Nobody’s Listening. No. 29. 23.5.16.

Hullo. It seems this new approach with vid or sound links is a popular addition to the playblog everyone knows and ignores. Last week saw our highest figures yet no less!
I’m under no illusion this will continue however, and await the inevitable dip for this weeks offerings. You’re a fickle bunch, but i still love you.

Lots and lots for you to see on NL 29 though, including of course PPOTW, in which my very good friend, bandmate and stuntman for Scott Baio, Paul D’Cruz gets us in the gut with some Scottish post rock.

So, let’s get down and get with it..

Track 1. Bad Girl (Pt.1) by Lee Moses.
Track 2. Bad Girl (Pt.2) by Lee Moses.

We begin this week with a superb double helping of deep soul. You’ll note that it’s the same track by the same artist in two parts, it’s one complete song, but was split to either side of a 7″ on release. Listen to that vocal performance though, up there with Otis for my money, he means every.single.word. Moses only managed one albums worth of songs which sold poorly. He consequently left the business, returning to his native Atlanta in the early seventies where he performed locally until his death in 1997. I’ve managed to find a complete version on youtube for your listening pleasure. If it’s the first time you’re hearing it, i envy you.

Track 3. Lost Dreamers by Mutual Benefit.

I’ve been on board with this lot since I first heard the gorgeous ‘Here’ on the BIRP playlist back in 2010. This latest release from Jordan Lee and his assembled backing carries on that romantic line he has drawn. Beautiful warm strings wrap their arms around from the off and continue their embrace throughout. It’s one of those songs you can float around in and see yourself from above.

Track 4. Green Blood by Sonny & The Sunsets.

I believe it was our very own Mr Paul D’Cruz who introduced me to the genius of Sonny Smith many moons ago. This 2013 track from his third album concerns falling in love with an alien android, it’s by no means the strangest or most ambitious song he’s ever recorded but it gives you a good idea of what to expect when you enter his world. He’s probably best known for an astonishing feat he undertook in 2010. Smith invited 100 artists to produce artwork for the record covers of fictional bands. He then concocted the personas of all 100 fictitious bands, then wrote and recorded two hundred songs (the A side and B side) for each.

Track 5. My Shy Violet by The Stereos.

Fifties doo wop artists from Ohio with a nifty jazz backed close harmony number. No vid links for this on the Internet unfortunately.

Track 6. Les Là-Bas by Henri Texier.

This, the opening track from his 1977 LP ‘Vanech’, is probably the French double-bassist’s best known piece. It was remixed by Bonobo a few years ago and became a jazz-house favourite, finally enjoying a physical release on last months record store day. Here is Texier’s original album version.

Track 7. Too Beautiful To Work by The Luyas.

Next we have the title track from the Canadian Indie Rock outfits sophomore LP from 2011. Their leader Jessie Stein is also the guitarist in fellow Canuck band Miracle Fortress, more of which later. For now, enjoy this stuttering slice of fizzing spaciness.

Track 8. Dark Delirium by Kate Simko & London Electronic Orchestra.

The first of two instrumentals next. Chicago born Simko is a classically trained pianist who began experimenting with electronics while studying at the Royal college of music. This comes from the fruits of her labour, a self titled album that was released just last week and it’s a delight. She is also an in-demand DJ and producer, having recently worked with U.K. dance star Katy B. A fast rising star.

Track 9. Rano Pano by Mogwai.


Hard to believe, but Scottish post rock noise terrorists Mogwai have been making epic soundscapes such as this for twenty years now. I know Paul is a big fan and recently experienced them live. Despite his bleeding ears, he’s gone for this instrumental track from their excellently titled 2011 LP, ‘Hardcore will never die, but you will’.

Track 10. Fuck by The Gaslamp Killer.

As you would expect from it’s title, our next track is extra sweary, so be careful if you’ve got chilblains running around. This short piece goes some way to explaining how versatile the most used expletive in the English language is. Taken from his debut, and to date, only release, 2012’s ‘Breakthrough’.

Track 11. Try My World by Georgie Fame.

This weeks cover star was born plain old Clive Powell before he was christened Georgie Fame by Larry Parnes. He joined the roster of artists which included Billy Fury and Marty Wilde before setting out on his own and enjoying a string of hits including three number ones. This particular track is from 1967 and shows a flower powered influence in it’s lyrics and dreamlike production. A gorgeous, easy listening meets jazz-pop piece that stays just the right side of schmaltz.

Track 12. Maybe Lately by Miracle Fortress

When I first heard ‘Five Roses’ on it’s release in 2007,I was smitten. Graham Van Pelt, the man behind Miracle Fortress had created a modern day classic. An obvious fan of the Beach Boys, each of the albums twelve tracks could charm the birds from the Californian trees. With absolutely no filler, I could have picked out any of them for inclusion. I’ve gone for this purely on a random basis.

Track 13. Sunny Day by Edward Penfold.

You’d be forgiven for mistaking this next tune as a long forgotten Syd Barrett track if you had no prior knowledge of it’s origin. I did. As it turns out it’s a single release from just last year, clearly influenced by the great, lost psychedelic warrior.

Track 14. Boss City by Wes Montgomery.

A master class in jazz guitar next from a man who influenced Hendrix, played with Miles Davis and John Coltrane and carried the deft touch of Reinhardt.

Track 15. Ohomi by Sonny Okosuns & Paperback Limited.

Another in what’s becoming a regular slot for Soundway releases. Nigerian, Okosuns is probably best known for his anthem protesting apartheid in South Africa, 1977’s ‘Fire in Soweto’ it, and most of his other work, strongly promoted African unity and black pride.

Track 16. Anyone Who Knows What Love Is (Will Understand) by Samantha Whates feat Chaps Choir.

This cover of an early Irma Thomas song was released last month as a fundraising single for C.A.L.M, a charity dedicated to the prevention of suicide in young men. Whate’s voice is stunning, floating above the assembled male voice choir, hitting and sustaining notes with remarkable clarity. It can get you right in your stomach and weaken the resolve of the hardest of hearts. You can find
out more about C.A.L.M’s excellent work here..

Track 17. Let It Be by Malvina Reynolds.

Malvina’s songs were often dismissed as children’s nursery rhymes but there are hidden depths and profound truths to be found in her lyrics. This was recorded in 1969, just before her 70th birthday, it’s simple message given gravitas through her frail voice.

Track 18. Watershed by Mark Edwards.

Edwards has spent almost 30 years playing piano and performing with acts as diverse as Nina Simone and Aztec Camera. This comes from his solo debut album from 2012 and features a smashing solo on bass clarinet from Roy Castle’s son, Ben.

Track 19. Bim Bom by João Gilberto.

I’ve waxed lyrical about bossa nova in previous editions of NL. Here’s where it all started. The first single in the ‘new style’ from the inventor of the genre. Released in 1959, it started the bossa craze which stretched well into sixties and made stars of Getz, Jobim et al.

Track 20. As Long As I’ve Got You by The Charmels.

Another soul slowie to close with and another tune which has been sampled by a hip hop act. This time around it’s Wu-tang who lifted the hook from this 1967 single for their track C.R.E.A.M. It’s always nice to go back to the original and hear these samples in their original context. You usually find something to fall in love with. This is no exception.

So, that’s yer lot for this week. Join us again next week for twenty solid smashers. It’s going to be great. Trust me, I’ve already compiled it.

Until then, get on the good foot.

Andrew Orley.


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