Gonna Love You Every Single Night,’Cause I Think You’re Too Outta Sight.


Nobody’s Listening. No.84. 21.8.17.

Nobody’s Listening Facebook Page.

Hullo. Well, it’s been a while, four weeks in fact. You look different, have you lost weight? That tan you’ve picked up makes you positively glow. My, You do look well.

Yes, it’s the return of your favourite playlist and blog, Nobody’s Listening. As I type, I’m currently seated in the salubrious surroundings of Wolverhampton Railway station passenger lounge. The delights and wonders that surround me are too numerous to mention, so I won’t.

I’ve had a smashing few weeks off thanks for asking, I trust the summer break is treating you equally well and you’re thrilled to have your weekly dose of ten quality tracks back and better than ever.

Paulo is back with us of course, and my very good friend, bandmate and inventor of the much missed Cadbury’s Spira chocolate bar has gone for a pick which fits in nicely to this weeks opening salvo.

Shall we get on with it then? Yes sir, we can boogie..

Track 1. Aren’t You Glad by The Beach Boys.

Just a couple of weeks back I caught the legend that is Brian Wilson in concert at Newcastle Times Square. It was a thoroughly enjoyable experience and trumped the previous occasion last year at The Albert Hall which was a much more sedate affair complete with polite applause. The thing is, those songs were made for dancing and singing along to and the crowd, undampened by the typically moist north-east weather, didn’t hesitate to help the 76 year old out at the top of their voices, myself included. This track is taken from their 1967 LP ‘Wild Honey’ and is a Brian fronted ditty that is light, fluffy and soulful all at the same time. A rare trick to pull off, but this weeks cover stars do it with aplomb aplenty.

Track 2. Misty Lane by The Chocolate Watch Band.


We stay in ’67 for Paul’s pick this week and a song from one of the (at the time at least) overlooked groups that surfaced during the infamous ‘Summer Of Love’. This stand alone single was their second 45 release and has all the tropes you’d expect from a psych garage band with added California sunshine. After renewed interest, the band reformed in 1999 and are still a going concern today although only two original members remain, lead vocalist David Aguilar and drummer Gary Andrijasevich.

Track 3. I Scare Myself by Dan Hicks And His Hot Licks.

1967 was also the year that Dan Hicks supplemented his role as guitarist in seminal San Francisco psychedelic rock band The Charlatans with a new project, Dan Hicks And The Hot Licks. Initially formed as a duo with David LaFlamme, the violinist was replaced soon after by virtuoso “Symphony” Sid Page who shines on this track from the groups third LP, 1972’s ‘Striking It Rich’. Famous for his idiosyncratic gypsy/jazz/bluegrass style, Hicks, who passed away just last year, was rightfully feted as a visionary and is still held in high esteem today.

Track 4. Boyfriend by Best Coast.

We reach my long goodbye to Leeds feature next, a goodbye which hopefully won’t take too much longer as we’ve actually found somewhere back in my native north east. Here we are in 2010 and a band which had the unfortunate pleasure of sound-tracking a particularly nasty bout of food poisoning in that years early months. It was their track ‘When I’m With You’ that swirled around my noggin for two whole days whilst I writhed in agony and became more familiar with a toilet bowl than I ever wish to again. I still can’t listen to it to this day which is a great shame as it’s a fantastic song and you should make yourself familiar with it immediately. Despite all that, I remained a fan of the band and I was lucky enough to catch them at an intimate gig in a pub back room shortly afterwards. The track featured here proved to be their breakthrough hit a few months later.

Track 5. Troika by Peter Perrett.

This is a brand new track from The Only One’s frontman Perrett and featured on his debut solo LP ‘How the West Was Won’ which was released a couple of months ago. After years of drug abuse, Peter is now five years clean and his musical ability is remarkably intact. The songs contained within are expertly crafted, lushly produced epics all fronted by that unmistakable voice which belies its 65 year old owners withered frame. A truly welcome comeback from an artist who could have so easily joined the ranks of punk casualties.

Track 6. Lazyitis (One Armed Boxer Remix) by Happy Mondays.

Often overlooked in favour of the big hitting singles, this, for me, is the Monday’s finest hour. Taking The Beatles, Sly Stone, David Essex and the nursery rhyme ‘This little piggy’ and mashing them all together is an inspired move in itself. Add the genius stroke of featuring early sixties Scottish country star Karl Denver on guest vocals, and it becomes a mess of some brilliance and the only Happy Mondays seven inch I own. Spotify only has the original version which featured on their 1988 sophomore LP ‘Bummed’ so do yerself a flavour and get on the youtube link below..

Track 7. Quit It by Miriam Makeba.

Next up, we have a brace of beauties from two seventies soul sisters. First to the plate is South African legend Miriam Makeba and an anti drug song from her 1974 LP ‘A Promise’. Known to many through her 1967 smash and former Nobody’s Listening Daily Dose track ‘Pata Pata’, Ms. Makeba was also an actor, United Nations goodwill ambassador, and civil rights activist. Her back story and life is fascinating and I couldn’t do it justice in just a few pithy lines so I’ll leave it to you to find out more about her life, work and the wonderful music she made such as this small example..

Track 8. I Love Every Little Thing About You by Syreeta.

Next, we have the opening track from Syreeta Wright’s debut LP which was released on Motown’s West Coast subsidiary Mowest in 1972. From the off there’s no mistaking this track is the work of her ex husband Mr Steveland Wonder. Initially recorded by Wonder for his Music of My Mind project which was released earlier that year, this version benefits from Syreeta’s light vocal style. There’s also some cracking covers on the album including the Smokey Robinson classic ‘What Love Has Joined Together’, and The Beatles’ ‘She’s Leaving Home’.

Track 9. Vida Antiga by Erasmo Carlos.

Our penultimate track this week is featured on the latest in the long line of always excellent ‘Late Night Tales’ compilations, curated this time around by the Canadian quartet BadBadNotGood. It comes from Brazilian singer Erasmo Carlos and serves as a reminder that Summer days and nights are not quite dead just yet. Squeeze every last second you can from this briefest of seasons and soundtrack those seconds right. You can’t go far wrong with fayre such as this..

Track 10. You Don’t Know Nothing About Love by Carl Hall.

Soul slowie closer time and a track I’ve been itching to share with you since I heard it for the first time a few weeks back. Radiohead bassist Colin Greenwood did an excellent job when he deputised for Craig Charles’ funk and soul show which airs every Saturday 6-9 on BBC Six Music. A soul aficionado, he selected some truly wonderful deep cuts including this absolute stormer. At first, I was completely unsure if the voice I was hearing was male or female such is the range and power. It’s a truly stunning performance and a record that hasn’t strayed far from my ears since I first encountered it. You need this in your head without further delay.

There you have it then. Thanks for having me back in your lives and make sure to join us again in seven days time as I painfully drag this enterprise’s sorry carcass towards that all important NL #100.

Until then, spread your love like a fever.

Andrew Orley.

Preserving The Old Ways From Being Abused, Protecting The New Ways For Me And For You.


Nobody’s Listening. No.83. 17.7.17

Nobody’s Listening Facebook Page.

Hullo. Another poor showing for views last week. Perhaps you were all out enjoying the clement weather, or engrossed in Wimbledon, or on Holiday, or attending a festival? Who knows? I’m not entirely surprised however, It’s no coincidence that this whole enterprise is called “Nobody’s Listening” as I truly didn’t expect anyone to take notice. Thanks to those of you who do. Whatever the reason for last weeks small figures, I’ll carry on regardless, providing ten tracks you didn’t even know you needed in your life. Last one for a few weeks as I take my summer break, so make the most of it!

Paul is here every week, that’s for sure. This week, my very good friend, bandmate and head judge for the annual West Yorkshire all-comers shove ha’penny championship has selected an act I’m looking forward to seeing for the second time next weekend.

Ok then, Let’s stick together…

Track 1. Summers End by Scrabbel.

Gideon Coe’s Six music show (Mon-Thurs 21:00-00:00) has been a firm favourite of mine for some years now. He always seems to find the right balance for an evening show, flitting from noise and cacophony to gentleness in the blink of an eye. This was a brand new track he played last week and it made me sit up and take notice. A double a side with the equally jangly ‘All Night’, this is the slower track of the two and evokes images of falling leaves and soft sunlight. A bit premature perhaps but I couldn’t wait until Autumn to share its soft loveliness.

Track 2. What Good Am I Without You by Darrow Fletcher.

This weeks music book of choice is Stuart Cosgrove’s ‘Young Soul Rebels- A Personal History Of Northern Soul’, a fascinating insight into one of the greatest underground movements of the seventies. It prompted me to reach for the fantastic soundtrack to the slightly disappointing film from a few years back which was unimaginatively titled ‘Northern Soul’. The music is unsurprisingly amazing and includes this sixties dancer which enhanced a long winded trudge north on the M1 last week.

Track 3. Love, Love, Love by Pugh Rogefeldt.

Famously sampled on DJ Shadow’s ‘Mutual Slump’ from the peerless ‘Endtroducing’, this track is taken from the Swede’s 1969 LP ‘Ja, Dä ä Dä’. Scandi-prog-psych-funk-folk with a wonderfully frantic beginning featuring the drum-break and guitar lick that Shadow lifted, it also has nods to early Barrett fronted Floyd in its manic vocal.

Track 4. Too Much On My Mind by The Kinks.

Staying in the sixties for our next selection and an often overlooked gem from this weeks cover stars. ‘Face To Face’, the album which this track comes from was the first to consist entirely of Ray Davies penned songs and sign-posted a transition from their earlier raunchy sound to more thoughtful compositions. It marked the beginning of The Kinks’ “Golden Age” which would last through to ’71 and confirm their position as one of the most important bands of the era. Here we find Ray contemplating on his nervous breakdown which he suffered just prior to the recording of the LP. With a gentle Harpsichord backing and a more acoustic feel than their previous output, there is also a distinct Byrdsian feel to proceedings here.

Track 5. The Tortoise by Ibibio Sound Machine.


Led by London-born, Lagos-raised singer Eno Williams, Ibibio Sound Machine are an eight-piece band whose music draws on Nigerian highlife as much as new wave, South African jazz as much as techno, Cameroonian makossa as much as disco. I caught this outfit at the Deershed festival in North Yorkshire a couple of years back and they were a more than pleasant surprise. Good time party vibes which are impossible to stay still to, although the organisers missed a trick by placing them in the early afternoon slot rather than the evening stage time they are made for. They are due to return to the festival for a second time next week, here’s hoping they get the higher billing they deserve and I demand!

Track 6. Nothing Left To Lose by The Wipers.

Cited as an influence on Nirvana, The Melvins, Mudhoney and Dinosaur Jr this Portland, Oregon punk band formed in 1977 and, judging by the names mentioned above, are wholly responsible for the early nineties behemoth ‘Grunge’. They have a cleaner sound than you would expect, particularly on this cut from their fourth album, 1986’s ‘Land Of The Lost’, a record which remains highly sought after and collectable.

Track 7. La Bataille De Neige by Domenique Dumont.

You would be forgiven if you mistook this next selection as a forty-plus year old discovery from some ancient vault. It is, however, only two years old and comes from the debut release of Latvian based musician Domenique Dumont. Here, he takes a conventional dub rhythm and pretty melody, smothering it in tape hiss and Gallic touches resulting in a truly unique sound. The release from which this is lifted, 2015’s ‘Comme ça’ is quickly becoming this years summer soundtrack for me, and I’m immensely thankful its exotic stylings are currently able to enliven my monotonous daily commute from Datchet to Waterloo.

Track 8. Bluish by Animal Collective.

An act that’s no stranger to NL, Animal Collective find their way onto this weeks playlist by way of my ‘Long Goodbye To Leeds’ feature. This week we’re in 2009, the year they released their, to date, still most accessible LP ‘Merriweather Post Pavillion’. I’d been a fan for a good few years up to this point and had previously caught the band at my beloved Brudenell Social club where, to be fair, they weren’t exactly at their best due to muddy sound mixing and an unusually unresponsive audience. Unbowed, I quickly bought tickets to their next Leeds show at the Woodhouse Liberal Club and thankfully they were a different proposition altogether. It was a delightfully warm early spring evening and the band were on top form as they played a set made up mostly of their new record which includes this relatively, for them anyway, straight forward love song.

Track 9. The Low Spark Of High-Heeled Boys by Traffic.

Last week, I was fortunate enough to grab a late, half price ticket to see the legendary Steve Winwood at Hammersmith Apollo. He was on absolutely stunning form and played a set which stretched from The Spencer Davis Group to his most recent output. This was the highlight however. The title track from Traffic’s 1971 LP, the performance was bolstered by his superb backing band (not least saxophonist Paul Booth, who was a busy man indeed, peeling off fluent solos on soprano, alto and tenor throughout the set). It made for a thoroughly enjoyable evening and I whole-heartedly recommend you catch him as soon as you can as he really is presently in remarkable form.

Track 10. Dry Your Eyes by Brenda And The Tabulations.

Our soul slowie closer this week is courtesy of Brenda & the Tabulations, an American R&B group formed in 1966 in Philadelphia, Pennsylvania which was originally composed of Brenda Payton, Eddie L. Jackson, Maurice Coates and Jerry Jones. With an almost doo-wop delivery, this string drenched 1967 heartbreaker proved to be their biggest hit, reaching #19 on the U.S R&B chart.

And there it is, there it was, and there it shall ever be.

As I stated up the top there, I’m about to take my summer break so don’t be surprised if your weekly dose doesn’t appear for the next few weeks or so. Panic not, I’ll be back soon enough as I’m determined to get this whole sorry mess to 100 playlists, and then we’ll see where we go from there.

Until then, I’ll see you in my dreams.

Andrew Orley.

See That Gent In The Wrinkled Suit, He Done Damn Near Blown His Cool.


Nobody’s Listening. No.82. 10.7.17.

Nobody’s Listening Facebook Page.

Hullo. How’s tricks? I’m tickety boo, thanks for asking. Here we are, back again with another ten top pop picks to enjoy at your leisure. This week we have, among others, a much missed legend, a cult garage band and a Swedish Playmate, rrwarrr!

Paulo is here, at least I think he is as it’s Monday evening and he still hasn’t submitted this weeks choice as I type. I was out with him on Saturday too, the slackarse! I’m sure my very good friend, bandmate and Chairman of the Giddy Game Show appreciation society will come up with the goods as always..

Shall we get on with it then? Ok. Come go with me..

Track 1. When You Are Who You Are by Gil Scott-Heron.

I’m currently reading our cover star’s posthumously published memoir ‘The Last Holiday’ so it’s perhaps inevitable that he makes his debut appearance on the playlist this week. What’s surprising is that it has taken 82 N.L’s before the great man has made a bow, an oversight that I can only apologise for. I’ve gone for this cut from his essential 1971 debut ‘Pieces Of A Man’ which was co-written with keyboardist and long time collaborator Brian Jackson. There’s some superb turns on the album and standing out on this track in particular are guitarist Burt Jones with some delicious licks in the middle eight and Huber Laws whose Sax steps in towards the end to wonderful effect.

Track 2. JJ by Priests.

Released late last year, this is the first single from the Washington D.C. bands debut LP ‘Nothing Feels Natural’. With a twangy, almost rockabilly guitar line backing front-woman Katie Alice Greer’s impressively snarly vocal, this is great fun from start to finish and is represented by the below video which must have given rise to a fair few takes due to corpsing.

Track 3. Cinderella by The Sonics.

We move from the district of Columbia to Washington state next and from modern day Punks to one of the groups that are rightly credited as one of the very earliest progenitors of the genre. The Sonics formed in 1960 and were one of the most revered of the sixties garage bands due to their genuine groundbreaking sound. They went on to become a massive influence on bands such as The Cramps, Nirvana, The Flaming Lips, The White Stripes and The Fall (who indeed still perform a cover of their classic, ‘Strychnine’ in their live shows to this day). A going concern for almost sixty years now, they continue to tour although the only original member is saxophonist Rob Lind. This comes from their sophomore LP, 1966’s ‘Boom’ and is typically raucous stuff.

Track 4. You And I by Madleen Kane.

As is our remit here at Nobody’s Listening, we change tack completely for the next of this weeks picks. In-between posing for Playboy, this Scandinavian model and singer had moderate success in the late seventies/early eighties with space age disco-lite ballads such as this floaty piece of pop heaven. Not exactly challenging, this nevertheless has bags of charm and is a perfect encapsulation of the clamber for sophistication that was prevalent at that time. According to the old Wikipedia, it has since become a wedding day favourite in Canada. Which is nice.

Track 5. Attica Blues by Archie Schepp.

This funky offering which features an absolute powerhouse of a vocal courtesy of “Joshie” Jo Armstead is the title track of the Saxophonist’s 1972 LP which was released on the superb Impulse! label, dubbed “The house that ‘Trane built”. Schepp actually played on the sessions for what is probably their most famous release, Coltrane’s ‘A Love Supreme’ but his takes were cut from the finished article, resurfacing on a mid 2000’s re-issue.

Track 6. I’m Just A Prisoner (Of Your Good Lovin’) by Candi Staton.

I’ve always loved Candi’s voice, and from the very first time I heard the wondrous ‘Young Hearts Run Free’ on the wireless as a nipper in the seventies, she has been a singer that I never tire of hearing. I was lucky enough to catch her at Glastonbury in 2010 and those pipes were very much intact and at their best, she put on a great show. Here she is with a lesser heard track from the 1976 LP which also bore the YHRF title and it’s a builder that puts that voice front and centre. Long may she continue to encourage the babies.

Track 7. Replicate by Disappears.


Here he is, better late than never, with a psych-heavy cut from Chicago noisers Disappears. This was the lead single from their 2012 LP ‘Pre Language’ and features Sonic Youth Sticksman Steve Shelley on tub thumping duties. A pumping rocker that doffs more than a cap to Magazine’s splendid ‘The Light Pours Out Of Me’ in it’s crunching guitar motif. Great stuff, and well worth the wait. Now get your shit in order and submit next weeks pick D’Cruz, or there’ll be trouble. Do You hear me? Trouble I sez. (Love You, man).

Track 8. Odgkin Kane by Whichwhat.

This 13 minute curio comes from Nottingham based lite-proggers Whichwhat’s only LP release, 1970’s ‘Whichwhat’s First’. Active from ’68-’71, they found more success on the continent than they did back home before calling it a day shortly after the LP was released. You know exactly what to expect here, hoary rock vocals, smatterings of Jazz flute, Guitar wig outs and an over enthusiastic drummer, but it all works, and works very well indeed if you like this sort of thing. And I do.

Track 9. Quiet Houses by Fleet Foxes.

Next, we have a quick return to the playlist for Seattle’s Fleet Foxes, this week taking up the ‘Long Goodbye To Leeds’ feature. It was early 2008 when I first experienced the ethereal sounds of Pecknold and co and on hearing their debut album I quickly rushed out and secured three tickets for their Leeds Brudenell gig at the princely sum of £5.50 each. It was by far and away the best value ticket I have ever bought in my gig going life. They were absolutely faultless. A room of around four hundred people were rendered speechless by their gorgeous harmonies and delicate songs and it was a performance that I, and my two Cylinder brethren James and Paul often cite as one of the most special shows we have ever been fortunate to witness. Fast forward around six months and they returned to Leeds to play the Academy, a much larger venue and a much more depressing experience. The majority of the crowd appeared to be there just to say they were there and there was little of the respect and attention they received at the good ol’ Bru’, with senseless chattering during the quiet moments and pissed up idiots ruining any chance of enjoyment. Still, success attracts morons and I’m thankful I caught them at a time when those very morons were unaware of their existence. Here’s one of many highlights from that stunning debut.

Track 10. All In My Mind by Maxine Brown.

Our soul slowie closer this week is the debut 1961 release from a singer of some quality who had a rotten run of luck in the sixties. Firstly, she was pushed to the side while her label concentrated on the emerging Dionne Warwick and then her writing team of Ashford And Simpson moved to Motown where songs penned for her and former Nobody’s Listening alum Chuck Jackson went on to be massive hits such as “Let’s Go Get Stoned” for Ray Charles (co-written by previously mentioned Jo Armstead) and Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough”. This proved to be her biggest hit, reaching number 19 on the U.S. Hot 100.

That’ll do pig, that’ll do.

See you next week for more of the different and less of the same.

Until then, don’t talk, put your head on my shoulder.

Andrew Orley.

In The Sound That Abounds And Resounds And Rebounds Off The Ceiling.


Nobody’s Listening. No.81. 3.7.17.

Nobody’s Listening Facebook Page.

Hullo. And welcome to another weekly wedge of wonderment. Festival season is in full swing and I’m sure you all enjoyed Glastonbury last weekend. So much so that you didn’t have time to squeeze in your favourite playlist and blog, if viewing figures are anything to go by. That’s O.K., You’re forgiven. Remember, you can catch up anytime by flicking through the back catalogues, so go on, you may have missed your new favourite song.

Let’s get on with the business of this weeks selections first though. This time around we pay visits to Blackpool, Canterbury, Lisbon and two sides of Detroit.

Paulo is with us for the trip of course, this week my very good friend, bandmate and understudy to Shane Ritchie for the 94-95 run of Death Of A Salesman alights in San Francisco.

Get on with it I hear you cry. Ok, what’s the frequency, Kenneth?

Track 1. Never Let You Go by Bloodstone.

How about we break with tradition and have a Soul slowie starter? Don’t worry, we’ll round off the playlist with our usual closer but our first track this week stopped me in my tracks when I heard it on Huey Morgan’s Saturday morning show on six music a few weeks back, and I couldn’t wait to share it with you. Like many funk and soul bands, Bloodstone began life as a doo wop group in the early sixties before picking up their respective instruments and settling in to ‘Black Rock’ by the end of the decade. This superb example of silky seventies funk was the second single release from their sophomore 1973 LP ‘Natural High’ and features a stunning lead vocal performance from big Harry Williams. Check out that falsetto man! Perfection. I really can’t get enough of this at the minute and I insist that you get it in your life pronto.

Track 2. Long Division by The Aislers Set.


Again, Paulo has come up trumps with this weeks selection and a band which I have no prior knowledge of. On first listen, I dated this as mid to late eighties indie pop but it turns out it’s from their 1998 debut LP ‘Terrible Things Happen’. In a sea of post britpop bores, this Californian band were very much out of step with the times at that time then. This dollop of jangly pop complete with handclaps and lazy arsed tambourine has weathered very well indeed and has a sound which belies its twenty year vintage, a trick most of their contemporaries have failed to pull off.

Track 3. North Of Anywhere by Jack Cooper.

Jack is one half of former NL alum Ultimate Painting and has just released a side project solo LP ‘Sandgrown’ which is made up of nine tracks celebrating his home town of Blackpool. This is one of those very tracks and is a gorgeous, low-key lament which has shades of Villagers and Lou Reed and is a world away from the experimental pop of his day job.

Track 4. New Generation by Albert Ayler.

Taken from the avant-garde Saxophonists 1968 album ‘New Grass’, this is a quite straightforward pumper propelled by Aylers incessant tenor. He also lays down a delightfully wobbly vocal backed by the girls and still finds the time to sneak in some of the more ‘challenging’ notes he’s more famous for towards the end. Joyous stuff.

Track 5. Take Pills by Panda Bear.

We reach 2007 in my ‘Long Goodbye To Leeds’ feature and an album which, for me, perfectly encapsulates that year in question. I was already aware of Noah Lennox’s work with Animal Collective at this point but it was when I first heard his second solo LP ‘Person Pitch’ released in March that I really began to take notice. It truly is a perfect record, each of the nine tracks don’t waste a second. Textures are unfurled with every listen and now, ten years later, I still find fresh sounds and meanings. Initially, this track may seem like a celebration of recreational drug use but it’s actually a reaction to the reliance of anti-depressants and contains some sound advice.

“Take one day at a time
Everything else you can leave behind
Only one thing at a time
Anything more really hurts your mind.”

Track 6. This Old Heart Of Mine (Is Weak For You) by Tammi Terrell.

We’re planted in the late sixties for our next three picks which showcase the sheer diversity of pop music at that time, beginning with the promised double from Detroit. This cover of the Isley Brothers classic was released as a single in 1969 shortly before her untimely death the following year. I’m not going to dwell on Tammi’s unfortunate and turbulent short life but instead focus on a real talent and one of Motown’s true shining stars. This version has a slightly different arrangement to the famous Isley cut but retains the joy which belies the slightly maudlin lyric.

Track 7. Come Together by MC5.

Next, we stay in 1969 and another side of the Motor City. Our cover stars this week need no introduction and the seminal debut album this is lifted from should be part of every-ones DNA. Tempting as it was to include the wonderful statement of intent ‘Ramblin’ Rose’ or the incendiary title track, I’ve gone for the cut that follows that amazing opening salvo but doesn’t get as much column space. Turn it up and marvel at ground being broken.

Track 8. Love Makes Sweet Music by Soft Machine.

Crossing the Atlantic to good ol’ Blighty, we have one of the pioneers of the Canterbury scene and their very first single released in early ’67. With a more chart friendly sound than their subsequent experimental output, this has a bouncy vocal courtesy of Robert Wyatt and benefits from the production of one Chas Chandler who reigns in their jazzier tendencies to provide some genuine joyous and jangly pop.

Track 9. Please Be Mine by Molly Burch.

This is the title track from Molly’s debut LP which was released earlier this year and it’s a beautifully slow paced heartbreaker. I’m not entirely sure who the Austin chanteuse is pleading with, but anyone who refuses her plea must be a stone cold idiot. I mean, listen to that wonderfully smoky voice which has drawn comparisons with the wonderful Patsy Clyne. Irresistible. Be hers, you fool, be hers!

Track 10. My Woman’s Love by The Impressions.

And so, we reach another soul slowie closer. This week it’s Curtis Mayfield and The Impressions and a cut from their 1968 LP ‘This Is My Country’, the first to be released on Curtis’ Curtom records label. Rather than the politically charged, socially conscious output that he would subsequently release, this is a straightforward love song that is as smooth as they come with a typically lush arrangement from Mayfield himself.

There it is and there it was. Be sure to set your phasers to fun for seven days time when I’ll be back with another ten top pop picks.

Until then, fix up, look sharp.

Andrew Orley.

They Listen To Your Crazy Laugh, Before You Hang A Right, And Disappear From Sight.


Nobody’s Listening. No.80. 26.6.17.

Nobody’s Listening Facebook Page.

Hullo. Welcome to a sun baked Nobody’s Listening coming direct to you from sunny Slough where the mercury is currently sitting at a frankly ridiculous 34 degrees Celsius. It’s not just the climate that’s hot, we’ve got some scorching summer sounds searing their way into your frazzled heads this week. He typed, in a tabloid stylee.

Cartoon bands, twee indie pop, bonkers disco and Ethiopian Jazz are all contained within this weeks ten red hot rocks. And, of course there’s Paulo’s Pick Of The Week. This time around, my very good friend, bandmate and composer of the soundtrack to eighties computer game ‘Bombjack’ has selected some Gallic dream pop.

Shall we then? Set your controls for the heart of the sun..

Track 1. Great White Shark by Big Thief.

We begin with Brooklyn indie rock combo Big Thief and a track taken from their second album which was released a fortnight ago. This was a featured ‘album of the day’ on BBC six records a couple of weeks back, and having no prior knowledge of the band I was more than pleasantly surprised with their dreamy, romantic, almost folky style. So much so that I immediately earmarked it for inclusion on a forthcoming playlist. And here it is. See for yourself how it hooked me after one listen.

Track 2. Funny Little Frog by Belle And Sebastian.

Cover star time next and an act which, if I’m not mistaken, are making their NL bow. Surprising really as I’ve been a fan since their very early days but this track makes an appearance as part of my ‘long goodbye to Leeds feature’. Taken from their seventh LP, 2006’s ‘The Life Pursuit’ this was the lead single and was just one of a number of easily accessible tracks on a record choc full of chart friendly songs. So where does it fit in with your memories of West Yorkshire Andrew? Well, I’ll tell you. I finally caved in and got wed to the current Mrs Orley in the aforementioned year and this was one of the songs we played at our wedding, I also managed to catch B&S live for the very first time that year (twice, actually) ticking off an act I’d waited to see since the mid nineties.

Track 3. Any Day Now by Chuck Jackson.

This Burt Bacharach and Bob Hilliard song has been covered by a wide variety of artists over the years from Presley to Scott Walker to James Brown and even Nick Kamen had a pop in the eighties (best avoid that one tbf), but this was the very first recording which was a 45 release in 1962. Chuck Jackson was previously lead singer for doo-wop band The Del-Vikings before he struck out for solo fame. This became his signature tune and after recording a clutch of other Burt penned songs he went on to sign for various soul labels including a stint at Motown in the late sixties. Chuck continued to record throughout the seventies and eighties and penned Whitney Houston’s number one hit, “Where Do Broken Hearts Go?”.

Track 4. Stargazer by Juanita Stein.

This was the first of, to date, three solo singles from Howling Bells Front-person Juanita Stein. Released last December, it has a wintry feel but also works just as well on these hot summer nights and contains more than an echo of her fellow Antipodean, Olivia Newton John. Just listen to that chorus and tell me I’m wrong.

Track 5. Be Proud Of Your Kids by Melody’s Echo Chamber.


You know when you can tell something is French within the first few seconds? And I’m not referring to the child’s vocal line, but that unmistakable French bass sound that permeates throughout this light-psych track. With the help of Tame Impala’s Kevin Parker, Melody Prochet released her debut LP in 2013 of which, this delightful slice of dream-pop is the closer. Paulo just keeps on picking ’em doesn’t he?

Track 6. Truck Driver by The Archies.

Composed, as were the majority of this fictional bands songs, by the legendary Jeff Barry. This is a cut from the self titled debut LP released in 1968 which I whole heartedly recommend you give a spin. Get past the novelty factor and you can hear 12 tracks of superb bubblegum pop which sits very nicely indeed alongside The Monkees. And no “Sugar, Sugar” either! Go on, give it a go.

Track 7. Mulato by Mulatu Astatke.

Next, it’s a welcome return to the playlist for the father of Ethio-Jazz. Vibes backed by Eastern Africa rhythms, if there’s a better soundtrack for this oppressive heat, then let me know. You can share your own summer sounds on the dedicated Nobody’s Listening facebook page which is just a click away on the handy linkage up the top there. Anything goes and sharing is caring so go on, get involved.

Track 8. Baby Blue by Giorgio Moroder.

From the first ever digitally recorded album, Giorgio’s 1979 release ‘E=MC²’ comes a jolly piece of synthesised four to the floor disco complete with robot voice vocals. If that sentence alone doesn’t make you happy then it’s possible we can’t be friends anymore. Anyone who hasn’t got a massive grin on their kipper throughout the four minutes of this squelchy, bleepy dollop of happiness is dead inside. DEAD I TELL YOU!

Track 9. Damn, Sam (I Love A Woman That Rains) by Ryan Adams.

Ok, you want something more organic. Here’s earnest guitar botherer and patchy performer Ryan Adams with a cut from his 2001 LP ‘Heartbreaker’. I’ve never been a massive fan of Adams but this song was a mainstay on my compilations for a good few years back in the early noughties and one I’d completely forgotten about until I heard it on the wireless last week. Anyway, it’s still lovely and here it is.

Track 10. Hurt A Little Everyday by Brenda Holloway.

I mentioned last week that I was reading ‘Detroit ’67, The Year That Changed Soul’ so it’s perhaps inevitable that further Motown releases would find their way onto the playlist. Here, our Soul Slowie Closer for this week is the wonderful Brenda Holloway, who for my money possessed one of the finest voices that ever came out of ‘Hitsville, U.S.A’. Diana Ross was aware of this too and, realising the threat, used her influence over Berry Gordy to ensure Ms Holloway wasn’t afforded the promotion she deserved. Brenda found herself increasingly sidelined and left the label after four years.

That’s it then. As I promised last time, I don’t think I’ve banged on as much this week. So yeah, enjoy them and come back next week for another ten superb selections.

Until then, get a grip on yourself.

Andrew Orley.

He Didn’t Even Say Goodbye. He Didn’t Take The Time To Lie.


Nobody’s Listening. No.79. 19.6.17.

Nobody’s Listening Facebook Page.

Hullo. Nice to see you again my chickadees. Welcome to another ten pop picks and some half arsed blather. As usual, we have something for everyone be it Fifties jazz, Sixties African psych-garage, Seventies soul, Nineties indie, Noughties guitar pop or Teenies (is that a thing?) Scandi-Folk. All bases covered there, I’m sure You’ll agree.

Paulo is here of course, this week my very good friend, bandmate and collector of out of production raw-umber Crayola crayons is pushing some Germanic Jazz into your collective earholes.

Shall we get on with it then? Strap yourselves in, there’s quite a bit of waffle this week. Walk this way..

Track 1. The Lights Went Out by The Cribs.

Kicking us off is the next installment in my ‘Long Goodbye To Leeds’ feature. As mentioned in the previous few blogs, I’ve spent the past 14 years here in the white rose county and as I’m due to return home to my native north east very soon, I’m taking the time to reflect on my years here in West Yorkshire. This week I’d like to take you to Wakefield where I lived from 2004-2007 and probably their most famous sons of recent times, The Cribs. It was on Marc Riley’s long defunct six music show ‘Rocket Science’ that my ears were first pricked by those wonderfully messy guitars and sing a long choruses that are now a well established Jarman Bros. trademark. I quickly got around to procuring their debut album and was bowled over by the sheer joy of each track. From then on and for the next year or so they quickly became a favourite and given their proximity to my home it was easy to catch them on any given week. Admittedly, my wife Kim became a much bigger fan (stalker) than I ever was, travelling up and down the country to enjoy their always energetic, frequently shambolic live shows. Just a couple of weeks back we caught them at Leeds Arena where they performed their 2007 LP ‘Men’s Needs, Women’s Needs, Whatever..’ in full and I must say, their polished performance was testament to a solid 16 years of touring, but this is where they hooked me and those early chaotic performances will always be hard to beat.

Track 2. All I Know About You by The Supremes.

I’m presently devouring Stuart Cosgrove’s book ‘Detroit ’67, The Year That Changed Soul’ which documents a turbulent 12 months for Berry Gordy’s Motown against the backdrop of the social and political changes that tore apart the motor city. The bulk of the book concerns The Supremes who were already the most commercially successful of the labels incredibly rich roster of acts. This track, which I’ve hitherto been unaware of, was the b-side to their classic early ’67 single ‘The Happening’ and in the book Cosgrove describes it as “a song of such shameless joy, it was closer to Eurovision pop than soul”. Well that piqued my interest right away and unsurprisingly, I love it.

Track 3. The Long Tomorrow by Tied & Tickled Trio.


Cor blimey! He can’t half pick ’em can our Paul! This is an act and track which is completely brand new to me which is surprising as they’re right up my alley and I note they’ve been a going concern since 1994. Just goes to show that if you dig, you’ll unearth new discoveries every day and oh, do I dig this. Paul has gone for the opener from the German septet’s third LP, 2003’s ‘Observing Systems’, a record I feel I am going to become very familiar with over the coming weeks.

Track 4. Rich And Strange by Cud.

Never fashionable but all the better for it, Leeds’ very own Cud released some smashing pop singles in the early nineties of which this is probably the best. Eminently danceable, with that addictive guitar line and lead singer Carl Puttnam’s unmistakable voice, this should have gone down in the annals as one of the great indie-disco tunes but was unfortunately largely ignored on release.. There’s a little story attached to this tune. It was around ten or eleven years ago that the band were due to play the now defunct but much missed Summer Sundae Festival in Leicester. When Carls wife went into labour and was unable to attend, the band battled on and invited members of the audience to join them on stage for some ‘Cud-eoke’. Much to my chagrin, I was too late in putting my name down for this track and some useless get proceeded to mumble it into his t-shirt when it obviously demands the grand gestures and big voice I would have been only too happy to provide. As a protest, and full of cider, I rushed my way onstage to provide some choice dance moves to try and gee the feller up. The audience (and band) loved it and as a mark of my appreciation of their wild cheers, I threw both of my brand new flip-flops into the throng, never to be seen again. Bit of an error as they were dead comfy and quite stylish too. But of course I was vey, vey drunk. There’s evidence on youtube somewhere, but I’ll spare you.

Track 5. Kingdom Of Not by Sun Ra.

More jazz you say? Go on then. Here’s former cover star Sun Ra and his Arkestra with an early piece from his 1957 LP ‘Super-Sonic Jazz’ which was one of the first recordings for his own label ‘El Saturn’. A fascinating character, Sun Ra is famous for releasing over one hundred full-length albums, comprising well over 1000 songs, making him one of the most prolific recording artists of the 20th century. This is just a toe dip into an incredibly rich and diverse back catalogue.

Track 6. Flowers On The Wall by Nancy Sinatra.

From a former cover star to this weeks artist lucky enough to grace the front page. Nancy’s sixties work with Lee Hazlewood is probably the high water mark of a long career which continues to this day. This, taken from the 1966 Hazlewood produced debut LP ‘Boots’, is a cover of The Statler Brothers tune, used memorably in Quentin Tarantino’s Pulp Fiction. Never the singer her father was (who will ever be?) Nancy still plays to her strengths and provides a playful rendition backed by punchy brass which stands next to the original with its head held high.

Track 7. Falcons by Amanda Bergman.

Swedish artist Amanda Bergman released her debut full English language solo LP last year titled ‘Docks’ and this is the stand out track. With Bergman’s soulful voice backed by a nagging drumbeat and shining ascending melody, this has a build that reaches it’s denouement bolstered by strings and brass. Top class songwriting from an undeniable talent.

Track 8. In Parallax by Algiers.

This Atlanta “Dystopian Soul” four piece released their debut LP in 2012 but it wasn’t until my friend, pun-master and all round good egg Ryan Coleman sent me a link to their superb latest single ‘The Underside Of Power’ that my ears were well and truly pricked. I was lucky enough to catch them live in Dalston last week in a humid 200 capacity venue and they were stunning, this particular track from that debut LP was a stand-out, vocalist/guitarist Franklin James Fisher giving his all with those unbelievably strong set of pipes. Smashing stuff, something tells me they won’t be performing in pub back-rooms for much longer, try and catch them before they explode onto the big time.

Track 9. Baby I Love You by Gino Garrido & Os Psicodélicos.

This next track is taken from an excellent compilation that surfaced a couple of years back. ‘On Blast: African Sixties Garage, Vol. 1’ and features tracks which are exclusively by bands from Congo, Angola, Mozambique, and South Africa. Much like the acts featured on the famous ‘Nuggets’ series of sixties garage compilations, these are all groups that existed for short blasts of time but had a keen influence on the generations that came after. The early knockings of afrobeat are contained in these primitive recordings and for that we should be eternally thankful.

Track 10. Super High On Your love by Bobby Barnes.

Our SSC this week is a shuper sheckshy shlow jam from 1977. A trawl through deep soul sites on the internet reveals precious little on Bobby Barnes except that he was active for a good thirty years or so but only released a handful of 45’s sporadically. Every commentator agrees however, that he was a top class vocalist that didn’t release a single duffer and should have enjoyed greater success. This goes some way to prove that theory. Get a room.

That’s it. Your Lot. I’ll see you next week when I’ll try not to go on as much as I know that you don’t come here for the words, you come here for the sounds. I’m cool with that.

Until then, keep your ‘lectric eye on me, babe.

Andrew Orley.

I’m Gonna Pick That Rose And Watch Her As She Grows In My Garden.


Nobody’s Listening. No.78. 12.6.17.

Nobody’s Listening Facebook Page.

Hullo. So, where do we go from here? I don’t presently know as I’m writing this on Tuesday night and have no idea which way the nation turned. I’m sure it’ll all be fine though. Won’t it? Please tell me it’ll be alright.

However things are, we still have the music and I’ll continue to try and ignore that Armageddon is imminent, as will my very good friend, bandmate and former executive director of the Alpine pop company, Paul Dee-Cee. This week he’s going to make you forget your woes/celebrate a victory for all that’s good with a smashing Pick Of The Week.

Ok then. Let’s leave them all behind..

Track 1. (I Know) I’m Losing You by The Temptations.

Kicking us off this week is the welcome return of Ruff fronted Temps. This 1966 single has his trademark raspy lead at the fore with some superb, harder edged production courtesy of Norman Whitfield. There’s some really great covers of this track, notably fellow Motown act Rare Earth and a 1971 effort by The Faces but, for me, nobody beats David Ruffin in full flow.

Track 2. Mamy Blue by Pop Tops.

This baroque pop group hailed from Spain and featured the soulful vocals of Trinidadian Phil Trim. This was their biggest hit, released in 1971, it made number one across Europe but only managed to scrape into the top 40 here in the U.K. where it vied for chart positions with Roger Whittaker’s version released at the same time.

Track 3. Watussi by Harmonia.

I’m aware that we’re stuck in the past for the first few tracks of this weeks playlist, but rest easy, the new stuff is coming! Anyways, here we have some often overlooked Krautrock from 1974, courtesy of the supergroup (of sorts) Harmonia. Made up of Michael Rother of Neu! and Hans-Joachim Roedelius and Dieter Möbius of Cluster, they released two albums: Musik von Harmonia in 1974 (from which this is the lead track) and Deluxe in 1975. It is very much a meeting of minds with Rother bringing his motorik sensibilities to reign in some of the excesses of the avant garde Cluster duo. The result is lush, futuristic electronica whose repetition is infectious and way ahead of its time. None other than Brian Eno described them at the time as “the world’s most important rock band” and was influenced by them greatly, so much so that he became the fourth member a couple of years later recording an album in 1976 titled ‘Tracks And Traces’ which didn’t see the light of day until 1997. It is, as you’d expect, absolutely fantastic.

Track 4. Give It Your Choir by Mark Pritchard feat. Bibio.

Ok, as promised, let’s jump forward to the present day and a track which was released in April of this year. We don’t move too far forward genre wise however as this dreamy piece of electronica recognises its debt to its forefathers in its repetitive bleeps, and is that a light motorik beat we can hear bubbling away underneath? Yes, I believe it is. Add on top reverby harmonies and you have a piece that also recalls the Beach Boys albeit through a Noah Lennox lens. Top stuff.

Track 5. Art_Work by tomemitsu.

We stay fairly recent with the next pick which was initially released as part of an EP back in 2013. Stretching to full album length, that EP ‘m_o_d_e_s’ (an anagram of Demos) is a collection of bedroom recordings from Martin Roork of the band Basement Babies. Slow acoustic bliss is the order of the day here with soft vocals underpinned by experimental white noise and what sounds like a melodica drone towards the end. Simple, but affecting.

Track 6. Joy by Circulatory System.


Depending on how yesterday went (the blog is compiled over a week, so as I write we’re either doomed, confused or heading for a new dawn, delete as applicable) you can either lose yourself in the celebratory lyrics of this weeks PPOTW – “We’re made of joy and make believe/We’re only made of sky”, or wallow in its slightly sombre loveliness and try to forget that we’re all going to hell in a handcart. Whatever state this fair isle is in at present, it’s comforting to know that we can always rely on Young D’Cruz to bring the sweet things.

Track 7. Ummh by Bobby Hutcherson.

Anyway, let’s leave these crazy times behind and head back to 1971 (when actually the planet was in as much, if not worse turmoil) and the early jazz fusion stylings of vibraphonist Bobby Hutcherson. Lifted from his wonderful Blue Note release from that year ‘San Francisco’, this features an excellent turn from Crusader Joe Sample on electric keys providing some meat on the bones. Special mention must also go to Saxophonist Harold Land whose Coltrane influenced tenor dances about this track with a playful freedom.

Track 8. Home by Engineers.

And now we turn to my feature where I bid a long goodbye to Leeds, my home for the past fourteen years. My recollection this week is of one of the first of countless gigs I caught at the much missed city centre venue, The Cockpit. The low curved ceiling meant it was never the greatest for it’s acoustics but most of the time bands would adapt their performance and the sheer will and enthusiasm of the crowd was more than enough to make you forget any shortcomings. It was a September night in 2005 that Mr D’Cruz and I paid a visit to see London Shoegazers Engineers and an occasion that solidified a friendship which thrives to this day. As we both stood in copious amounts of dry ice we first discussed the possibility of starting our own band (we initially considered a group made up of only Harmonicas!, blame the recreational cakes we had consumed beforehand). With Young Jimmy Dryden completing the line up, we did just that and it led to some of the best times I have ever had, and indeed, continue to have. I will no doubt regale you with some of these good times in the coming weeks until I actually up sticks and leave.. It all started there in that slightly seedy shed underneath the railway.

Track 9. Dusty Eyes by Bedouine.

Azniv Korkejian records under the name Bedouine, a name which is a direct reference to the nomadic Bedouin. When you consider she was born in Syria to Armenian parents, grew up in Saudia Arabia and has spent time in Boston, Houston, L.A., Kentucky and Houston, you’ll agree it’s an extremely apt moniker to adopt. This is the lead single from her forthcoming, self titled debut LP which is due to drop at the end of this month. Showcasing her smoky vocal style, this is late night music with some lovely touches. Check out that twangy almost folky guitar which plays throughout and the gorgeously warm strings that carry her voice through to the tracks conclusion. Classy.

Track 10. You’re Stepping On My Heart (Tearing My World Apart) by Ben E. King.

Our Soul Slowie Closer this week is also the end track of this weeks cover star’s tenth LP ‘I Had A Love’ which was released in 1976. Silky Atlantic soul at its best, it features a superb vocal performance by the former drifter and goes some way to prove that there’s a lot more to Mr King than the sixties big hitters he is most remembered for.

Ok then, There you go. I’ll see you at the same time and place next week for ten more of the best. Whatever happens today, just remember,in the immortal words of Jon Bon Jovi, we’ve got each other, and that’s a lot.

Until then, smile on your brother.

Andrew Orley.

Last Night I Dropped My Heart And I Never Want To See It Again.


Nobody’s Listening. No.77. 5.6.17.

Nobody’s Listening Facebook Page.

Hullo. Another week, another ten tracks hand picked for your pleasure. And what have your hands picked this week Andrew? I hear the gathered multitudes cry. Well I’ll tell you. We’ve got another trip down memory lane in my long goodbye to Leeds feature, the return of a twenty first century folk artist, two trips to Seattle and the return of doo-wop in our soul slowie closer slot.

And of course, Paulo’s pick of the week. My very good friend bandmate and original illustrator of The Beezer’s ‘The Numskulls’ cartoon strip has selected a new release from a band who have been out of the picture for a wee while.

Alright then, let me take you down, ’cause I’m going to..

Track 1. Assessment by The Beta Band.

We’re straight in there with this weeks cover stars and a reminiscence of my time here in West Yorkshire. I’ve seen a fair few bands in the 14 years I’ve spent as an exile in Leeds but this particular gig stands out as it was one of the first and a spur of the moment decision. I recall it was a gloriously sunny day in May, 2004 that Kim and I grabbed a couple of tickets to catch The Beta Band at Leeds Met. I’d been a fan since those magnificent three E.P’s in the late nineties and had previously caught them at Glastonbury where their performance was erratic to say the least. On this occasion though, they were on fire, a packed, sweaty Uni receiving them rapturously. This is the lead single from ‘Heroes To Zeroes’, the LP which the tour supported and proved to be their swansong as they split later that year. I’ve since seen lead man Steve Mason a number of times and while his solo output is solid, it’s always a highlight when he dusts down a BB classic.

Track 2. Groovin’ by Willie Mitchell.

If ever a tune was made for these hot and hazy days, it’s this. First (and probably definitively) performed by The Young Rascals in 1967, Eddie Brigati and Felix Cavaliere’s ode to summer has been covered by a number of artists from Lulu to War and countless others in-between. This hammond heavy instrumental rendition was released in ’68 and captures those sun-rays in every groove.

Track 3. Fool’s Errand by Fleet Foxes.


A long overdue return to activity for Pecknold and co next with PPOTW. Carrying on pretty much where they left off in 2011 with their sophomore LP ‘Helplessness Blues’, this is FF by numbers but why fix something that ain’t broke? Scheduled for release on June 16, their third LP ‘Crack-Up’ promises more of the same gorgeous, harmonic indie-folk that we have come to expect from the Seattle combo. My NL comrade in arms Paul and I saw them at Leeds Brudenell back in 2008, a gig we both cite as one of the finest performances we have both been lucky to witness, but I’ll save those memories for another week. For now, just enjoy this more than welcome return.

Track 4. An Aitearachd Ard by Ishbel MacAskill.

Now, this isn’t the sort of music I would normally enjoy but I heard this quite by accident a couple of weeks ago when it closed the ceilidh show which airs prior to Margo Marr’s excellent Oban FM Thursday night programme. (Margo ’til Midnight, Thursdays 10-12, you can hear it here) It caught me just at the right time and I sat in my hotel room absolutely transfixed by the simple beauty of the performance. Sung live, in Gaelic and with no accompaniment, it reminded me of the scene in The Shawshank Redemption which Morgan Freeman’s Character ‘Red’ describes thus..
“I have no idea to this day what those two Italian ladies were singing about. Truth is, I don’t want to know. Some things are better left unsaid. I’d like to think they were singing about something so beautiful, it can’t expressed in words, and it makes your heart ache because of it. I tell you, those voices soared higher and farther than anybody in a grey place dares to dream. It was as if some beautiful bird had flapped into our drab little cage and made these walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.”

Track 5. Power Child by Night Beats.

We take our second visit to the state of Washington next with modern day psych group Night Beats. This couldn’t be anymore different to fellow Seattlers Fleet Foxes if it tried, the three piece taking their cues from sixties garage rather than laurel canyon troubadours. Solid, driving stuff with a delightfully fuzzy guitar break towards the end, this comes from their third LP ‘Who Sold My Generation’ which was released on Heavenly early last year.

Track 6. Telescope by Vanishing Twin.

We stay in 2016 for the next selection. Founder Cathy Lucas named the group after her vanishing twin, an identical sister absorbed in utero, when they were both still a cluster of cells. The album ‘Choose Your Own Adventure’ which came out last September is an exploration of esoteric psychedelia with home-made electronics, vibraphones, tablas, and woozy vocals that add up to a forward looking but retro sound.

Track 7. New Frontier by Donald Fagen.

The Steely man’s 1982 debut solo LP ‘The Nightfly’ carried on the silky jazz that he pioneered with Walter Becker throughout the seventies but with further added sheen due to it’s completely digitalised recording process, an early example of the move away from analogue. This is probably the most well known track from that album, Fagen giving a wonderful vocal and shining on electric keys while backed by superb lead guitar courtesy of Larry Carlton, returning to work with DF after his star turn on the Dan’s 1976 classic ‘Kid Charlemagne’.

Track 8. It’s Time by Max Roach.

The title track from the legendary jazz drummers 1962 album features some excellent sticks work as you’d expect but it’s not just Roach and his sextet that makes this epic piece special. The choral backing which was conducted by Coleridge-Taylor Perkinson adds a further dimension that elevates and pushes it towards ethereal.

Track 9. Soldier by Richard Dawson.

It’s been a while since we last featured Richard on NL but this brand new track which is featured on his released-today LP ‘Peasant’ gives us a perfect excuse to rectify that. Now, I know that he can divide opinion, but this is much more accessible than some of his other work, but still tretains the trademark RD guitar and phrasing to please the purists. A true original who, if there’s any justice, should have a very bright future indeed.

Track 10. Too Far To Turn Around by The Creators.

Our Soul Slowie closer this week is the second of two singles recorded by Compton, L.A. doo wop group The Creators. Released in 1962, which was pretty much the arse end of the genres popularity, it is still an excellent example of close harmony. You’d be forgiven for singing along to the words of ‘The Great Pretender’ as the track starts, such is the similarity at the beginning of the song but it quickly becomes its own entity and has some superb vocals courtesy of Charles Perry and Hillary Conedy handling the lead and falsetto parts respectively.

Number 77. Done. Number 78 will be winging it’s way to you in seven days time. Remember, if you can’t wait that long for a fix then don’t forget to visit our facebook page up the top there where you can get a daily track not featured on the playlist and also contribute your own selections as well as enjoying some of the excellent recommendations from our lovely members.

I’ll see you next Friday then when hopefully, this country can look forward to a bright new future.

Until then, use it up and wear it out.

Andrew Orley.

And All The Stars That Never Were, Are Parking Cars And Pumping Gas.


Nobody’s Listening. No.76. 29.5.17.

Nobody’s Listening Facebook Page.

Hullo. Firstly, I’m not going to dwell on the atrocities in Manchester earlier this week except to say music heals and the good will out. Love, light and peace to all those affected.

Ok. Something for everyone this week with Jazz, experimental electronica, a lost powerhouse of a vocalist and gay Canadian church folk on the menu. I’m sure that covers all your major food groups. And if not, then frankly you’re eating the wrong stuff.

The boy D’Cruz has plumped for another new-to-me act which is quite tasty too. It’s very rare, if ever, that my very good friend, bandmate and former Pineapple dance studios instructor brings meagre offerings to the table.

So, without further ado, eat yourself whole..

Track 1. Day Is Dawning by The Hidden Cameras.

I’ll soon be bidding a sad farewell to Leeds, the city I have called home for the last fourteen years as I’m returning to the homeland to be closer to friends and family. Over the next few weeks I’ll be sharing tracks that have sound-tracked my time in West Yorkshire, each one holding special memories of a place I will always be proud to call my second home. We begin with Canada’s The Hidden Cameras and a cut from their 2003 LP ‘The Smell Of Our Own’, one of the first records I bought after my relocation. This will always take me back to those first days of life in a new city, Our little flat in Horsforth, the number 50 bus which became my commute to town for that first year, and my first ever MP3 player which held about forty tracks, this album taking up ten of those allotted slots for the following year.

Track 2. You Can Have Him by Dionne Warwick.

I can’t remember a time when I wasn’t aware of this weeks cover star, her distinctive tones were around from a very early age through the seemingly ubiquitous Bacharach and David songs which dominated seventies radio and are now rightly regarded as classics. This track is lifted from her fourth LP released in 1965 ‘The Sensitive Sound of Dionne Warwick’ which was produced by B&D with seven of the eleven tracks penned by the prolific duo. This drum heavy beaut, however, was written by Bill Cook and released as a single, denting the lower reaches of the UK charts.

Track 3. Homage by Mild High Club.


When I first heard Paulo’s Pick for this week I was struck with the similarity of the guitar sound and that of NL favourite Mac DeMarco. Turns out that Alex Brettin, for Mild High Club is he, is a former tourmate of the Montreal wunderkind. Brettin has also toured with another NL pick in the shape of Ariel Pink. Both those artists influences are apparent here on a track taken from his second LP, last years ‘Skiptracing’. If you’re fan of either of the acts mentioned, and you should be, then you’ll lap up this bright and bouncy slab of wonky summer pop.

Track 4. Milk Rock by Organisation.

I mentioned last week that I’ve currently got my sizeable schnozz buried deep in David Stubbs’ excellent in-depth study of Krautrock, Future Days. As you’d expect, there’s a large chunk given over to Kraftwerk and their transformation from bonkers folk rocky experimentalists to genuine icons of the twentieth century. This track represents the former incarnation and the beginning of Ralf Hütter and Florian Schneider’s musical partnership. Produced by the legendary Konny Plank, it comes from the only LP they released as Organisation which pretty much sank without trace in 1969. Whilst more musique concréte than the pioneering electronica they made their names with, it’s easy to hear the first knockings of one of the most important acts of the last fifty years.

Track 5. American Dream by LCD Soundsystem.

Next, a welcome return to the playlist and indeed to music for James Murphy’s LCD Soundsystem. Coming seven years after their last output, this is one half of the double A single released a few weeks back and the first fruits of the eagerly anticipated imminent fourth LP. Here’s hoping it gets a release sooner rather than later as there’s nothing quite like LCD in the summertime, and new LCD will make that sunshine seem even brighter.

Track 6. Dig Dis by Hank Mobley.

This is taken from the 1960 Blue Note LP, ‘Soul Station’ a record widely regarded as Mobley’s finest work. Accompanied by Art Blakey on Drums, Paul Chambers on bass and Wynton Kelly on piano, Hank’s tenor is a joy to behold. Whilst not as improvisational as Coltrane, he still has the chops to be considered one of the true bop greats, his melodic stye perfectly employed here on one of his own underrated compositions.

Track 7. Losing Something (Is Finding Something Else) by The Babe Rainbow.

This Australian trio have described themselves in turn as “God picking sunflowers” and “James Brown’s Beach Boys”. I’d certainly agree with the second statement to a point, the cosmic retro bubblegum that they ply has echoes of sunshine Wilson and the funkiness of the Godfather of Soul in its classic approach. This lazy piece of acoustic tinged merriment is from their forthcoming debut LP which is due to drop on June 2nd and will be another essential record for the forthcoming summer months. As for God picking sunflowers? Well..

Track 8. All My Loving by The Almighty Defenders.

The Almighty Defenders is a supergroup consisting of members from the Black Lips and The King Khan & BBQ Show who have so far released just the one, self titled LP in 2009. This is the opener from that record and it’s a storming garage rocker that prompted me to wind down the windows on a sun-baked drive home from work the other day. Beats the usual Kiss FM bollocks that you usually hear farting from a souped up Vauxhall corsa any day of the week.

Track 9. You Hit Me (Right Where It Hurt Me) by Alice Clark.

By now, regular readers/listeners will be well aware of my love for Alice Clark and in particular her one and only LP release 1972’s ‘Alice Clark’. If you haven’t heard this stunning record, I urge you to drop everything right now and give it a spin. Here we have probably her most well known platter which is a big hitter on the Northern Soul scene, for my money it’s up there with the LP. Why? That voice. Listen to how it strengthens as the track progresses. Marvellous stuff. Alice quit the scene shortly after she released the album and was never heard from again. A truly great loss as those pipes are up there with the soul greats.

Track 10. I Can’t Believe You Love Me by Barry White.

Soul slowie closer time and here we have the walrus of love with the ten minute track that closes side one of his 1974 masterpiece ‘Can’t Get Enough’. Shortly before his death in 2003, I had promised the current Mrs Orley that we would go to see Bazza on his forthcoming tour. Obviously, that never happened and it’s one of my regrets that I never caught him live. Anyway. This one’s for you Kim.

And on that soppy note, this weeks proceedings draw to a close. See you all at the same time, same place in seven days.

Until then, Keep it clean.

Andrew Orley.

I Want The Sun To Shine.


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 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.