I Want The Sun To Shine.

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Nobody’s Listening. No.75. 22.5.17.

Nobody’s Listening Facebook Page.

Hullo. Firstly, apologies for the interrupted service last week. I was in deepest darkest Wolverhampton attending a course for work which required my undivided attention. As it happens, I failed it spectacularly. So much for study eh?
Anyways, school’s for fools so here I am, back again with ten more tunes to delight, confuse, entertain and inform.

Naturally, Paulo is back with us. This week, my very good friend, bandmate and former costume designer for the Alfreton Gilbert and Sullivan society has chosen some modern day psych that fits into this weeks offerings nicely and also bangs like a bastard.

Okie dokie then, this is the time, time for action..

Track 1. TThhEe PPaARRtTYY by Justice ft Uffie.

We begin in Part-eh mode for the first few tracks, kicking off with a tune which frequently pops up on BBC 6 music. It’s always a pleasure when I unexpectedly hear the opening bars of this 2009 track from former NL alumni Justice. Guest vocalist Uffie’s lyric makes one pine for those weekends when all that mattered was having a good time, all of the time. Ah, sweet bird of youth…

Track 2. Octavius by The Bongolian.

Continuing our feel good factor, we have Nasser Bouzida a.k.a. “The Bongolian”. This comes from his sixth album ‘Moog Maximus’ which was released last summer and is a hammond infused dancer with his trademark, groove heavy fusion of Funk, Soul, B-Boy Breaks, Jazz and Sci-Fi Boogaloo. Keep yer plates of meat still during this one, I dares ya.

Track 3. The Past Tense by Infinite Bisous.

I’m currently devouring David Stubbs’ excellent 2014 book ‘Future Days- Krautrock And The Building Of Modern Germany’ which is an almost exhaustive deconstruction of the genre. This has prompted me to go back and listen to the bands that shaped one of the most enduring movements of the twentieth century. We’ll get to our cover stars later, in the meantime, the next couple of tracks are further proof of how those acts continue to inspire and influence current artists forty years after their peak. Here we have Paris based Londoner Rory McCarthy who trades as Infinite Bisous and a cut from his LP released earlier this year ‘w/ love’. It’s obvious from the very beginning that Kraftwerk are prominent in his record collection, the steady synths that open this tune add a distinct Hütter/Schneider feel to it.

Track 4. Trust You by Neils Children.

****PAULO’S PICK OF THE WEEK****

Paulo’s pick this week also shows the hands of Modern German Music are far reaching although this cut from their 2013 LP ‘Dimly Lit’ errs more on the psych side of Krautrock than the clinical motorik of Neu! et al. It has the repetitive nuances of our next pick as well as taking in British late sixties psych such as early Floyd. Dreamy, summery, reverb drenched goodness, it’s an overlooked gem. Another cracking selection from the Wortley wonder!

Track 5. Burning Sister by Amon Düül II.

And so, to our cover stars and the subject of the first chapter of the aforementioned book. I must admit, I’ve only took a passing interest in this band, hearing the odd track on Stuart Maconie’s Freakzone, which has been essential Sunday evening listening for the past ten years or so. After reading Stubbs’ tome however, I’ve submerged myself in their back catalogue and become quite obsessed with this seminal band. This track comes from their 1970 sophomore release ‘Yeti’ and is an accessible entry point for anyone who would like to begin a rewarding journey into the world of one of the progenitors of “kosmische Musik”.

Track 6. Call The Days by Nadia Reid.

Ok, we’ll leave behind our brothers and sisters from Deutschland for this week, and take an eleven and a half thousand mile trip to New Zealand. Like her Kiwi compatriot Hollie Fulbrook AKA Tiny Ruins, Nadia Reid is an Auckland native who uses her gentle acoustic guitar and soft, folky voice to convey bittersweet songs of love, loss and longing. Here she is with such a cut from her 2015 debut LP ‘Listen To Formation, Look For The Signs’.

Track 7. Nobody But Me by The Human Beinz.

Our next pick was a 1968 one hit wonder for soul infused garage rock band The Human Beinz. Released on some versions of Lenny Kaye’s legendary ‘Nuggets’ compilation, it is a reworking of the Isley Brothers song from 1962 in that it takes the closing refrain and extends it to a full length song. It had another lease of life a few years back when Quentin Tarantino used it in his film Kill Bill: Vol. 1, although it did not appear on the movie soundtrack. Now a standard on the Mod scene, it can get the coolest of faces dance-floor bound with its joyful and infectious beats.

Track 8. Estevez by Javelin.

This 2011 track from Brooklyn based production duo Javelin comes from the ‘Canyon Candy’ EP released on that years record store day which had a concept celebrating the old west. A pedal steel sampling modern day cowboy soundtrack it has an accompanying short film which was released shortly after which you can view here should you wish.

Track 9. Don’t Huzzle For Love by Apostles.

We reached a balmy 25 degrees here in that London this week which naturally made me reach for some Afro-beat. Here is Nigeria’s The Apostles with the organ heavy funker that opened their 1974 LP ‘Black Is Beautiful’. A perfect soundtrack to pound the hot city pavement to, here’s hoping that there are many more such days this summer. As I type, it’s currently pissing down and has been all day. Still, tracks like this can bring the soleil whatever the weather.

Track 10. Try A Little Tenderness by Otis Redding.

For our wedding anniversary last week, the current Mrs Orley and I paid a visit to the Bradford Alhambra to see Roddy Doyle’s musical based on his book and the film ‘The Commitments’. As you probably know, this song features prominently and the assembled troupe made a decent fist of it all things told. However, nobody can touch The King Of Soul’s version. Backed by Booker T and The Mg’s and arranged by Isaac Hayes, this stone cold Stax classic may be a bit of an obvious choice for the soul slowie closer slot, but sometimes things are so obvious you forget just how special they are. Drink this in and fall in love with it all over again.

There You go then. It’s good to be back. Hope you didn’t miss us too much last week, but everyone needs a breather now and again, don’t they?.

Let’s make a date for the same time and place next Friday, yeah?

Until then, I’ll Keep You Satisfied.

Andrew Orley.

Don’t Create. Don’t Rebel. Have Intuition. Don’t Drive Well.

The-Slits

Nobody’s Listening. No.74. 8.5.17.

Nobody’s Listening Facebook Page.

Hullo. Nice to see you again. Thanks for joining us once more for a trip through the wonderful world of pop. This weeks selections include the very first offering from the biggest band of the twentieth century, an early cut from an act I’ve seen more times than any other and a big hit for a Country legend but probably not the one you’d expect.

P-D-C has of course offered up another Pick Of The Week. This time around my very good friend, bandmate and former centre half for the 1995 Scottish third division champions Forfar Athletic has selected a ten minute slice of experimentation from Canada.

Ok then, Slide away and give it all you’ve got…

Track 1. Instant Hit by The Slits.

We hit the ground running with this weeks cover stars, The Slits. I recently enhanced a dull commute to and from Waterloo station with Viv Albertine’s biography ‘Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys,’, An enjoyable, if sometimes grisly warts and all account of her time (and beyond) as the guitarist in one of the truly great punk bands. This prompted me to spin their classic debut LP, 1979’s ‘Cut’ of which this is the opener.

Track 2. Bad Cloud Overhead by Blackrock.

This is the b-side of legendary single ‘Yeah, Yeah’ the only release from four Stax and Hi records session musicians who christened themselves ‘BlackRock’. The label ‘Black Rock’ was the original Memphis terminology for Funk and this is the early knockings of soul transmogrifying into one of the most enduring genres of the late twentieth century. With a darker atmosphere than the a-side and with lyrics about the drug culture of the time, this 1969 release is one of the earliest examples of a movement that would dominate black music for the next few years.

Track 3. Shine A Light by Spiritualized.

I mentioned up the top there that one of this weeks selections is by an act I’ve seen more times than any other. I’m not entirely sure just how many times I’ve seen Jason Pierce’s outfit but it’s easily in the twenties by now, catching at least one show for every album tour since their sophomore release, ‘1995’s ‘Pure Phase’ as well as countless festival appearances and one off shows. I did miss out on the tour from which this selection comes, their debut ‘Lazer Guided Melodies’, but I’ve seen the Spaceman perform this early track on numerous occasions and it’s always a set highlight.

Track 4. In Spite Of All The Danger by The Quarrymen.

This McCartney/Harrison composition is the first recorded example of the wackers and was the flip of The Quarrymen’s acetate only single which featured That’ll Be The Day on the a-side. Reportedly featuring Macca on lead, backed up by Lennon on harmony (although to these ears it sounds the other way round, take it up with thumbs aloft) and George on guitar it is a slice of history. With only one pressing, it is thought to be the most valuable single ever, worth in excess of £100K. Don’t go rushing to ebay just yet though as Paul is the owner and I don’t think he’s short of a few bob at the minute.

Track 5. Silurian Blue by Floating Points.

Brand spanking new release from N.L regulars Floating Points next which is taken from an upcoming short film and soundtrack about the Mojave Desert. Sam Shephard conceived of the project when he and the band traveled to the Mojave last summer to rehearse in between tours. As he explains, “Whilst we were out playing and exploring the area around us – the sound reflecting from the rocks, the sound of the wind between them, complete stillness at night and packs of roaming coyotes in the distance, it became apparent that we could use this as its own unique recording environment,” It certainly works well with FP’s brand of proggy experimental vibes and is a welcome return of one of my favourite acts of the last couple of years.

Track 6. Dan Glo by Bendith.

This next track comes from the debut self titled LP from Welsh band Bendith which was released last year. A slow burner, it blossoms into a delightful waltz with Autumnal tones aplenty. The band is actually a collaboration between the Welsh bands Colorama and Plu with both acts combining their respective folk and indie pop roots to produce a warm, contemporary sound.

Track 7. I Fall To Pieces by Patsy Cline.

My first experience of this song was the version that appeared on Michael Nesmith’s second solo LP, 1970’s ‘Loose Salute’. It wasn’t until a couple of years ago that I heard Ms Cline’s original interpretation and I must say that it was a wonderful surprise. We all know Cline for the colossus that is ‘Crazy’ but this is my favourite performance by a true country star taken well before her time.
There’s a lovely story regarding the song told here by its composer Harlan Howard..
“On the night of the session, we absolutely did NOT want to do the standard 4:4 shuffle that had by then been done to death. We were trying all kinds of other (basic rhythm) combinations, but they all just laid there and bled all over the floor. So, it had to be the shuffle then, like it or not. But the amazing thing was, once Patsy got into the groove, she just caressed those lyrics and that melody so tenderly that it was just like satin. We knew we had magic in the can when, on the fourth take, every grown man in that studio was bawling like a baby and (producer, Owen) Bradley said `That’s the one’.”

Track 8. Sack O’ Woe by Ray Bryant Combo.

This 1961 mod stomper is a cover of a Nat ‘Cannonball’ Adderley tune which is a favourite on the Northern Soul scene. Bryant was a respected pianist and band leader from Philly who backed up Aretha Franklin on her very first recordings and also worked with such jazz luminaries as Miles Davis, Sonny Rollins and Dizzy Gillespie.

Track 9. Contain (Astoria Version) by Ian William Craig.

****PAULO’S PICK OF THE WEEK****

This Classically trained Canadian artist was lauded by Rolling Stone Magazine as “The most exciting experimental composer of 2016” and from Paulo’s selection this week it’s easy to hear why such hyperbole is attached to his name.
The opener to ‘Centres’ his LP release from last year, this is a ten minute journey that has at its core his tape-deck manipulated vocal surrounded by soundscapes that veer off in different directions. Exciting indeed.

Track 10. Take It From Someone Who Knows by The Ovations.

The Ovations’ lead singer Louis Williams Jr. closely modelled his vocal style on the great Sam Cooke and this cut from 1972 is a glimpse into what might have been had Sam survived into the seventies. Released on XL recordings this is the flip to their 1972 single ‘Hooked On A Feeling’, a cover of the B.J. Thomas song which was in turn covered by Blue Swede in 1974 and memorably included on the Reservoir Dogs Soundtrack.

Well alreet, well alroot well alright. That concludes your ten piece portion for another week. I may take that long promised spring break next week as I am attending a quite intense training course. Then again, I may need to let off some steam and another clutch of top pop picks could possibly make an appearance at the same time and place next week. Who knows?

Until then, or whenever, someday, we’ll be together.

Andrew Orley.

I Was So Inspired By The Grass, And The Street, And The Barbed Wire.

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Nobody’s Listening. No.73 1.5.17.

Nobody’s Listening Facebook Page.

Hullo. How are you this week? Good? Good. Hopefully this weeks selections will maintain that spring in your step as we hurtle into another bank holiday weekend. If this schizo weather sorts itself out the following ten tracks could be the perfect accompaniment to a few snags on the grill or a lovely drive in the country. However you take your weekly dose, I hope you enjoy these handpicked beauties.

Speaking of beauties, the elfin-like Paul D’Cruz is of course with us. This week my very good friend, bandmate and the second cousin of Art Attack’s Neil Buchanan has selected a lesser known track from two of a quartet of bonafide leg-ends.

Shall we get on with it then?

Ok, here it comes, here comes my time in the sun..

Track 1. Rock & Roll by The Velvet Underground.

Like most, my introduction to The Velvet Underground was that iconic and influential debut. I must say though, over the years their fourth LP, 1970’s ‘Loaded’, is the one I return to more than most. So titled as the record Co bigwigs asked for it to be packed with radio friendly hits, it is probably their most accessible work thanks to the increased involvement of Doug Yule. Though this is a Lou Reed penned track, it is Yule’s turn on lead guitar that dominates, adding character and depth to Reeds Paean to the advent of Rock N Roll.

Track 2. Hip Bounce by Scuba Z.

This Big Beat/Breakbeat track comes from the only LP produced by this Scottish outfit, 2001’s ‘The Vanishing American Family’. Hypnotic and hyperactive, its cacophonous stylings are irresistible and can instantly transport one to those heady days of the late nineties/early noughties when we danced like there was no tomorrow. Unfortunately, tomorrow came and with it the rise of David Guetta type shallow EDM. Still, the kids seem to like it. The fucking idiots.

Track 3. Sax In The City by Let’s Eat Grandma.

I first heard this weeks cover stars when they appeared in session on Marc Riley’s 6 Music show last year. Childhood friends Rosa Walton and Jenny Hollingwood started making music together at the tender age of thirteen and released their debut LP ‘I, Gemini’ shortly after they both turned seventeen last year. This is a track from that album and features a gloriously ridiculous sax alluded to in the title as well as helium vocals spouting a cryptic lyric. Great stuff, and I look forward to their appearance at Deer Shed festival in July.

Track 4. Mucha Muchacha by Esquivel.

Mexican band leader, pianist and composer Juan Garcia Esquivel,often referred to as ‘The King Of Space Pop’, was incredibly popular during the late fifties/early sixties lounge boom. His use of pioneering stereo effects is evident on this track which may be familiar to some as it has appeared on a number of movie soundtracks including The Big Lebowski, Confessions Of A Dangerous Mind and Nacho Libre. It’s great fun and should be taken with a glass of something fruity and alcoholic garnished with an umbrella and curly straw.

Track 5. Love Is A Hurtin’ Thing by Gloria Ann Taylor.

Regular visitors to our Facebook page may recognise this next track as it appeared as a ‘Daily Dose’ a couple of weeks back. Although that feature was designed to showcase songs not available on the weekly playlist, this pick is just too good not to warrant inclusion here. A single from 1973, it begins with a burst of psychedelic guitar before evolving into an epic, lushly produced slice of early disco which also has one foot firmly planted in deep soul. Outstanding.

Track 6. Made Of The Sun by Heliocentrics.

Something brand new next from London based genre-defying collective Heliocentrics. After three LP’s of instrumentals, this is the first release to feature vocals which come courtesy of a young Slovakian singer called Barbora Patkova. Her strong, striking voice carries this track to somewhere else and bodes well for the rest of the forthcoming LP ‘A World Of Masks’, their first release with NL favourites Soundway Records.

Track 7. Sitting In The Park by Billy Stewart.

I initially had Georgie Fame’s interpretation of this track earmarked for inclusion this week but as Mr Fame has featured previously and indeed been a cover star, I decided to plump for Billy Stewart’s original version of his own song. This is one of those tracks that has sunshine ingrained in every note. From the woozy backing vocals to the organ bubbling just underneath the mix, it elicits memories of long summer days that bleed slowly into warm scent filled nights. Now if April can kindly do one and let us enjoy those rarefied times, that would be just peachy.

Track 8. The Lee Shore-Live by Crosby, Stills, Nash & Young.

****PAULO’S PICK OF THE WEEK****

Paul’s pick this week comes from ‘4 way street’, the third album by Crosby, Stills & Nash, their second as Crosby, Stills, Nash & Young, and their first live LP. The track he’s gone for is essentially a David Crosby solo piece backed up on harmonies by Graham Nash. Paul specifically requested this live version, but as it’s unavailable on yootoob, the video below is a demo version recorded in 1969 with Crosby overdubbing vocals in 1991. The original, however is on the spotify playlist and is a superior version as it features a stunning lead from the younger Crosby, a performance that one Robin Pecknold from Fleet Foxes must have studied incredibly closely..

Track 9. Gonna Hurry (As Slow As I Can) by Whitney.

Mellow Chicago indie rockers Whitney have graced these pages before with the wonderful ‘Golden Days’, their lead single from 2016 debut album ‘Light On The Lake’. They have followed it up with a new 12″ single that features a couple of cover tunes, ‘You’ve Got A Woman’, a 1975 track from the Dutch psych-pop band Lion, and this absolute peach which is a semi-obscure number from the great Dolly Parton. The band make it their own, smothering it in their hazy, melodic style.

Track 10. This Is Beautiful by Shirley Ellis.

Our soul slowie closer this week is the b-side to Ellis’ slightly annoying 1965 hit ‘The Clapping Song’. This however, is a different kettle of fish. No gimmicks, just a straightforward love song that makes the most of Shirley’s wonderful, sultry voice. Her other big hit 1968’s ‘Soul Time’ has also become popular in the last few years with the resurgence of interest in Northern Soul.

That’s yer lot for this week. Hope you done dug it. I’ll see you back here in seven days for ten more of the best.

Until then. take it easy, chicken.

Andrew Orley.

She Found Orion At Last And Then, She Found He Was Just Like Other Men.

connie

Nobody’s Listening No.72. 24.4.17.

Nobody’s Listening Facebook Page.

Hullo. Hope you all enjoyed your break and are suitably sick of chocolate. Whilst you were enjoying your families and eggs, I have spent the past two weeks scowling at the railway. Rest easy, my bad mood hasn’t influenced this weeks selection of sounds. In fact, there’s quite a cheery air throughout no doubt influenced by the blue skies and warmer temperatures we’ve had recently. I suffer so you don’t have to.

Paul is here of course with his pick of the week. This time around my very good friend, bandmate and puppeteer for Topov, the sinister rag-monkey from seventies kids show ‘Pipkins’ has selected a groove-tastic instrumental that escaped my attention on its release.

Alright then, come fly with me..

Track 1. Showrooms by Sam Prekop.

I don’t think I’ve included anything from Prekop’s band, ‘The Sea And Cake’ on previous playlists, an oversight I will rectify in the coming weeks. For now, here is the quite lovely opener from his 1999 self titled debut solo LP. Featuring the production work of one Jim O’Rourke, it has a delightfully sunny feel to it. Brisk and bossa-nova influenced, it fits these spring days perfectly.

Track 2. Rosa Rosa by Andrzej Korzyñski.

Next, we have the first of five instrumentals featured this week and the first of a segue that bleeds well into PPOTW. If you have the crossfade function, make use of it here, it works really well. Korzyñski is a Polish composer known for his soundtracks to Eastern European horror flicks who also recorded pieces for experimental film, political allegories, lost television shows, sound libraries and radio. This body of work was collected by Finders Keepers for the excellent anthology ‘Secret Enigma’, released in 2012. This track, which features on that tome, is a harmonica heavy piece which recalls those other two great film sound-trackers Morricone and Barry.

Track 3. Berries That Burn by Tobacco.

****PAULO’S PICK OF THE WEEK****

On submitting this weeks pick, Paul was convinced that this track may have been featured on a previous NL. I assured him this was not the case as it was the very first time I’d had the pleasure of hearing it. Tobacco is actually one Thomas Fec, an American electronic musician, he is the frontman of the psychedelic rock band Black Moth Super Rainbow who have featured in these pages before. It’s cracking. A sleazy, beaty piece that deserves your EQ bass setting to be as high as your ears will allow.

Track 4. Peppermint by Spectrals.

I was mildly obsessed with this track when it was released in late 2010. A wonderfully retro sound with reverby vocals and surfy guitar, it was the work of one man band Louis Jones and showcased a maturity well beyond the twenty year old’s years. With the assistance of his brother Eli on drums, Two albums followed which were well received and full of similar fayre until Louis abruptly called a halt on the project in 2013. A loss really, as these two Leeds lads could have been massive. A quick skeg on the internet reveals that Jones has since taken up lead guitar duties with plodding indie-ska has beens The Ordinary Boys. Jesus, that’s like throwing away Champagne to chug on meths.

Track 5. Genedigaeth koring-bato by Catrin Finch, Seckou Keita.

The harp is no stranger to NL. Just a couple of weeks back we featured the superb Mary Lattimore and the legendary Dorothy Ashby has graced this playlist in the past. My love of the instrument stems from about age 9, when, as a special treat, a harpist paid a visit to our school. I recall being absolutely rapt as I sat cross legged in the assembly hall and the magical sound of those 47 strings threw an imaginary blanket around me. Here, we have Welsh harpist Catrin Finch and West African kora player Seckou Keita with a piece taken from their 2013 collaboration ‘Clychau Dibon’. Take the time to lose yourself in this, and maybe find your own blanket. Stunning.

Track 6. Playboy Of The Western World by Connie Converse.

This weeks cover star is Elizabeth Eaton “Connie” Converse, now recognised as one of the very first singer-songwriters. Active during the fifties, her music came to the notice of animator and amateur recording engineer and cartoonist Gene Deitch, who had made tape recordings of John Lee Hooker and Pete Seeger in the 1940s. Deitch made a number of tape recordings of Converse in the kitchen of his house in Hastings-on-Hudson in the mid-1950s which remained largely unheard until they resurfaced 50 years later, collated into the 17 song compilation ‘How Sad, How Lovely’. It is unknown if Connie is aware of her late recognition. In 1974, after struggles with depression, she packed her belongings into her VW Beetle and disappeared, never to be seen or heard of again.

Track 7. Mountain View by Pye Corner Audio.

A long overdue visit to our friends at Ghost box next and a track from last years ‘Stasis’ by Martin Jenkins’ project Pye Corner Audio. Whilst not as straightforwardly vintage as other G.B. releases, this still fits the labels remit nicely and has a warm analogue feel to it, conjuring up comparisons with early eighties European cold wave type soundscapes.

Track 8. Shift-work by The Fall.

Another welcome return next and the title track from The Fall’s thirteenth LP released in 1991. This was the first Fall record released as a four piece after Smith culled two members shortly before recording. It’s a fine line up though with stalwarts Steve Hanley, Craig Scanlon and Si Wolstencroft combining as a tight unit. Here, they produce a locked in groove over which MES gives one of his more introspective vocals.

Track 9. Minor’s Holiday by Kenny Dorham.

The underrated Dorham’s 1955 Blue Note album ‘Afro-Cuban’ from which this next track is lifted is now rightly recognised as the finest recording of the trumpeter’s short career. This is hardly surprising when you consider the artists in this nontet. With Horace Silver on keys and the great Art Blakey behind the kit there’s also brilliance in the supporting tenor and baritone of Hank Mobley and Cecil Payne and on trombone, bebop legend J.J.Johnson.

Track 10. A Kiss From Your Lips by The Flamingos.

We return to doo-wop for this weeks soul slowie closer and a single from early 1956 which gifted The Flamingos their first chart success, reaching No.12 on the R&B hit parade. You know exactly what you’re getting here, wonderfully evocative reverb drenched backing with tenor Nate Nelson taking the pleading lead. Absolute gold.

That wraps things up for another week. It’s good to be back in the swing of things after last weeks quickie. Don’t forget to set your radar for the same frequency next week when there will be another ten quality tracks and a 1000 or so poorly constructed words to describe them. See you in seven days.

Until then, You Know My Name (Look Up The Number).

Andrew Orley.

What’s Going On?

Various - 1964

Nobody’s Listening. No.71. 17.4.17

Nobody’s Listening Facebook Page.

Hullo. I mentioned last time that I wasn’t sure if I would be able to find the opportunity to furnish your lugs with a playlist this week but I’ve managed to squeeze one in for you. As you’re all probably busy with the annual egg-exchange day celebrations, I shall attempt to sum up each pick in three words or phrases as not to eat into your precious time.

Of course, my very good friend, bandmate and trouser press engineer Paul D’Cruz is here also.

Hey. Ho. Let’s go..

Track 1. I Dig Girls by Bobby Rydell.

Teen Idol. 1959. B-side.

Track 2. Pockets by Four Tet.

Electronica. 2006. Squelchy.

Track 3. I’ll Be loving You by The King Khan & BBQ Show.

****PAULO’S PICK OF THE WEEK****

Canadian. Kooky. Brilliant.

Track 4. Ancient Robots by Conspiracy Of Owls.

Detroit. Bubblegum. Harmonies.

Track 5. Boy Don’t Be Afraid by 79.5.

Pop. Sunshine. Girls.

Track 6. Care by Kaada.

Norwegian. Woo-wop. Cut n paste.

Track 7. Prism Song by Julie Byrne.

Delicate. Nu-folk. Buffalo.

Track 8. Stay by Bernard Butler.

Overlooked. Solo. Lush.

Track 9. High On Your Love by Kings Go Forth.

Milwaukee. Ten-piece. Retro.

Track 10. Let Your Conscience Be Your Guide by Marvin Gaye.

Motown. Debut. Genius.

There. You. Go.

Normal. Service. Resumes.

Friday. Next. Week.

Until. Next. Time.

Enjoy. The. Silence.

Andrew. Neil. Orley.

Lately I Remember Afternoons Of Smoke And Wine.

Jackson-Browne-1-resize

Nobody’s Listening. No.70. 10.4.17.

Nobody’s Listening Facebook Page.

Hullo. Welcome once again to your weekly wad of tremendous tunes. Deafness sitch is a bit better this week, hopefully I’ll be back to 100% very soon. Speaking of the old Britney’s, Your lugs are in for specially selected treats including a good chunk of fairly recent sounds. We don’t just live in the past here at NL, although it is quite lovely there and the sweets were bigger and everything..

Paulo’s here of course with his pick of the week. This time around my very good friend, bandmate and close personal friend of Barry Chuckle, (Not the other one though, they had a disagreement over some potholes at a family barbecue), has plumped for something new too.

So, with out further ado Ron Ron Ron..

Track 1. When Old Love Keeps You Waiting by Joel Alme.

A solid start to this weeks proceedings with some premier pop from Gothenburg. With big wall of sound strings and drums underpinning a strong vocal from Alme, this is the opening track from his excellent 2010 sophomore LP ‘Waiting For The Bells’. 2010 eh? Seven years ago but it still seems like now. The relentless march of time..

Track 2. Repeat After Me by The Three Sounds.

Next up we have Gene Harris’ The Three Sounds, a jazz trio/quartet that released some absolute solid soul grooves on Blue Note in the sixties. This is just one of them, taken from the 1969 swansong LP ‘Soul Symphony’. Harris continued solo afterwards with his 1971 track ‘Put On Train’ famously sampled by The Beastie Boys on the Paul’s Boutique track ‘What Comes Around’.

Track 3. It Calls On Me by Doug Tuttle.

****PAULO’S PICK OF THE WEEK****

It’s back to more recent fayre for PPOTW and the title track from the New Hampshire natives second album which was released last year. With a fluid, folky guitar backing Tuttle’s Beck-like voice, this has an air of early seventies Brit folk updated for slackers. Imagine Richard Thompson and Kurt Viles love child and you’re pretty much there. Another super choice from our resident Benjamin Button.

Track 4. What You Gonna Do Now? by Carla dal Forno.

We remain in 2016 for this next track, taken from the debut solo album from Australian musician Carla dal Forno. A brooding track with a reverby, Nico-esque lead vocal from dal Forno, this has deft touches that slowly creep under your skin. That train like drumbeat that sits underneath various synth effects suggesting oncoming dread, the electric cello that jumps in at around the two minute mark adding to the overall melancholic atmosphere, and the abrupt ending all add up to a moody, impressive piece.

Track 5. Kalimba by Hector Plimmer.

Fresh out of the wrapper, this is taken from London based producer Plimmer’s debut LP ‘Sunshine’ released a fortnight ago. With it’s tribal rhythms and hazy electronica, this is a perfect fit for those oncoming warm summer nights. I imagine it will receive considerable spins on my weekly 200 mile commute over the next four months or so as it’s warm, hypnotic ambience definitely has the chops to quell any potential road rage.

Track 6. Sunday Morning by Margo Guryan.

Primarily a songwriter, Guryan was persuaded to make an album in 1968 to showcase her wares. By her own admission, she never possessed the greatest voice and hated performing. These insecurities contributed to the albums poor sales and she retreated to the shadows to concentrate on writing for others and teaching Piano. Interest in her work was re-stoked in the nineties when St Etienne covered her Christmas song, “I Don’t Intend to Spend Christmas Without You” for a fan club single which led to the re-issue of her sole LP release. This is the opening track and it’s a funky-poppy joy.

Track 7. Jimmy V by Mary Lattimore.

In 2014, Harpist Mary Lattimore took to the road in her station wagon with a friend and her 47 stringed instrument as her companions. During her travels through Texas and California she recorded the improvised tracks that made up last years LP ‘At The Dam’ taking inspiration from her surroundings to influence each track. This particular piece is a tribute to the late basketball coach and broadcaster Jimmy Valvano, over to Mary to explain.. “Before taking the road trip, I’d seen a great documentary on him, a really interesting and complex, inspiring character, and thought I’d write a song with him in mind,” Mary says, “Maybe it’s the first harp song written about a basketball coach?”, I’ll wager it is. Beautiful, esoteric and haunting, it’s a fine tribute.

Track 8. Your Bright Baby Blues by Jackson Browne.

I’ve always felt our cover star this week is often overlooked when discussing the truly great songwriters of the past fifty years. With a career that is now into its sixth decade, he has released some of the most beautiful, thoughtful songs ever committed to record. This is just one of them, a track taken from his 1976 LP ‘The Pretender’, it’s a typically country tinged lament and it’s themes of sadness are fully justified given the fact that it was recorded shortly after his first wife’s suicide.

Track 9. Fayinkounko by Orchestra Baobab.

Taken from the legendary Senegalese dance band’s brand new album released just last week, this is an old Fula song from Guinea brought to the band by Lucy Duran in an old field recording by Jali Nyama Suso. Balla is in fine voice here, dancing over the afro-cuban rhythms that the band have made their name with over the past fifty years.

Track 10. Lay In Low by MFSB.

Our SSC this weeks comes from Mother, Father, Sister, Brother or Mother Fuckin’ Sons Of Bitches, depending on your belief system. A slow groove taken from their 1973 self titled debut, it was penned by band member and architect of the Philly sound Leon Huff. Check out that sax by Zach Zachary, sheriushly shexshy shtuff.

Welllll then, that’s another week done and indeed, dusted. I may take my annual spring break next week as I’ve got a fair bit of work on so don’t be alarmed if your weekly ten tunes don’t make an appearance. Then again, I may find the time to sneak in your weekly dose. Who knows? Contain your excitement if you can.

So, I’ll either see you in a week or two.

Until then, eat y’self fitter.

Andrew Orley.

There Is Sad And There Is Happy, It Will Be Happy This Time.

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Nobody’s Listening. No.69. 3.4.17.

Nobody’s Listening Facebook Page.

Hullo. Pardon? Oh, I thought you were talking to me. Yes, my ongoing aural troubles took another shitty turn this week with the introduction of tinnitus and total hearing loss in my right ear-ole. Smashing, just smashing. Nevertheless, as I mentioned last week, even my diminished listening powers won’t stop me forcing ten quality tracks in your lovely face.

Paulo has a very good lug planted on either side of his ever youthful Dorian Gray type fizzog. This week my very good friend, bandmate and campaigner for the compulsory use of wooden chip forks has selected yet another beauty. Where does he get them from? He’s astounding.

Ok, On with the show, good health to you…

Track 1. Cellophane Symphony by Tommy James And The Shondells.

After the mid-sixties success of bubblegum classics such as ‘Mony Mony’ and ‘I Think We’re Alone Now’, James and his Shondells attempted to shake off the label with a move to the burgeoning psychedelic rock scene. It was a convincing enough transformation to elicit an invitation to play Woodstock, which the band declined. Two psych albums followed in 1969 with proper grown up rock the order of the day. This is the instrumental title track from the second of those LP’s which proved to be their swansong. At a concert in Birmingham, Alabama in March of the following year, an exhausted James collapsed after coming off stage from a reaction to drugs and was actually pronounced dead. He recovered and decided to move to the country to rest and recuperate, and left the band. His four bandmates carried on for a short while under the name of ‘Hog Heaven’ but disbanded soon afterwards. James and the surviving members of the band reformed in 2009 and continue to perform periodically to this day.

Track 2. Happy by Mitski.

****PAULO’S PICK OF THE WEEK****

A great find from Pee-Dee-Cee this week. Opening with an incessant drumbeat and featuring some superb Bowie-esque asthmatic Sax, this is the opener from Mitski’s fourth LP ‘Puberty 2’ which was released last year. Accompanying it below is a video which has a pay-off that Paul himself described as “Disturbingly Grisly”. I’m inclined to agree and must warn you to ensure you have no chilblains or nosy bosses peering over your shoulder as it’s definitely NSFW.

Track 3. William by Sibylle Baier.

A change of pace next with two female singer-songwriters/actresses from the early seventies. First up is Sibylle Baier with a track from an album she recorded at home in her native Germany from 70-73 although it never saw the light of day until some forty years later. It was when Baier’s son Robby compiled a CD from these recordings to give to family members as presents that Sibylle’s beautiful, nylon string guitar backed songs were eventually shared with the world. He also gave a copy to Dinosaur Jr’s J Mascis, who in turn passed it along to the Orange Twin record label who gave it a release in 2006.

Track 4. Up North by Catherine Howe.

The second in our seventies stage and songstress segue comes courtesy of this weeks cover star Catherine Howe. Taken from her 1971 debut ‘What A Beautiful Place’ this has a lusher arrangement than our previous track and is a love letter to her native Halifax. There’s another parallel to be drawn with Sibylle Baier as Catherine also remained relatively under-appreciated in her time and found a new fanbase when the Numero group re-released the LP in the noughties. She has gone on to record further works and is now rightly fêted.

Track 5. La Cure by Julien Gasc.

This is the second appearance in as many weeks by French artist Julien Gasc, his band Aquaserge opened last weeks playlist. This comes from his solo LP ‘Kiss Me You Fool!’ which was released in 2016 and is another piece of slightly jazzy soft psych similar to NL favourites The Amazing. With a shuffling drumbeat and a distinct ‘French bass’ backing things up, this is a dreamy slice of Gallic detachment.

Track 6. Regret by The Blue Nile.

The most welcome news of the past week came when Paul Buchanan announced that The Blue Nile’s fifth album is “two thirds complete”. I’ll put my enthusiasm on hold however as this is their first offering since 2004 and given the bands snail-on-sleeping-pills work ethic, I’ll be incredibly surprised if it makes an appearance any time soon. Still, we BN fans have become accustomed to hearing nowt for years on end and we still have have an almost perfect back catalogue to mine in the interim. This particular track is a rarity from around thirty-odd years ago and is typically stunning. Listen to P.B’s voice at around the 2m 50s point as he proclaims ‘I Can’t Let Them Go’. Hairs on the back of the neck stuff.

Track 7. London by Alessi.

NYC born twins Bobby and Billy Alessi are probably best remembered for their 1977 summer smash ‘Oh Lori’, a song which, if memory serves, has made an appearance on an early NL but don’t quote me. Here they are with their castrati-like voices smothering another superb song that fits into that oh-so-trendy catch all movement ‘Yacht Rock’. As previously mentioned in these pages I really do hate that label, it smacks of post-ironic hipster posturing and that will be the last time you hear me use it. Just enjoy this for what it is. Expertly crafted pop music.

Track 8. Strawberry Glue by Ulrika Spacek.

Hailing from Reading, but based in Berlin, this five piece had a previous life as indie rock band ‘Tripwires’ releasing two excellent singles, “Kings & Queens” and “Just So You Know” around ten years ago. After disbanding and regrouping, they came up with this new project and released their debut LP ‘The Album Paranoia’ early last year. Indie psych rock with chiming guitars and a laconic vocal, this could easily be mistaken for an early nineties shoegaze release.

Track 9. Psychedelic Sally by Horace Silver.

The opener from Silver’s 1968 LP ‘Serenade to a Soul Sister’, this latin tinged Jazz stomper has a cheeky nod to the movement of the time in its title. There’s no real mind-bending here, so don’t be scared that I’m dumping some free jazz on you again, that’s not to say I won’t in the future, mwahaha. Just enjoy this joyful early fusion with Silver all over those ivories like a silk scarf.

Track 10. Thanks For The Invitation by Chyvonne Scott.

Another week, another soul slowie closer. Chyvonne enjoyed only modest success in the mid sixties, becoming a hit on the Northern scene with her best known single, ‘I’m Moving On’. Here we find the New Yorker in a slower mood with a track taken from the excellent compilation from a few years back ‘I’m Moving On – Rare Soul Recordings’.

Sooooo. That’s it for another week. Hope you enjoyed/endured it. Why not share it with friends and while you’re at it, point them in the direction of our facebook page, the link’s up the top there as usual.

I’ll be back next week, providing my one good ear is still working.

Until then, You won’t see me.

Andrew Orley.

Let Me Introduce Myself To You. Let Me Show You Just What I Can Do.

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Nobody’s Listening. No.68. 27.3.17.

Nobody’s Listening Facebook Page.

Hullo. Still no change on the dizzy front, but you don’t come here to find out about my medical condition, you come here for the sounds, man. And what sounds do we have for you this week? Another mixed bag of delights, that’s what. We have modern French psych, forgotten soul, Swedish dream-pop and possible fake-motorik from seventies East Germany. If that’s not the definition of a mixed bag, then I’m a monkey’s uncle.

Joining us, as always, is our resident Pop-Picker Paul D’Cruz. This week my very good friend, bandmate and official mascot for the 1976 Winter Olympics has selected some rather lovely Canadian folk-pop.

Ok then, up up and away..

Track 1. Virage Sud by Aquaserge.

We begin with a brand new track from French outfit Aquaserge. This is cribbed from their latest LP ‘Laisse ça être’. The band is actually a supergroup in that it is made up of various members of Tame Impala, Stereolab and Acid Mother’s Temple. All those influences are present on this track with its Jazzy, psych leanings evident on the below live version which incorporates some punchy horns.

Track 2. Brother & Sisters by Milton Wright.

Milton Wright, the brother of ‘Clean Up Woman’ star and NL alumni Betty Wright, released two underappreciated albums in the mid seventies full to the brim with classy crossover fayre such as this. With a voice similar in timbre to Stevie Wonder, this weeks cover star should have enjoyed more success than he did but unfortunately poor distribution led to a career change. He now sits as a judge for Boston municipal court, earning the Judicial Excellence Award for 2004 from the Massachusetts Judges Conference. He still performs today with his voice still powerful enough to belt out everything from rhythm and blues and gospel to opera.

Track 3. Every Inflection by Brent Cash.

Athens, Georgia native Brent released his third solo album in January this year and much like his previous two offerings it’s choc-full of piano driven songs such as this. It’s difficult not to mention the inevitable Beach Boys comparisons that go with harmony driven sunshine pop like this but it definitely has a touch of mid-period Wilson to it as well as shades of another BB fan and NL favourite, BC Camplight.

Track 4. KoKoro by El Perro Del Mar.

This is the title track from Sarah Assbring’s fifth album released last year which is a world away from the Swedish singers early sixties influenced pop offerings. Fusing together rhythms taken from Japan and Cambodia, she has crafted some classy pop with catchy melodies that creep up on you and before you know it you have an earworm for days.

Track 5. Penguins by Michael Hurley.

Ah, the mouth trumpet, unfairly maligned in some quarters, when done right it can be an affecting instrument. Hurley does it right here on the closer from his 1971 sophomore LP ‘Armchair Boogie’. Backed only by his guitar, this instrumental puts me in mind of the incidental music for a long forgotten Oliver Postgate animation. Close your eyes and imagine your own stop-motion masterpiece, probably featuring the penguins of the title.

Track 6. Bush Fire by The Cannons.

I’ve drawn a blank when it comes to giving you any inside info on this next track. An instrumental from a London based sixties surf guitar band, it has the exact sound that you would expect from an act of that description.

Track 7. Early to the Party by Andy Shauf.

****PAULO’S PICK OF THE WEEK****

This comes from Shauf’s ‘The Party’ his third LP which was released last year. Taking on a concept album shows some ambition, performing all the instruments yourself proves ability. The record describes an unfolding party over the course of one evening. Here, as the title suggests is a tale of someone who arrives unfashionably early, Shauf documenting this common faux pas from a wallflowers point of view, which begs the question, just what time did Andy arrive then?

Track 8. The Feeling When You Walk Away by Yves Tumor.

This enigmatic artist (Rahel Ali or Sean Lee Bowie, depending on whichever story he feels like telling) has released records under different guises in the past, from the electronica of his various pseudonyms—Bekelé Berhanu, Shanti, TEAMS, to this, his latest project which is probably the most fully formed of his releases to date. His LP, ‘Serpent Music’, released last year begins with soulful, almost fully formed tracks then quickly shifts gear into soundscapes and field recordings that lean more towards Avant Garde. This track is one of the former, a looping R&B guitar with Tumor’s voice giving it some early seventies psych soul backing.

Track 9. Jenseits des Horizonts by Kosmischer Läufer.

The back story to this next track is an intriguing one. The story goes that communist East Germany commissioned the electronic composer Martin Zeichnete to create workout soundtracks for the GDR’s Olympic teams of the seventies and early eighties. Taking cues from West German Krautrock bands such as Kluster and Neu!, the musician crafted his own Motorik tracks under the name Kosmischer Läufer-‘Cosmic Runner’ until the programme was abandoned in 1983. The music was then unearthed in 2013 by Edinburgh’s Unknown Capability Recordings who released a compilation of Zeichnete’s work as ‘Kosmischer Läufer: Cosmic Music of the East German Olympic Program 1972-83’. Google searches for Zeichnete reveal no further info leading some commentators to pass this music off as a studied hoax by the label. Either way, it’s wonderful stuff, be it of a 40 or 5 years vintage

Track 10. Harlem by Edwin Starr.

This weeks SSC is a killer-B from Edwin Starr. The flip to his single ‘Headline News’ which scraped into the UK charts at #39 in 1966 and became a Northern Soul favourite, it’s a mid tempo tribute to a town where Starr never resided. Born in Nashville he de-camped to Detroit where he found a home at Motown before moving to the UK in 1973 where he lived until his death from a heart-attack in 2003.

Well then. That’s another weekly dose of sounds for the soul done and dusted. Be sure to join us again next week for another tremendous ten tracks. Free of charge, gratis, for nowt pence. Share ’em with your friends or keep ’em to yourself. You lucky sausages.

Until then, You’ve got to show me love.

Andrew Orley.

You Say That There’s A Thousand Like You. Maybe That’s True.

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Nobody’s Listening. No.67. 20.3.17.

Nobody’s Listening Facebook Page.

Hullo. A couple of minor changes this week. You may have noticed (read:didn’t at all) that I’ve re-named the blog to create ‘Brand Synergy’ urgh, and, ooh look, we’ve got a shiny new font! Unfortunately, there’s still no change with my bad heed situation but that hasn’t clouded my judgement when it comes to selecting top tunes for your favourite playlist and blog. I’m assuming it’s your favourite, for all I know you could be seeing other playblogs on the side. As long as you save a piece of your aural activities for NL, I’ll turn a blind eye and we’ll carry on like nothing has happened. Kay? Kay.

One feller who is as loyal as they come is our very own Paul D’Cruz. My very good friend, bandmate and Ex-hairdresser for eighties soft pop merchants Johnny Hates Jazz knows you don’t go out for hamburgers when you have steak at home. As ever, he’s right where he should be with his pick of the week.

Shall we get started then?
Ok, here she comes now…

Track 1. I Hate Hate by Razzy Bailey.

We begin this weeks picks with a track from Country artist Razzy Bailey. Now, I appreciate country isn’t for everyone but don’t head for the hills just yet. This 1974 single from the LP of the same name has more in common with Gene Chandler than Gene Autry. It certainly surprised me when I researched Baileys background to find out he’s a farm-boy from Alabama and not a Detroit based soul singer. This could easily have lit the floor alight in the Wigan Casino, and for all I know, it did.

Track 2. Spindrift by Colin Stetson.

Now, because of my ongoing labyrnthitis, I’ve been unable to drive for the past couple of weeks and therefore I’ve not had the chance to road-test the playlists as I would normally (volume up, motorway). Instead, the old headphones have been my preferred method of ensuring these tunes are fit for your consumption and I must say, this is a track that needs to be played through cans for full effect. Taken from his forthcoming LP due to be released next month, this is American saxophonist and multireedist Colin Stetson at his esoteric best. Just take the time to immerse yourself in those waves of sound without any outside distraction. Nice vid too.

Track 3. Together We Are Beautiful by Fern Kinney.

To my knowledge, I believe this is the first number one single we’ve featured here at Nobody’s Listening. This isn’t a conscious decision, as I’ve explained before there is absolutely no agenda to these playlists. If I like it, it’s in. And oh, do I like this. You’re bound to be familiar with this song, it was all over the wireless at the time and indeed, still crops up frequently. I also seem to remember it was on some advert or other a few years back but again, that doesn’t hinder its inclusion here. Steady, light disco with some ace production and a lovely vocal from Kinney, for me, it’s an absolute pleasure. No guilt involved.

Track 4. You by Good Morning.

****PAULO’S PICK OF THE WEEK****

PPOTW time and this week the gatito del espacio has gone down under and selected a Melbourne duo who have a gift for crafting askew classic pop. This track has a guitar which sounds like it was recorded through a dictaphone just underneath a melancholic vocal and is very much trying to hide its light under a bushel. The song shines through though, revealing its quality in an economic three minutes.

Track 5. Consolation Prize by Orange Juice.

This was the second track I heard from Edwyn Collins’ Postcard outfit, almost ten years after ‘Rip It Up’ appeared on top of the pops. It was at Newcastle Mayfair on Aztec Camera’s ‘Stray’ tour of 1990 that Roddy Frame introduced a ‘special guest’ to deputise for Mick Jones on his politico-pop hit of the time ‘Good Morning Britain’ and out walked this weeks cover star. He stuck around to perform this song with the band, the two friends having a whale of a time with its fey themes, pretending to be rock gods at the same time. There’s a recording of it from the Barrowlands on the b-side of GMB from the same tour, if you can find it, have a listen to the two pals pissing about. Here is the original version from OJ’s debut LP ‘You Can’t Hide Your Love Forever’ which I quickly purchased after the gig.

Track 6. Sunday In New York by Carmelo Leotta & Carol Sudhalter.

Taken from the 2011 LP ‘Carmelo and Carol Remember: The Great Film Music of the Sixties’, this is an interpretation of Peter Nero’s theme for the sixties rom-com ‘Sunday In New York’ which starred Jane Fonda and Rod Taylor. A joint venture between legendary saxophonist Sudhalter and bassist and band leader Leotta, both musicians shine on this extended take, Carol’s turn on flute is particularly outstanding.

Track 7. The Proud One by Frankie Valli.

The 1974 cover by toothsome Mormons The Osmonds is probably the better known take of this Bob Gaudio/Bob Crewe penned song and is a polished piece of seventies pop in its own right. Here though is the original, released in 1966 and credited to Valli although it featured Gaudio and the other two seasons, it is one of those torch ballads that Valli could sing in his sleep. Which is the better version? That’s up to you to decide but for me, the Jersey Boys in their pomp are hard to beat.

Track 8. Friendship (Is a Small Boat in a Storm) by Chicano Batman.

This comes from the Californian latin-psych troupe’s fourth, brand new LP and is a solid soul jam enhanced by the appearance of New York’s all-female Mariachi Flor de Toloache on backing vocal duties. Lead singer Bardo Martinez gives it some full on Gaye with a cracking falsetto that was no doubt encouraged by the producer, NYC soul revival go to man Leon Michaels.

Track 9. Into Forever by Eat Lights Become Lights.

When we last featured ELBL with ‘Bound For Magic Mountain’ way back on NL.49, our very own Paul D’Cruz got in touch to express how much he enjoyed the track and that it took him back to his head banging days as an 18 year old. Here we find the electronic masters in a much more laid back mood with the ten minute title track from their last album to date. It’s been three years since this LP came out, I do hope it isn’t the last we’ve heard from this Krautrock inspired collective and that they’re cooking up another epic for release imminently.

Track 10. Have A Little Mercy by Jean Wells.

Our SSC this week comes from an artist who made just one LP, 1968’s superb ‘World!, Here Comes Jean Wells’ which, while now a much sought after collectors item, sank without trace at the time of release. Previous to this she released her biggest hit, this deep soul cut which made a minor dent in the R&B charts in December ’67. Wells’ gospel voice fills the track which has some excellent production, with minor backing and perfectly judged brass stabs allowing those pipes to shine. On the flip is a glorious northern soul style dancer ‘With My Love And What You Got’, complete with a vibes filled rhythm section, it’s also well worth your attention.

That wraps things up for another week. Hopefully my head won’t feel like it’s going to drop off by the next time I greet you with a cheery ‘Hullo’.

Until then, Lean on me.

Andrew Orley.

Like A Soft Salacious Mist You Are, Bonita, You Fly Away When Love Is New.

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Nobody’s Listening. No.66. 13.3.17.

Nobody’s Listening Facebook Page.

Hullo. It’s a poorly sick Nobody’s Listening that greets you this week as I’m currently in the grip of a particularly nasty bout of vertigo. But enough of my ailments, what’s in store this week I hear all six-twelve of you cry? Well, among other delights we have some seasonal Bossa Nova, electronic bliss from Japan, sixties Brit psych-pop and some good ol’ fashioned country music.

Of course, the fit and working Paul D’Cruz is with us with his pick of the week. My very good friend, bandmate and tree surgeon to the estate of Leeds-born comedian and Panto legend Billy Pearce kicks off this weeks proceedings.

Ok then, dance yourself dizzy (pun intended)…

Track 1. Bon Chic Bon Genre by Campag Velocet.

****PAULO’S PICK OF THE WEEK****

Here he is then with nineties indie-dance band Campag Velocet. Championed by the NME as ‘The Best New Band In Britain’, they released their debut LP in 1999 of which this is the title track. The accolade proved to be a burden for the London based group as poor sales led to dismissal from their label and despite scraping together a second album in 2004, they called it a day the following year. This is great stuff though and a fine way to begin the playlist.

Track 2. Incurably Innocent by At The Drive-In.

This is brand spanking new gear from the Texan post hardcore combo, and only the second piece of new music we’ve heard from them in over fifteen years. And a blistering return it is too, with all the usual ATDI tropes, unusual chords, a fast tempo and crunching guitars. One element that is missing however is founder member and guitarist Jim Ward who chose not to participate in the reunion and has been replaced by former Sparta guitarist Keeley Davis. The new LP, ‘in•ter a•li•a’ is due to drop in May.

Track 3. Lemonade by Tatsuhiko Asano.

After a blistering start, we slow things down for the bulk of this weeks playlist, beginning with this guitar and effects piece which opens the Tokyo based multi intrumentalists 2001 debut LP ‘Genny Haniver’. Dreamy, bleepy and atmospheric, it has lots to admire and get lost in.

Track 4. Águas De Março by Antônio Carlos Jobim, Elis Regina.

Next, we reach this weeks cover star and her duet with the songs composer, the late, great Antônio Carlos Jobim. This 1972 bossa was an instant success for the Brazilian songwriter and was voted the all-time best Brazilian song in a poll conducted in 2001. It first came to my attention when I heard Susannah McCorkle’s version played over the credits for Jerry Seinfeld’s documentary ‘Comedian’ around fifteen years back. It has since become a favourite of my own and a track I wheel out at the beginning of spring every year. Elis’ sweet vocal makes this version, that infectious smile coming through in her delivery. She is regarded as one of the greatest ever Brazilian singers and remains popular in her homeland today, thirty five years after her passing at the tragically young age of 36.

Track 5. This One’s For You by The Concretes.

This Swedish eight piece have been a going concern for over twenty years now although their original lead singer Victoria Bergsman, featured here, parted company with the band in 2006. This sumptously orchestrated track is the closer from their 2004 self titled debut album and shares similarities with fellow indie-pop travelers Camera Obscura. With harp glissando’s and stirring strings, the last minute and a half or so is a thing of real beauty.

Track 6. Red Lady by Phil Cordell.

Cordell had a minor career in the late sixties and throughout the seventies releasing records under his own name as well as the monikers ‘Springwater’ and ‘Dan the Banjo Man’. It was under the Springwater guise that he scored his biggest hit, a 1971 UK top 5 with the instrumental ‘I Will Return’. This, however, is the b-side to his debut single, ‘Pumping the Water’ released under his own name in 1969.

Track 7. Wiserway by Pavo Pavo.

This single was released by the Brooklyn quintet just last summer. A gorgeous chamber pop piece with some neat touches, not least in the ‘Department Of Eagles’ type lead vocal which is complimented by a sometimes bombastic, sometimes sparce backing. Band member Oliver Hill backed this assessment up when he described the track thus.. “‘Wiserway’ is about extremes – the main elements are a bass line and an autoharp, so there’s an ocean of space between them. It’s meant to resemble a tornado in that way – destructive when its close-up and so peaceful from a distance.”

Track 8. Can´t Wait No More by The Last Hurrah!!.

The first of a country segue next with the return to the playlist of this Norwegian American troupe who feature Maesa Pullman, the daughter of Hollywood actor Bill Pullman, on vocals. This comes from their third LP released in 2015, ‘Mudflowers’ and is a lush country lament smothered in pedal steel and strings. Close your eyes and You’re in Tennessee, open them and You’re in Bergen where this live video was recorded.

Track 9. Pass The Booze by Ernest Tubb.

Our second toe dip into country brings us to ‘The Texas Troubadour’ and a 7″ from 1964. Tubb was one of the grandfathers of country, helping to popularise Honky Tonk music in the early forties. Tubb never possessed the best voice, he always sang flat, and actually mocked his own singing. He told an interviewer that 95 percent of the men in bars would hear his music on the juke box and say to their girlfriends, “I can sing better than him,” and Tubb added they would be right. Nevertheless, character can get you a long way and this typical Country lament has bags of it.

Track 10. Who’s Lovin’ You by The Jackson 5.

SSC time. No strangers to NL, the J5 will no doubt make many more appearances, such is the high quality of those early Motown years. Little Michael was always a superb interpreter of Smokey Robinson’s songs, sharing the same high register as Smokey himself. This appeared on their debut LP, 1969’s ‘Diana Ross Presents The Jackson 5’ and is probably now the best known version. Twelve-year-old singer Shaheen Jafargholi performed the song at Michael Jackson’s public memorial service in July 2009.

There you go. Ten more of the best from me to you. Now, I’m going to lie down in a darkened room and hopefully shake this cursed illness.

Hope to see you back here in seven days time.

Until then, keep on running.

Andrew Orley.