again from the Boy wonder, bravo Paulo, bravo.

Track 11. Boat To Nowhere by Anoushka Shankar.

Our cover star this week started playing the sitar at just seven years old, hardly surprising as her father is Ravi Shankar. She has been releasing records since she was sixteen years old and this track comes from her latest, ‘Land Of Gold’ which was released in April this year. It must be extremely difficult to step out of the shadow of a presence such as her Dad. Indeed, I felt compelled to mention his name in the opening sentence there, but Anoushka has forged her own path whilst still celebrating her late father’s legacy. Her individual approach can be heard on this gorgeous, folky track.

Track 12. Just A Pretty Song by The Peddlers.

This British Jazz/soul trio have been a favourite of mine since I was introduced to them by my good friend, guitar legend and raconteur Neil Winspear in the late nineties. They had moderate success in the late sixties and early seventies with a clutch of singles that bothered the lower reaches of the UK chart and earned some latter day recognition when their take on ‘On A Clear Day, You Can See Forever’ was featured in an episode of Breaking Bad. This track comes from their 1968 LP ‘Three In A Cell’ and features their leader and keyboardist Roy Phillips and his distinctive voice which my other good friend, guitar legend and raconteur James Dryden would describe as ‘Having a mouth full of bread’.

Track 13. A Descent Into The Maelstrom by Buddy Morrow And His Orchestra.

With Halloween just a few weeks away. it’s time to ramp up the fear factor. As you’d expect, we’re not going to wheel out ‘Ghostbusters’, so here’s something a touch more esoteric. This is taken from the legendary trombonist and band leader’s 1961 LP ‘Poe For Moderns’ in which he took the opportunity to roll out a whole album’s worth of haunted melodies using the stories of Edgar Allan Poe. Spooky, man. Well, about as spooky as a big band can get.

Track 14, The Beatles by Daniel Johnston.

I couldn’t begin to cover Daniel’s amazing story in just a few sentences so I’ll just point you in the direction of the excellent 2005 bio-doc ‘The Devil And Daniel Johnston’, a must watch. The track I’ve included on the playlist this week is a re-recording from his 2006 LP ‘Lost And Found’ but I’ve also posted the original take from 1983 below for you to compare and contrast.

Track 15. Up So Fast by Young Man.

Colin Caulfield, aka Young Man released the ‘Boy’ EP in 2010 and it became lodged in my ears for a good few months after the very first listen. A paean to growing up and all the joy and confusion therein, these seven songs showed great promise with their relaxed loops and subtle guitar lines. Unfortunately he dissolved the project a couple of years back and can now be found playing keyboards with indie-rock darlings DIIV.

Track 16. Souvenirs by Devendra Banhart.

Banhart released his ninth studio album just last week and it contains more of his vibrato voiced meanderings including this freak folk love song. A slightly skew-whiff guitar and keyboard backs this typically cryptic tale of normal lives.

Track 17. Theme From Dirty Harry by The James Taylor Quartet.

JTQ’s stab at Lalo Schifrin’s main score for the iconic 1971 thriller doesn’t break any new ground but is a quite faithful cover of the psych-jazz piece which backed Clint Eastwood’s San Francisco based hard nut. Hard to believe, but JTQ have been a going concern for almost thirty years now and are still a wonderful live experience and for my money are the best Jazz-funk-dance outfit the UK has produced.

Track 18. Helpless by Kim Weston.

Motown gold next with a 1966 single release from an artist who is probably best known for her duet with Marvin Gaye, ‘It Takes Two’. This Holland, Dozier, Holland penned track was originally recorded by The Four Tops who featured it on their second album with a harder edge to it than Weston’s softer, Northern style take. Both are sheer brilliance of course, Kim’s version makes it here as The Tops are penciled in for next weeks playlist.

Track 19. A 1000 Times by Hamilton Leithauser And Rostam.

This is the new project of former Walkmen frontman Leithauser and Vampire Weekend’s Rostam Batmanglij. I was a big fan of The Walkmen. Like most, the pained vocal delivery on one of the singles of the past 15 years, ‘The Rat’, made me sit up and listen immediately. Leithauser’s voice has that unaffected, gravelly scratchiness to it that is firmly rooted in classic Rock n Roll but remains contemporary. It’s still at the forefront of this new project, and when you have an instrument as unique as that, you’d be daft not to utilise it to maximum effect.

Track 20. I Guess That Don’t Make Me A Loser by The Brothers Of Soul.

Soul Slowie closer time, and this week it’s a 1968 track from a Detroit vocal trio composed of Fred Bridges, Richard Knight, and Bobby Eaton, who released several singles in a smooth, uptown, Motown-derived vein. They were relatively short lived and this was their biggest hit, reaching No.38 on the R&B charts. It has since become highly collectable among smooth soul aficionados.

That wraps things up for another week. Hope you’ve taken away at least one new love, and if not, don’t worry your pretty little heads, there’ll be another twenty tunes to woo you next week. So I’ll see you then. Don’t be late. And wear something nice. We’re going dancing.

Until then, take a load off Fanny/Annie/Whatever..

Andrew Orley.

We’re Souls Of Crazy Mirth, We Are The Last Inhabitants On The Earth.


Nobody’s Listening. No.46. 3.10.16.

Hullo. October already eh? To paraphrase a song that made a recent NL appearance, Where Does The Time Go? We’re hurtling towards our first anniversary this month and I’ve got something special planned to celebrate the occasion. Stay tuned for further details.

But first, we’ve got the business of Nobody’s Listening issue no 46 to conduct. More humdingers for you this week including a brand new instrumental track from the chap in the picture there. His second visit to the playlist since appearing all the way back in NL No.1. A long overdue return I’m sure you’ll concur.

Naturally, Mr D’Cruz is with us once again with his pick of the week. My very good friend, bandmate and Author of the self help book, ‘You Can Do It, With Just a Strawberry Flavour Chewit’  has once again come up with the goods and a new act to my ears.

Ok, let’s get lost…

Track 1. Noude Ma Gnin Tche De Me by Orchestre Poly-Rythmo de Cotonou.

We hit the ground running this week with some splendiferous Afrobeat. Formed in 1966, this band hail from the Republic of Benin and released their debut LP in 1973. After splitting in the early eighties, they reformed a couple of years back following renewed interest in their 500 song catalogue. Pure, good time dance music with a magnificent beat and frantic guitar.

Track 2. Post Scarcity Sing-a-Long by Ad Astra Per Aspera.


This Kansas band have been a going concern since 2001 but have been completely absent from my radar in all that time. Thankfully Paul is around to casually adjust my antennae and nudge me towards new sounds. It appears they haven’t been overly productive in that time, releasing just two albums and an EP, so it shouldn’t take too much time to catch up. This particular track begins with jangly guitars and an out of tune keyboard that is reminiscent of very early Fall, but soon develops into a shouty, jaunty romp before collapsing in on itself again. Good stuff.

Track 3. Gotta Wanna by Gun Outfit.

I’m a sucker for male/female vocal interplay and this track from Gun Outfit’s fourth LP released last year has both Carrie Keith and Dylan Sharp taking turns like a latter day Johnny Cash and June Carter. The music itself also has a countrified feel to it, albeit wrapped in a 21’st century slacker blanket.

Track 4. And When I Die by Laura Nyro.

I mentioned Laura Nyro last week when we featured The Go! Team’s ‘Everyone’s A VIP To Someone’ which sampled her classic ‘Stoned Soul Picnic’, it seems only proper that we feature this often overlooked singer/songwriter in her own right. Written by Nyro when she was just sixteen years old, this song was sold to Peter, Paul And Mary for $5000 and was later a gold record for Blood, Sweat and Tears. Nyro’s version, featured on her debut 1967 LP ‘More Than A New Discovery’ is a thing of true beauty, backed by warm brass and ending with Lauras wonderful falsetto. She is one of those artists who remained relatively underappreciated in her lifetime but has achieved a highly revered status since her death in 1997.

Track 5. Ragged Rain Life by Duncan Browne.

This English singer songwriter was discovered by Andrew Loog Oldham in the late sixties and released five albums over a 25 year period before his untimely death in 1993. This comes from the second of those five, his 1973 self titled LP and begins in a folk style before transmogrifying into a prog-pop wig out. Due to commercial indifference, Browne mostly worked as a session musician in those 25 years but achieved some moderate success when his co-penned song ‘Criminal World’ was featured on Bowie’s ‘Let’s Dance’ LP.

Track 6. Love Aint Nothin’ But A Business Goin’ On by Junior Parker.

I first became aware of Parker when I heard his version of The Beatles’ ‘Taxman’ about ten years ago in a soul club in Leeds. I hassled the DJ to find out who the voice was and he kindly obliged and pointed me in the direction of his 1971 LP of which this is the title track, it quickly became a firm favourite of mine. The record also features two other excellent Wackers covers in the shape of ‘Lady Madonna’ and ‘Tomorrow Never Knows’, Parker’s honeyed vocals making them his own.

Track 7. Nothing More To Say by The Frightnrs.

Brooklyn’s Daptone records is one of the finest independent labels there is. With a roster of acts including Charles Bradley, Sharon Jones and The Dap-Kings and Menahan Street Band, they are at the cutting edge of modern funk and soul. The Frightnrs are their latest find and fit right in to the Daptone ethos of a new ‘old’ sound. Sadly, the LP from which this title track comes was released under a cloud as lead singer Dan Klein recently succumbed to a Neurological disease. A real tragedy as his voice and band are an absolute treasure, their sixties reggae sound could easily have come from Studio One. Rest easy Dan.

Track 8. Baby, Now That I’ve Found You by Ronnie Aldrich.

I was initially going to feature the superb version of this song by Alison Krauss but instead plumped for this instrumental take from British easy listening king Ronnie Aldrich. Whenever I hear these soft arrangements of pop songs it always takes me back to Saturday mornings at the Odeon cinema in my home town. Every week you would be sedated by its soft orchestral charms as you slurped on your kia ora and finished off your Maltesers long before the feature started. It’s much more than nostalgia though, music like this suffered the indignity and ridicule of the label ‘Muzak’ for years before a re-evaluation in the nineties. It’s now recognised for what it is, warm, crafted excellence.

Track 9. Slow And Steady Wins The Race by Tom Brosseau.

And so to this weeks cover star. As previously mentioned, Tom appeared on our debut playlist with his wonderful tale ‘Hard Luck Boy’ and he’s one of those artists I’d happily feature every week if I didn’t feel you’d accuse me of subliminally hawking his records, which you should all listen to by the way. He’s one of my favourite artists of recent years and I greet any new release with great excitement. This track is from his brand new record ‘North Dakota Impressions’ and, despite it being an instrumental, tells a story just as well as his lyrical efforts. No video as it’s brand spanking new, but you can hear it on the below link where you can also purchase his wares, look into my eyes, PURCHASE HIS WARES!

Track 10. Cost Of The Cold by Joan Shelley.

Further acoustic gorgeousness next with a brand new track from Louisville folk artist Joan Shelley. This is taken from her fourth LP which was released just last week and fits these Autumnal days perfectly. Imagine taking a Sunday stroll through a quiet wood, the strong low sun beaming through the trees as they cling on to their last remaining leaves. That’s how this calmly sung, elegant track feels. Sad, but beautiful.

Track 11. Black Water by Rain Tree Crow.

This next track was the only single from the sole album released in 1991 by Rain Tree Crow, a band made up of David Sylvian, Mick Karn, Steve Jansen and Richard Barbieri. So, Japan then. Picking up where they left off in 1982, the sound is a continuation from their early work, with Sylvians idiosyncratic voice centre stage. Choosing to change their name proved a commercial misstep as the album sold poorly despite widespread critical acclaim. The other members were keen to revert to their previous moniker, but once again, Sylvian and his refusal to compromise artistic integrity for fiscal success caused another split.

Track 12. Sod Off by The Very Most.

I may have mentioned before that I road test these playlists in the works van on my long trips up and down the M1 from Leeds to that London. Certain tracks jump out as perfect driving fayre, and this and the next selection both had my hands hot on the wheel. Hailing from Boise, Idaho, The Very Most are obvious anglophiles, I’m not entirely sure the songs title is common parlance in the American North West. This 2009 single also shows their British pop influences writ large as it is massively indebted to New Order with its synths and Hooky-lite bass line. It’s great fun and transformed a rainy motorway into somewhere much more pleasant.

Track 13. Memory Pools by Foxes In Fiction.

The hypnotic loops of this next track also provided an enjoyable backdrop to a sunsoaked drive home last week. The project of one Warren Hildebrand, Foxes In Fiction had a surprise internet hit with the 2010 LP ‘Swung from The Branches’ from which this dreamy piece of ambient pop is lifted.

Track 14. (Not) A Penny In My Pocket by Jimmy Campbell.

This demo of a song by Campbell’s sixties beat combo The Merseys is in my opinion a cut above the track which would eventually be released as a single. There’s a sadness in Campbells voice and a more relaxed delivery that is missing in the upbeat released version. It’s still a cracking pop single though, and as the demo is unavailable as a video, here’s The Merseys with the 1968 single take.

Track 15. Recovery by Fontella Bass.

This follow up single to the million selling ‘Rescue Me’ didn’t perform as well as its predecessor, managing only #37 on the hot 100. That’s not to say it’s in any way inferior, possibly a little too similar to Bass’s biggest hit to persuade the public to part with their hard earned dollar. But as Mike Love once said to Brian Wilson, ‘Don’t Fuck With The Formula’. Nice one Mike, if he’d listened to your balding stupid bearded face, we’d never have had Pet Sounds. Go and practice your TM bollocks you money hungry, flat cap wearing control freak. Anyway, Fontella Bass. That voice man!

Track 16. Ené Alantchi Alnorem (I Can’t Live Without You) by Girma Hadgu.

This next track comes from the Éthiopiques compilation series, a collection of Ethiopian music which to date runs to 29 volumes. Each disc collects Jazz and popular music from the sixties and seventies scene in Ethiopia and this particular piece is taken from volume four, which was also heavily cribbed from by Jim Jarmusch for his 2005 film ‘Broken Flowers’. He missed a trick by omittiting this beautiful, whimsical piece. It has an incredibly cinematic feel with its wind sound effect, gentle Rhodes piano and playful flute.

Track 17. Tiger by ABBA.

By now, I’m sure you’re all aware of my love for the greatest pop act of the 1970’s. I’m going to carry on including them at every opportunity, so get used to it! I mean, if you don’t share my love, then you can always skip it, but I don’t think we can remain friends, it’s not me, it’s you. This time around I’ve gone for an often overlooked gem from The Arrival album. Featuring another of those hookworm choruses that Benny and Bjorn used to knock off in their sleep and the girls in fine voice.

Track 18. Time by La Düsseldorf.

Ok, I hear you. You want strokey chin music from the seventies! Not this Swedish pop guff. Settle down, this is a broad church and we aim to cater for all tastes. Having said that, if you prefer to pigeonhole your music then this probably isn’t the playlist you’re looking for, move along, move along.. When seminal Krautrock band Neu! disbanded following the superb Neu! ’75 album, Klaus Dinger immediately set to work on his next project, releasing their self titled debut the following year. This is the closing track on the LP and is no massive leap from the Neu! template. Motorik beat, swathes of synths and guitar and a vocal which ranges from whisper to shout. Just under ten minutes of brilliance.

Track 19. My Darling Little Baby by Spike Milligan.

Next, we stop for a minute of tomfoolery from one of the greatest comedians to grace this green Earth. One of the things I loved about Spike is that you could always hear the smile in his voice. A rare quality.

Track 20. The Right To Love You by The Mighty Hannibal.

Our soul slowie closer this weeks comes from a former pimp and heroin addict who spent time in prison for tax avoidance and lost his eyesight in later life. But let’s not focus on negatives. Hannibal possessed one of those pleading, almost desperate soul voices that was firmly rooted in Gospel and Doo-Wop, strongly evident on this 1966 release.

And that, as they say, is your lot for this week. Number 47 is already compiled and let me tell you, it’s a real humdinger so be sure to join us again next week. Don’t forget you can join in the NL experience at our facebook page by clicking this linky Here for the daily dose, sneak previews of the playlist and of course, our wonderful members and their very own shares. Come on in, the water’s lovely.

I’ll see you in this very spot next week, don’t forget to bring your ears.

Until then, keep falling in and out of love.

Andrew Orley.

Won’t You Tell Your Dad Get Off My Back? Tell Him What We Said ‘Bout Paint It Black.



Nobody’s Listening. No.45. 26.9.16.


Hullo. Well, Autumn has finally reared its golden and brown head and Summer is officially dead. Sure, it’s a pretty season, but probably the dullest if you ask me. Here at NL we’ll try and keep the sunshine smiles firmly planted on your collective mush with tracks to help you forget that the icy grip of Winter is a growing, horrible reality.

We’ve a lot to get through this week including possibly my favourite track of the decade hardly anyone referred to as ‘The Noughties’, and of Course, Paul D’Cruz is back with his Pick Of The Week. As I type, I haven’t yet listened to his selection this week, but I’m confident my very good friend, bandmate and manufacturer of premium quality yoghurt based drinks has lived up to his usual excellent standards.

Alrighty then. Countdown is progressing..


Track 1. Watch The Sunrise by Big Star.

I’m amazed it’s took forty five editions of NL for this band to make their debut. I could be wrong but I can’t be arsed to check through and see if they’ve been included before now. Anyway, here they are, probably the biggest cult band of all time with a track from their debut, 1972’s ‘#1 Record’. Leader, and cover star Alex Chilton, for that be him up the top there, first came to my attention through The Box Tops, the sixties band he fronted as a teenager. Their most famous song, ‘The Letter’ was the song I manhandled on Karaoke the night I wooed the current Mrs Orley way back in 1998. She has no recollection of this, but I did. Thanks to its inclusion on the Minions movie soundtrack, it is now a firm favourite of my 5 year old son and he often requests I play and sing it while he takes his bath. I happily oblige and he seems to like it, joining in on the chorus. I digress, this is lovely and if you’re one of the people who hasn’t yet investigated one of the best kept secrets of the seventies, I urge you to seek out their back catalogue forthwith.


Track 2. Pretty Please by The Triplett Twins.

Leon and Levi Triplett were twin brothers from the Chicago projects who were part of the Curtis Mayfield and Eddie Thomas label Curtom Records. This 1970 single is a delicious pop-soul confection that has a smashing Hammond bubbling underneath. If it doesn’t make you smile at least once in its two minute running time then may I suggest you consult a GP, there may be a serious underlying condition.


Track 3. Why Don’t You Put Your Trust In Me by The 4th Coming.

We stay soulful but move south for our next track from short lived L.A funk outfit The 4th Coming. This comes from a compilation released just last year and is an untapped goldmine of potential samples for those of that particular bent. Always get clearance though and don’t say I pointed you in the direction of this rare nugget. I could do without any lawsuits ta very much.


Track 4. Easy To Forget by Drugdealer, Ariel Pink.

We leave the seventies behind for our next, brand spanking new selection. Not too far behind mind. This has a lovely relaxed sunshine feel that wouldn’t be out of place on a forgotten Californian beach-band album from that very era. NL favourite Ariel Pink provides the singing and reigns in his usual trippy vocal for a pretty straightforward take. Drugdealer is the alias of Michael Collins who also records under the RUN DMT and Salvia Plath monikers, his new LP released this week also has guest turn from another NL alumni,  Mac Demarco.


Track 5.  A Little Bit Of Lovin’ by Laurice.

A true one-off, Laurice Marshall was a session singer at Abbey Road studios in the sixties before going on to invent punk with his 1973 band ‘Grudge’ and their classic ‘When Christine Comes Around/I’m Gonna Smash Your Face In’. He later emigrated to Canada from his native U.K., becoming a disco diva with a global following. Laurice is still going strong  today, releasing records and remaining staunchly involved in Gay activism. This comes from last years compilation, ‘The Best Of Laurice Part 2.’ and has a cracking fuzz bass and guitar backing.


Track 6. Dead Prudence by The Sandwitches.

Grace Cooper, Heidi Alexander and Roxanne Young make up San Francisco three piece The Sandwitches. This track is not, as the youtube description states, a Beatles cover but an original slice of slowcore that featured on their LP release from last year ‘Our Toast’. Paced elegance that has a lazy, Mazzy Star quality to it


Track 7. Torre Bermeja by Andrés Segovia.

A touch of class next with the famous Spanish guitar virtuoso. This piece was composed for piano by Isaac Albéniz but has become an important work for classical guitar. Few interpretations can compare to the grandaddy of them all though and the video below illustrates perfectly his mastery of the instrument he played for eighty odd years.

Track 8. Star Revue by Warren Lee.

A complete change of pace next with an r’n’b stomper. This slab of New Orleans Southern soul courtesy of NL favourite, the legendary Allen Toussaint, name-checks Wilson Pickett, Otis Redding, Solomon Burk and Warren himself, ‘The Mighty King Lee’. Push back the furniture, roll up the rug and shake that bad ass.

Track 9. Things We Said Today by The London Jazz Four.

Beatles covers were by no means a rarity back in the day. One way to guarantee a moderately successful hit rekkid was to have a stab at a fab four song, put a slightly different spin on it and watch the money and plaudits roll in. In 1967 The London Jazz Four released a full LP of Lennon/McCartney numbers, all presented in their Modern Jazz quartet style and sold the sum total of sod all. To be fair, they’re quite imaginative takes with some of the tracks barely recognisable as Wackers’ songs, cf their trippy take on, in my opinion, the greatest b-side of all time, ‘Rain’. The track I’ve plumped for is their version of the Macca fronted ‘A Hard Days Night’ flip side. Check out that vibes break. Nice.

Track 10. I’m Trying by Harriet.


As I said up the top there, I’m giving this next track its debut spin as I write. Immediate impressions suggest an uncanny likeness to one of my favourite acts of recent years, The Shins. The lead singer has a tone so similar to James Mercer that if I didn’t know otherwise, I would swear it was him. This is by no means a bad thing. Nice find gatito, nice find.

Track 11. Bros by Panda Bear.

And so to the track I alluded to in this weeks introduction. As part of Animal Collective, Noah Lennox aka Panda Bear always provided my favourite tracks on their albums, his voice being far more palatable than the gruff delivery of Avey Tare. When ‘Person Pitch’, his third solo LP dropped in 2007 I was smitten from the first listen. The first two tracks, ‘Comfy In Nautica’ and ‘Take Pills’ had already confirmed this was potentialy the album of the decade. By the time ‘Bros’ had run it’s 12 glorious minutes I was convinced that we had something very special indeed. Not a second is wasted, the samples used all combining to something greater than the sum of their parts. As I mentioned up the top there it remains, for me, the high point of his career and a track I never tire of no matter how many times I’ve heard it. If you’re experiencing it for the first time, I envy You. If not, take the time to listen to it again, nearly ten years after its release and marvel at its groundbreaking majesty. Many copyists followed, few matched, none bettered. This is solid gold.

Track 12. Todo Irá Mejor by Tapi.

How do you follow that? Well you can’t really can you? So here’s a 1977 single that I have no information on whatsoever. I found it through a spotify crate digging compilation and it has lots I like. I like the trumpet break around the 1m 50s mark. I like the string backing and the piano that thumps the song along. I like it all, so it’s in.

Track 13. Paper Ships by Wilsen.

Now I’m not entirely certain if we’ve featured this track before. It’s hard to not repeat oneself after 45 playlists and 900 tracks so I’m sure You’ll forgive me if I have. I definitely don’t recall writing about it so maybe not. Either way it’s quite, quite lovely and warrants another listen. That is, if you haven’t heard it before, or even if you have. Just bloody go with it. Taken from their 2014 mini LP ‘Sirens’ this is the project of one Tamsin Wilson, born in the UK, raised in Canada and currently resident of Brooklyn. Beautiful, dreamy folk with Honeyed vocals.

Track 14. Daughter by Pearl Jam.

I wasn’t entirely enamored by Pearl Jam after hearing their debut LP ‘Ten’. Something about the polished production and over earnest delivery of Eddie Vedder didn’t sit quite right with me. It wasn’t until I heard this track from their sophomore release ‘Vs’ that I began to sit up and take notice, with a more honest and raw sound, it made a bit more sense. The whole album is great incidentally, with tracks like ‘Dissident’, ‘Go’ and ‘Elderly Woman Behind The Counter In A Small Town’ all standouts. I quickly forgot about them soon after when my head was turned by those homegrown lads with guitars, haircuts and sixties obsessions that swept away any American invaders in a Britpop tsunami. I’m sure they went on to produce music of equal greatness, if you’d like to point me in the direction of anything to match the quality of the tracks mentioned, my ears are always open.

Track 15. Indian Summer by Eugenius.

We stay in the early nineties and the grunge soaked influence of Seattle. In fact it’s a sort of reverse influence as Eugene Kelly and his former band The Vaselines were a touchstone for a host of acts from the North West of The U.S. Kurt Cobain himself was a massive fan and invited Kelly’s new band, ‘Captain America’ to support them on Nirvana’s UK tour in the winter of 1991. I was there and they were smashing. Marvel comics didn’t take too kindly to the band’s name however, and insisted Kelly cease and desist using their all American superhero’s handle forthwith. After a swift rethink, C.A. became Eugenius and released their debut LP ‘Oomalama’ from which this cover of lo-fi indie legends ‘Beat Happening’ comes.

Track 16. It’s All Right With Me by Erroll Garner.

Garner was a musician who had a true talent for the piano. Learning to play from ear at just three years old, he never learned to read music throughout his long career. This didn’t stop him becoming one of the most respected jazz pianists of the golden age and he went on to release dozens of albums including 1955’s live LP ‘Concert By The Sea’, from which this Cole Porter classic is lifted. Despite a slightly out of tune Joanna and poor recording equipment, the record is a classic and showcases Garner’s trio at the height of their powers.

Track 17. Everyone’s A VIP To Someone by The Go! Team.

‘Thunder Lightning Strike’ was a breath of fresh air when it arrived twelve years ago. The debut album from the Brighton collective was a sample heavy joy and one of those records which seemed to capture the essence of Summer perfectly. This instrumental built around Fred Neil’s ‘Midnight Cowboy’ and Laura Nyro’s ‘Stoned Soul Picnic’ also benefits from the absence of their vocalist MC Ninja whose chanting became a tad tiresome all too quickly.

Track 18. Who’s Making Love by Lou Donaldson.

This is the lead track from saxophonist Donaldson’s 1969 Blue Note release ‘Hot Dog’. The main man himself doesn’t make an appearance until half way through the track, giving each of his band a chance to shine, in particular Charles Earland who provides some stellar Hammond rolls. Easy, funky souly goodness right here, fill your boots and shake your stuff.

Track 19. Forever by Mercy.

The follow-up single to their 1969 smash ‘Love Can Make You Happy’, this had been a hit for The Little Dippers nine years previously. Mercy were a band made up mainly of session vocalists from Florida and had little success after this went gold but this is an easy listening gem which is far too easy to dismiss as candyfloss guff when compared to the early heavy rock releases which were favoured at the time. It’s a pure treat for the ears with its gentle arrangement and soaring female vocal. The band are still touring today with band leader Jack Sigler Jr the only original member.

Track 20. Baby Baby All The Time by The Superbs.

We travel back to 1964 for our soul slowie closer this week and a vocal harmony group who hailed from Los Angeles. Fronted on this occasion by their female soprano Eleanor ‘Punkin’ Green who gives a superb performance, particularly on the recorded version included on the playlist. I’ve posted their appearance on American Band Stand below for historical interest, but listen to the spoken opening line on the single version, ‘There Are Eight Million Stories In The Big City, This Is Mine’ it sets up this doo-wop heartbreaker perfectly.

Blimey, I went on a bit there didn’t I? Hope you managed to make it to the end. Of course, the playlist rumbles on next week with Issue #46 and twenty more selections which will hopefully inform, educate and entertain.

If you haven’t already, please join the official playlist facebook page Here! where our members have been sharing some absolute beauties as of late. Join in and share yours too. We don’t bite.

I’ll see you next week, same time and place.

Until then, take good care of it babe.

Andrew Orley.

Don’t You Know That Crew Cuts And Trainers Are Out Again?


Nobody’s Listening. No.44. 19.9.16.


Hullo. Once again, an NL with a massive readership is followed by mediocre viewing figures the next week. Funny old business this blogging carry on. We’ll keep plugging away though. As I’ve said many times before, if just one person reads the blog or listens to one track from the playlist, then it’s job done. I’ve got nothing better to do anyway, so I’ll keep on trucking even if it means playing to an empty room!

Nobody’s Listening numbero forty four-o is the usual aural delight. My very good friend, bandmate and Jamaican dancehall aficionado Paul D’Cruz is here of course with his Pick Of The Week. This time around he’s gone for a band who I forget exist from time to time, but it’s always a delight when I reacquaint myself with their work.

Alright then, here we go round the mulberry bush..


Track 1. Getaway Tonight by Opossom.

For the second week running, we kick off with a Kiwi band. Kody Nielsen is the brother of Unknown Mortal Orchestra frontman Ruban and his brand of dreamy pop isn’t a million miles away from his sibling’s band. This is from the 2012 debut LP ‘Electric Hawaii’.  It’s great fun with a frantic tempo and a chorus that sets up camp in your brain then refuses to budge for days.


Track 2. Nothing Can Stop Us  by Saint Etienne.

This was the third single from Bob Stanley and Pete Wiggs’ retro dance band and the first to feature guest vocalist Sarah Cracknell who went on to become the third member of this weeks cover stars soon after. Built around a looped sample from Dusty Springfield’s ‘I Can’t Wait Until I See My Baby’s Face’, this is a sunheeine indie-pop classic that is an unbelievable 26 years old. I met Bob Stanley at a book signing once, he was a thoroughly decent bloke, smiling politely as I recounted my love for ABBA and his brilliant tome ‘Yeah Yeah Yeah’, probably the best book about popular music I’ve ever read. Get it.


Track 3. M&M’s by Black Heat.

Taken from their second Atlantic LP, 1974’s ‘No Time To Burn’, this is a proper funk workout which after an almost free-jazz breakdown at around the four minute mark before it locks back into a solid groove. It’s an ideal backing for chucking those final few sausages of the summer on the grill while dancing around your garden one last time.


Track 4. There Is No There by The Books.


Masters of collage, The Books released four albums in their 13 year career from 1999-2012. Paul has gone for a track from the second of those four, 2003’s ‘The Lemon Of Pink’ and it’s a typically spliced up mix of folk instruments, electronic bleeps and beats and sampled speech. This duo are true originals, and are more than worthy of your investigation. May I suggest you begin with their swansong, 2012’s ‘The Way Out’ and work whichever way the wind takes you from there. Treasures await.


Track 5. Yahan Nahin Kahoongi by Charanjit Singh.

We featured a track from Singh’s seminal proto acid house LP ‘Ten Ragas To A Disco Beat’ a while back now and since then I have gone back and sampled some of the hundreds of film soundtracks he recorded during his long career. This one begins with a twangy Beatles-esque guitar before a primitive Joe Meek-y synth takes over. I can gather no info as to which film it’s from or when it was recorded, but I’ll hazard a guess at a mid seventies Bollywood cowboy epic. No video, unsurprisingly.


Track 6 For One Night Only by King Creosote.

I wouldn’t say I vociferously praise Kenny Anderson’s work. He’s released over forty albums and there always seems to be a fair amount of filler in his vast catalogue, but every now and then he stops me in my tracks with a release that makes you realise he’s one of those artists that just has to get the music out. This track was part of his soundtrack to the archive documentary ‘From Scotland With Love’, released in 2014. It’s a swooping fast paced affair recounting the rare occasions his forefathers would enjoy a big night out, an infrequent occurrence in those austere days. Backed by some stunning images, he captures the moment perfectly.


Track 7. Days by Cool Ghouls.

This quartet from San Francisco released their third LP last month from which this is the lead track. As I write, I’m presently in an air conditioned hotel room on the hottest September day for fifty years, trapped in a nightshift induced zombie like state. This song with its piano and acoustic stylings is making perfect sense right now.


Track 8. Samba De Uma Nota Só by João Gilberto.

I’ve recently been attempting (and failing spectacularly) to learn bossa guitar. I’m convinced Brazilians are all born with an extra digit that enables them to negotiate a fret-board with ease, picking off jazz chords as if they were part of their genetic make up. Don’t be fooled by the lyric, this is not ‘Just a little samba / Built upon a single note’. It’s a one way ticket to frustration and possible arthritis. Beautiful stuff from one of the fathers of B.N but.

Track 9. Viva Tirado by El Chicano.

This instrumental is from the 1970 debut LP of the same name. A jazz-soul cover of Gerald Wilson’s original song about a bullfighter. Odious subject matter yes, but these Mexican Californians captured pure sunshine on this track. It’s almost stirring me to venture outside and enjoy this late summer heatwave. But I’m in Slough, so I won’t.

Track 10. Apple Tree by Hintermass.

Unlike our previous three summer infused tracks, our next selection has a distinct Autumnal feel to it. Taken from the bands debut LP released earlier this year, Hintermass is the current project of our old friends Ghost Box recording artists Jon Brooks (The Advisory Circle) and Tim Felton (formerly of Broadcast and Seeland). More pop based than their previous work, this still has a haunting melancholia to it more in line with their usual offerings.

Track 11. Mama Didn’t Lie by Jan Bradley.

This next track was penned by the late, great Curtis Mayfield who discovered Ms Bradley in the mid sixties. After a dispute with Chess records, their partnership was dissolved and Curtis moved on up (ahem) to greater things while Jan released a few more singles before retiring to raise a family in the early seventies.

Track 12. Keep Your Mind Open by Kaleidoscope.

Californian psych-folk troupe Kaleidoscope released four albums at the arse end of the sixties, this track is cribbed from the debut, 1967’s ‘Side Trips’. With their Middle Eastern flavours, Kaleidoscope were one of the progenitors of World Music and also influenced Led Zeppelin, guitarist David Lindley often taking a bow to his plank a few years before Jimmy Page did the same.

Track 13. A Momentary Taste Of Being by James Blackshaw.

As a, by my own admission, quite poor guitarist, I’m quite conscious of my breathing when recording anything. This doesn’t seem to bother Blackshaw who’s nasal inhales and exhales are quite prominent on this beautiful piece. I can only surmise they were left in post production to add an air of authenticity. Don’t focus on that though, just admire his mastery of the instrument which has earned comparisons to such greats as Bert Jansch, Robbie Basho, John Fahey, Jack Rose, and Leo Kottke. James announced that his show at Hastings last month would be his last, taking an indefinite hiatus. Shame, as I’ve only just bloody discovered him.

Track 14. Gangster Boogie by Chicago Gangsters.

This band of four brothers originally hailed from Ohio but after signing to Chicago label Gold Plate, they incorporated their adopted city’s name into the band. This 1975 track became a massively popular sample item for hip-hoppers and breakbeat aficionados, most prominently appearing on L.L. Cool J’s hit ‘Mama Said Knock You Out’.

Track 15. Di Enw by Sidan.

We remain in 1975 for our next track and stay relatively funky, however, we travel a few thousand miles east of Chicago to the valleys and this all female Welsh five piece. Featured on the excellently titled Finders Keepers compilation from about ten years back, ‘Welsh Rare-Beat’.

Track 16. Ku Mi Da Hankan by The Elcados.

It’s been a while since we featured something from the excellent Soundway compilations so here’s some premium afro-psych from Nigeria. There’s precious little information regarding The Elcados on the interweb. What I can tell you is the lead singer and guitarist is called Frank and he rules this early seventies curio.

Track 17. Stone Folk by The Advancement.

This next piece comes from the sole 1969 LP release of Californian band The Advancement. Formed by Bassist Louis Kabok and drummer Hal Gordon, they fused elements of jazz, psychedelia and hard rock and came up with some impressive proto-prog.

Track 18. Gloomy Sunday by Ricky Nelson.

This notorious song was composed by Hungarian pianist and composer Rezső Seress and published in 1933. Covered by countless artists, it’s most famous rendition is probably Billie Holiday’s take which was banned by the BBC until 2002. The reason behind its notoriety is the urban legend attached to it’s reputation as a ‘Suicide song’, thought to have been the last song listened to by a number of souls who had taken their own life. These reports were studied and found to be completely unsubstantiated. Still, it’s a strange choice for the then eighteen year old teen idol to tackle, although there was a fad for teenage tragedy songs at the time, cf ‘Tell Laura I Love Her’ et al. There is a sad and relevant coda, the songs composer Seress took his own life in 1968.

Track 19. In The Rounds by Night Moves.

When this band surfaced in 2012,comparisons were made to The Flaming Lips and Mercury Rev. This does them a disservice, as excellent as those bands are, Night Moves have a sound of their own. This from that years LP release, ‘Coloured Emotions’ has a beauty all of its own. Lead singer and guitarist John Pelant has an aching falsetto that transcends their ‘Freak Folk'(lazy label, Pitchfork) tag.

Track 20. My Adorable One by James & Bobby Purify.

Soul slowie closer time and a previously unreleased gem from Cousins James and Bobby Purify. This particular choice was initially going to be their big hit ‘I’m Your Puppet’ but after taking the time to listen to some of their lesser known tracks, I stumbled across this hidden gem and had to share it. You’re very welcome.


There you go, twenty tracks to move you, lose you and groove you. Join us again next week for issue number 45 but in the mean time, please join in the fun at our dedicated facebook page Here where you can share your own top pop (or whatever genre) picks. See you next time.


Until then, wear your love like heaven.


Andrew Orley.

Ring All The Bells, Sing And Tell The People That Be Everywhere That The Flower Has Come.


Nobody’s Listening. No 43. 12.9.16.

Hullo. Last weeks bloglist turned out to be the most popular so far with our biggest ever number of views and shares. Not sure why that was, although as I said last week it was one of my favourites, maybe we share the same tastes..It’s a possibility that the nights drawing in has prompted people to cabin up and seek non-weather dependent activities. Who knows? You’re an unpredictable lot, but I love you and I’d like to take this opportunity to thank each and everyone of you for taking the time out to listen, read, like and share. Massive Ta’s all round.

On to business then. Once more this weeks picks are a cornucopia of eclectic choices, with a bit of an easy going theme. There’s some unexpected turns to shake  you out of your comfort zone though, be warned!

And of course, Paulo returns once more with his pick of the week. My very good friend, bandmate and owner of the original Posh Paws from Multicoloured Swap Shop makes his debut as the selector of our traditional ‘Soul Slowie Closer’, and it’s a stone cold classic.

Well then, c’mon  everybody!

Track 1. Anything Could Happen by The Clean.

We begin in New Zealand and one of the acts who pioneered ‘The Dunedin Sound’, a style which sprang forth in the university city of Dunedin in the early eighties. Jangly guitars, stripped back bass and drums and a focus on sixties songwriting were the order of the day and a whole host of bands adopted this blueprint. Pavement cited the movement as a major influence and you don’t have to listen too carefully to hear their early work in this 1982 EP track from one of the biggest names on the scene.

Track 2. Real Bad Lookin’ by Alex Cameron.

Just a small leap over the Tasman sea for our next selection this week, Sydney born Alex Cameron. This comes from his 2015 debut defeatedly titled ‘Jumping The Shark’ in which Cameron adopts the personae of a synthpop backed cabaret singer. It’s really a lot better than it sounds. While there’s some smiles to be had, particularly in the lyric, there’s also a melancholic sadness infused in his music. Check out the live performance below.

Track 3. Oh By The Way by Minnie Riperton.

Cover star time with a track from Ms Riperton’s 1970 debut LP ‘Come To My Garden’. The album was Minnie’s calling card after her work with late sixties experimental funk-soul outfit Rotary Connection. With lush production and orchestration courtesy of Charles Stepney, the songwriting partner of her soon to be husband Richard Rudolph, the LP is a soft soul masterpiece and was the perfect platform for her multi octave range.

Track 4. Lady Sunshine by Tamam Shud.

We’re back in the Antipodes for our next cut and Australian psychedelic rock outfit Tamam Shud. This track comes from their 1969 debut LP ‘Evolution’ and features some stellar lead guitar from Alex ‘Zac’ Zytnik who would soon leave the band to be replaced by the no less talented 15 year old prodigy Tim Zane. The band recently reformed and released their fourth album earlier this year.

Track 5. If I Had My Way by Boscoe.

Jazz funk from Chicago with a conscience, this act only managed to cut one self titled LP in 1973. Refusing to compromise their sound for the majors, they self released their debut to an indifferent world. Fortunately, in these ‘enlightened’ times we can unearth these forgotten treasures and give them back the voice they were denied in an over saturated era.

Track 6. The Nightmare Of J.B. Stanislas by Nick Garrie.

Ripon born Nick Garrie is renowned in psychedelic collectors’ circles for his 1970 debut, The Nightmare of J.B. Stanislas, a Baroque pop masterpiece effectively buried by nonexistent distribution and promotion which forced Garrie to give up on the music business. The LP eventually gained its rightful praise in the mid 2000’s when it was reissued as a CD and attracted a host of contemporary artists with its epic vision. Nick finally performed the work in its entirety complete with string section at the Primavera festival in Spain in 2012 to a rapturuos reception. I do love a happy ending.

Track 7. Easy Evil by Tony Orlando, The Dawn.

Yes, ‘Tie A Yellow Ribbon’ Tony Orlando and The Dawn. Wait though! This is a joy, with more than a nod to ‘Spooky’ Joyce Vincent gives a classy lead vocal performance that should banish any visions of the absent Orlando poncing about in a flared suit and ‘tache.

Track 8. Star Control by Dollar.

Keen followers of Nobody’s Listening will note that this is the second appearance from early eighties chart botherers and latter day reality show whores David And Theresa. Don’t run away! You trusted me with Tony Orlando above so why not take a punt on this vocoder led slice of interstellar nuttiness from their 1979 LP ‘Shooting Star’. Honestly, if this was released by an artist of a venerated stature it would be deemed a classic. I was tempted to bill it as the work of some mid seventies German electro pioneer with the name of Hans Vooorsbrucht or something, just to see if it gained the kudos it deserves.

Track 9. Southern Nights by Allen Toussaint.

To my knowledge, this is the first time that a song has made a second appearance on NL. It’s first bow was earlier this year when we featured Glen Campbells 1977 chart topping version of Toussaints signature tune. It’s only right that this original version should have an outing too, and with its almost oriental stylings, it’s different enough from the rhinestone cowboy’s take to warrant inclusion this week.

Track 10. Far Away Blue by David McCallum.

A sixties instrumental segue next, beginning with the erstwhile Man from U.N.C.L.E and a track from one of four albums he made for Capitol during that decade. McCallum is a classically trained musician and along with arranger David Axelrod he capitalised on his acting success with LP’s featuring interpretations of hits of the day. This, however, is an original composition and has some neat touches and wonderful, warm brass that has more than air of Brian Wilsons Pet Sounds arrangements. No vid..

Track 11. Bella Dalena by The Marketts.

An instrumental band from Hollywood, The Marketts were essentially Michael Z. Gordon and assembled session Musicians including legendary sticks-man Hal Blaine. They had a string of surf instrumental hits but still took the time to produce romantic smoochy numbers such as this, the b-side to their 1963 million selling smash ‘Out Of Limits’.

Track 12. Angel Woman by Andrew Gold.

A few weeks back, I mentioned my fondness for late seventies singer songwriters and their soft, nonthreatening craft. I’ve since found out that this genre has recently been labelled ‘Yacht Rock’, a description that sits a bit uneasy with me, as did the ‘Guilty Pleasures’ tag that surfaced in the nineties. These are just well made,well produced love songs that are very much of their time but timeless all the same. Here’s the much missed Andrew Gold with a short cut from his sophomore LP ‘What’s Wrong with This Picture?’ released in 1976.

Track 13. Queen Of Hearts by Fucked up.

Ok, ready for some noise? It’s good, melodic noise!. Canadian hardcore band Fucked Up took the unusual step of releasing a rock opera in 2011, the marvellous ‘David Comes To Life’, an 18 song epic in four acts. This was the first release from said double album and was accompanied by the video below which features a children choir singing the song, with the boys singing Damien Abraham’s part while the girls sing guest vocalist Madeline Follin’s part. Incendiary stuff. If it doesn’t prompt you to seek out and listen to the full opus then that loss is entirely yours.

Track 14. Let’s Do It Again by The Parrots.

Heavenly recordings have always had an excellent ear for talent and their latest signing is no exception. Madrid three piece The Parrots have an infectious quality to their sixties garage influenced rock and this, their new single, gives you that nagging feeling that You’ve heard it somewhere before. Always a good sign in my book. Judge for yourselves below…

Track 15. Strangers by Lotus Plaza.

Lotus Plaza is the solo project of Deerhunter guitarist Lockett Pundt and this was the lead single from his second LP under that name released in 2012. A slack, lead vocal is complimented by the ringing guitar style he employs to great effect with his main band, all propped up by a military drum backing played on a child’s kit bought from a thrift store.

Track 16. Why (Am I Treated So Bad?) by The Sweet Inspirations.

This civil rights song originally recorded by The Staples Singers has been covered by many artists, James Brown and Cannonball Adderley to name but two. This version from girl group the sweet inspirations turns it around into a wronged woman’s lament. That’s Cissy Houston (Whitney’s ma) you can hear knocking out the wonderful soprano part.

Track 17. Little Mohee by John Jacob Niles.

A collector and transcriber of traditional Appalachian folk music, Niles was influential to the American folk revival scene of the fifties and sixties. This recording from 1953 features Niles’ trademark very high falsetto backed by his favoured instrument, the dulcimer.

Track 18. Give ‘Em Love by The Soul Children.

This Stax boy/girl band were put together by Isaac Hayes and David Porter to replace Sam And Dave who the label had recently lost to Atlantic Records. This 1968 single was the first fruits and is a punchy, brassy soul number which probably would have been recorded by S&D had their contract not expired. A few follow up singles gained moderate success and the group managed to release a further seven LP’s during the seventies before eventually winding up in 1979.

Track 19. Exodus by De La Soul.

The closing track from their ninth LP released just last week ‘And The Anonymous Nobody…’ Here we find our heroes in reflective mood. Beginning with an acoustic guitar noodling gently before ending with a short swell of strings and the payoff lines Saviors? Heroes? Nah/ Just common contributors/ Hoping that what we create/ Inspires you to selflessly challenge and contribute/ Sincerely, anonymously, nobody.’ Gorgeous stuff.

Track 20. Smoke Gets In Your Eyes by The Platters.


Here’s Paul to close this weeks proceedings with a soul slowie closer. Everyone should be familiar with this classic Jerome Kern cover released in 1958. If you’ve never experienced a chill run up your spine when Tony Williams’s voice slightly cracks at the two minute mark with that glorious ‘Oooh-Oh-oh-oh’ then I seriously doubt you are in possession of a functioning heart or soul.


Okaaaay then. That’s it for this weeks feast of fun. Hope you’ve enjoyed it. If you have, tell your friends and do the usual sharing ting on soshul meeja. If you haven’t, get stuffed. Don’t forget to join our Facebook page Here and get a daily dose of non-playlist tracks plus You can also post your own top pop picks in a friendly environment where anything goes. We’ve had some excellent shares lately and that’s what it’s all about, don’t be shy!

I’ll see you at the same time, same place next week for twenty more slices of old, new, borrowed and blue.

Until then, fight the power.

Andrew Orley.