You’ve Got Me Walking And Talking In A Trance, In A Magic Spell Of Romance.

Linda Jones as pictured on the cover of 'Your Precious Love', circa early '70s

Nobody’s Listening. No.93. 23.10.17

Nobody’s Listening Facebook Page.

Hullo. There’s gonna be some sweet sounds coming down on the nightshift this week.
Yes, I’m on the graveyard for the next few days so forgive me if this weeks blog comes across as a bit grumpy and/or rushed as I’m going to try and sneak in a few paragraphs between failed attempts at sleep.

This week marks the second anniversary of the playlist but I’m holding off until NL 100 for any big celebrations. Be warned!, that landmark list may also be the last ever, I haven’t quite decided yet…

Anyways, what have we got in store for you lovely people this week then? Well, among others, we’ve got some good old honest rock n roll, sixties jazz, seventies soft rock and a familiar song with a not so familiar voice.

Paulo is of course here and for the second week running he’s ahead of schedule with his pick. A million thanks to my very good friend, bandmate and wardrobe assistant to ex Blue Peter presenter Lesley Judd.

Enough chatter, let’s go all the way..

Track 1. Search And Destroy by The Stooges.

What a way to kick off this weeks proceedings. This, if you aren’t already familiar, and you should be, is the incendiary opening track from The Stooges classic 1973 LP ‘Raw Power’. Presented here is the original 1973 Bowie mix as opposed to Iggy’s own remix from the late nineties. A stunning attack of a song, it’s pretty much a template for all things that would explode three years later with each of the Detroit boys in ferocious, punky mood particularly James Williamson’s lead guitar which he plays for his life, probably much to the chagrin of the recently ‘demoted’ to bass Ron Asheton. Don’t worry if you’re a precious little flower, things get a lot tamer from hereon in.

Track 2. Colour Television by Eddy Current Suppression Ring.

Although not quite yet as this Aussie garage quartet make their second bow on the playlist, and as I mentioned on their first appearance back in December last year, they owe quite a debt to our previous act, shit, doesn’t every single band since? This, as did their track from last year, comes from their award winning 2008 LP ‘Primary Colours’ and is a minimalistic but powerful song with frontman Brendan Suppression’s Melbourne drawl backed by slow builds until frequent explosions of noise occur. A fine opening salvo of noise terror.

Track 3. Seabird by Alessi Brothers.

Going the other way musically, we have another returnee in the shape of The Alessi Brothers and their easy-going soft rock to the playlist. In fact it’s the first of a run of three seventies songs which sail close to the AOR/MOR shore so if you’re offended by undemanding, but beautiful craftsmanship, go back to the opening brace of songs on this weeks list to sate your headbanging ways. The Long Island siblings previously appeared on NL with their fantastic 1977 worldwide smash ‘Oh Lori’ and this is another cut from their debut self titled album which was released in the previous year and recently featured on ‘Hunt for the Wilderpeople’, a 2016 New Zealand adventure comedy-drama film.

Track 4. Speak Your Mind by Marc Benno.

If I had to pick a favourite song from this weeks selections, it would probably be our next choice. This Texan Musician is a new discovery for me and his 1971 LP ‘Minnows’ from which this beautiful song comes is receiving heavy rotation on the turntable in my mind. A bluesy, swampy record on the whole, there is also room for slower, soulful songs such as this string backed slice of gorgeousness which is perfect late night drinkin’ music. Benno was the other half of The Asylum Choir, a duo he formed with the late Leon Russell in 1968 which bore two LP’s before striking out on his own. He also contributed the second guitar to The Doors’ ‘LA Woman’, and can be heard bubbling just under Robby Krieger’s lead.

Track 5. Native New Yorker by Frankie Valli.

It was soul-dance band Odyssey who made it big with this 1977 disco colossus which was penned by long-time Valli associates Sandy Linzer and Denny Randell but the erstwhile frontman of The Four Seasons was the first to record their song when it featured earlier in the year as an album track on his “Lady Put The Light Out” LP. I’m not sure which version I prefer as they are incredibly similar and it was a toss-up as to which take to feature this week. In the end, the little feller from New Jersey wins out in the name of obscurity. Either way, it’s a classic of the genre and a song I could never tire of.

Track 6. Black Fire by Andrew Hill.

This is the title track to Hill’s second LP which was released in 1963 and was the first of a dozen records he recorded for Blue Note over the course of a decade. Although flirting with the more avant-garde free jazz movement this piece has more of the characteristics of modal post bop. The quartet featured here comprises Hill on Piano, Joe Henderson on saxophone, Richard Davis on bass and the legendary Roy Haynes behind the kit.

Track 7. Montague Terrace (In Blue) by Scott Walker.

During the summer, there was a BBC Prom dedicated to the late sixties works of Scott Walker focusing on those four enchanting, numbered solo LP’s from 67-69. This, which was performed admirably by the great Richard Hawley for the concert, featured on the first of those albums, 1967’s ‘Scott’ and was one of a handful of self penned songs which nestled alongside covers by Jacques Brel and others. It is an augur of his masterpiece, the magnificent ‘Scott 4’ which was the final record of that purple patch and consisted entirely of songs written by the erstwhile Mr Engel. The Prom itself is well worth catching if still available, in particular the tracks covered by John Grant whose baritone is akin to Walkers golden tone.

Track 8. Fluid by Jestofunk.


Acid jazz quickly became a dirty word in the music press during the nineties, another example of the snobbery peddled by the unwashed, guitars or nothing hacks who infected the rags at that time. On any given week, I recall the NME and Melody Maker would be peppered with put-downs with special ire reserved for the (admittedly frequently twattish) Jamiroquai. I was a fan of the genre and still am, but this pick from Paulo by Italian practitioners Jestofunk has passed me by until now. It’s a solid and funky example of that unfairly maligned movement and I shall be exploring ‘Love in a Black Dimension’ their 1997 début album from which this is lifted in the coming weeks.

Track 9. Frozen Garden by Emily Jane White.

Hailing from Oakland California, this singer songwriter has been active for just over ten years now releasing five albums in that time. This particular track was the lead single from her latest, ‘They Moved In The Shadow Altogether’ which hit the shelves last summer and is a prime example of her lilting, poetic folk-pop.

Track 10. Your Precious Love by Linda Jones.

The Soul Slowie Closer this week comes from our cover star and northern legend ‘The Late, Great Linda Jones’. This was her comeback single which was released in 1972 and is a powerful interpretation of Jerry Butler’s ‘For Your Precious Love’. Sadly, her reemergence was short lived as she passed away shortly after, succumbing to diabetes at the ridiculously young age of 27. Her music lives on through the Northern Soul clubs however, where her forceful gospel voice is rightly regarded as one of the finest to ever grace wax.

And with that, we reach the end of another ten pop picks. I’m now off to enjoy a week of leave with my family incorporating a trip to that mousey theme park in gay Paris. Unfortunately, this means you’ll have to wait a fortnight for NL 94, but it will be worth it, trust me. If you simply can’t hang on that long for your fix of quality sounds, don’t forget you can get a daily dose on the facebook page linky thing up the top there.

Also, as there’s all hallows eve to consider while I’m away, fulfill all your spooky requirements with the Nobody’s Listening Halloween Special from a couple of years back.

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

Until then, never give up on a good thing.

Andrew Orley.


Daylight, Seems Bright, Because Of Night. It’s Shade We Need So We Can See.


Nobody’s Listening. No.92. 16.10.17

Nobody’s Listening Facebook Page.

Hullo. So, we’re almost halfway through October and speeding towards the second anniversary of NL. It only seems like five minutes since I posted that first clump of twenty tracks that I thought others might dig. We’ve seen some changes since then, including the decision to half the number of picks earlier this year. Still, you’re getting value for money this week as we clock in at just over an hour thanks to the final pick of my Long Goodbye To Leeds feature which is an epic, fourteen minute jazz odyssey.

Paulo’s pick of the week helps elongate this weeks playlist too. My very good friend, bandmate and proud owner of the largest collection of back copies of ‘Whizzer & Chips’ in the west riding has also plumped for a long song. Unusually, he provided his selection a week in advance. My constant moaning must have pricked his conscience.

Shall we get on with it then? What time is it? It’s time for house..

Track 1. Shoreline by Seazoo.

We begin with a fizzing slice of indie pop from this five piece. This brand new track is the second single taken from their debut LP which is due to drop on Thrill Jockey in a few weeks. I note they hail from Wrexham where you may remember I spent an uneventful fortnight last month, however, their sound is a million miles away from that unremarkable town in North Wales and shares some of the psych pop leanings of their fellow countrymen Super Furry Animals as well as American bands such as Grandaddy and Yo La Tengo. Delightful stuff and providing I am still plying my trade in the capital, I shall be making the trip across town to catch them live at the social on Portland Street next Month.

Track 2. Kid by The Pretenders.

You know when you find yourself in front of a stage at a festival with no idea who is coming on next? A lot of the time this is the best way to do things as you can quite often catch an act who by turn surprise and delight. It was Glastonbury 1994 that I found myself at the ‘Other Stage’ waiting for the Manic Street Preachers when Chrissie Hynde and the boys, unexpectedly to me, strode onto the stage and took Worthy Farm by the bullocks. As hit followed hit, I found myself thoroughly enjoying an act I previously had only the slightest of passing interests in. I caught them again at the middle-class latte-fest that is Latitude (never again) some 12 years later and was completely won over yet again. This, their second single which was released in 1979, was a set highlight on both those occasions and has been an earworm for the last couple of days, hence its inclusion this week.

Track 3. Pharaohs by Tears For Fears.

Following on from last weeks pick from Mara Carlyle, here we have another track which featured on Guy Garvey’s excellent Finest Hour show on BBC six music a few weeks back. I’ve always had a soft spot for Tears for Fears, their ambitious, polished pop always seemed out of sync with trends in the eighties and was peppered with intelligence and skill, components missing from most of their contemporaries. This instrumental was the b-side to their 1985 smash ‘Everybody Wants To Rule The World’ and is a slower, largely instrumental variation of the a-side featuring a recording of BBC Radio 4 announcer Brian Perkins reading the Shipping Forecast.

Track 4. When I Grow Too Old To Dream by Jimmy Smith.

We’re a tad instrumental heavy this week, but there’s nothing wrong with that is there?, especially when one of the tracks is this wonderful version of Sigmund Romberg and Oscar Hammerstein II’s evergreen classic. Lifted from Jimmy Smith’s 1963 Blue Note release ‘Back at the Chicken Shack’, it’s his solid organ groove that holds the piece down with superb support from the rest of the quartet which comprises Kenny Burrell on guitar, Donald Bailey behind the kit and a wonderful turn from Stanley Turrentine on tenor sax

Track 5. Cefylau by Catrin Finch and Seckou Keita.

This next selection is another of those tracks that sent me to another place when I heard it on the wireless a few weeks back. Welsh musician Catrin Finch began learning the harp at the age of six and went on to win countless awards as well as an appointment to become the official Harpist to the Prince of Wales, an office reinstated by Prince Charles which had been vacant since the reign of Queen Victoria. This beautiful piece, which translates as ‘Horses’ in English, comes from the 2013 album ‘Clychau Dibon’ a project she undertook with Senegalese Kora player Seckou Keita, their two variations on the stringed instrument complimenting each other perfectly.

Track 6. Final by Wilsen.

This next artist featured on Nobody’s Listening Number 45 way back in September last year. At the time, her long awaited full length album was slated for a release in October but didn’t actually materialise until April this year. As things go it was well worth the wait, a record filled with quiet, restrained songs which allow Tamsin Wilson’s pure, unaffected voice to take centre stage. This track which is taken from that LP titled ‘I Go Missing In My Sleep’ is a perfect example of what to expect should you decide to immerse yourself in the record’s understated beauty.

Track 7. Truth by Kamasi Washington.

Here we are in the present day and my last selection in my Long Goodbye To Leeds feature. A bit premature, as it now looks like we’ll be relocating to the north east in the next few weeks but let’s not get bogged down with technicalities. This track was a ‘Daily Dose’ on the NL facebook page earlier in the year but it’s just too fantastic not to warrant its own slot on the playlist itself. It also ties in nicely with the feature as the artist in question was, to date, the last act I have seen in my adopted city. It was in June this year that I convinced my two very good friends, James and Paul (of pick of the week fame) to have one last hurrah and round off a good ten years of gig going together to catch this weeks cover stars at Leeds stylus. While I was a little disappointed that he didn’t play this opulent, gospel infused opus, the band were simply stunning, a performance that will live long in my memory and a fine coda to what has been some of the best years of my life. I will truly miss West Yorkshire and the opportunities it has afforded to catch world class acts such as Mr Washington and his band.

Track 8. Remember Last time by Avi Buffalo.


Earlier than usual with his choice, Paul has come up trumps yet again with his pick of the week. Avigdor Benyamin Zahner-Isenberg landed on the scene at the tender age of 19 back in 2010. His self titled debut LP, which he recorded for Seattle based Sub Pop, dropped in the same year and was widely lauded at the time. With good reason too, this prodigy has a natural gift for creating assured, ambitious pieces of perfect pop such as this seven minute jam which graced that wonderful first record. I was lucky enough to catch him at Leeds Brudenell Social club shortly after the record was released and even managed to have a chat with him before he took to the stage. An affable, energetic chap, he was a delight to talk to.

Track 9. Solstice by Brian Bennett.

Bennett is probably best known for his role as drummer for The Shadows but there’s so much more to the musician than a time keeper for Hank Marvin. A prolific composer, he has provided many popular TV theme tunes including music for BBC sports such as the wonderful Rugby Special theme ‘Holy Mackerel’ and BBC Golf’s ‘Chase Side Shoot Up’ as well as various sitcoms including the memorable piece for ‘Robin’s Nest’. This instrumental comes from the 1978 LP ‘Voyage – A Journey Into Discoid Funk’ which pretty much does what it says on the tin.

Track 10. Go On Fool by Marion Black.

For our soul slowie closer this week, we once again dip our toe into the warm waters of one of the Numero groups excellent compilation albums. This 1971 single became a minor hit for Ohio born songwriter Black in 1971, peaking at No.39 on the US Billboard R&B chart. It’s another of those lost classics with a fine turn from the singer, wringing emotion from every phrase with his distinctively deep voice.

That’s your lot for this week. Don’t forget to keep sharing, we had another spike in views last week which pleased me no end, let me tell you.

See you next time for another ten tunes and some waffle.

Until then, save the last dance for me.

Andrew Orley.

You Were The Raven Of October. I Knew The Sign You Flew Around.


Nobody’s Listening. No.91. 9.10.17.

Nobody’s Listening Facebook Page.

Hullo. A record low for views last week. I mean, I know it’s called Nobody’s Listening but it would be nice if somebody did! If you did take the time to check out the cracking list that was NL 90, then thank-you, you will be rewarded in the afterlife in line with your belief system. If you didn’t, then you disappoint me, see me after class.

You can always go back through the archive and see what you missed of course. It was quite the list too. But man, this weeks is a belter, even if I say so myself.

Hopefully my very good friend, bandmate and Meg Ryan’s personal handbag shopper Paul D’Cruz can add to the superb collection of songs below. He’s back to his old lazy ways and hasn’t submitted yet. Cuh!

Worrevs, Shall we get going? You better, you better, you bet..

Track 1. Vapour Trail by Ride.

If you’re going to pick a Ride track, then why not go for the obvious choice? Actually, it was a toss up between this and the epic ‘Leave Them All Behind’, two songs which are enhanced by the excellent sticks-work of Laurence “Loz” Colbert behind the kit. His fill heavy turn on this and the stunning tub thumping he contributes to LTAB are the reason I love both songs. In the end Vapour Trail wins out simply for that absolutely gorgeous string quartet coda. I still haven’t caught them live since they reunited a few years back and their new material is reliably robust, but this takes some beating and is as fresh today as when I first heard it 26 years ago.

Track 2. The State (I’m In) by Josefin Öhrn And The Liberation.

Our next track was the second single from this Swedish outfit’s second LP ‘Mirage’ which was released late last year. With influences ranging from Can to Suicide to Spacemen 3, the band do a great job of taking all the best bits of each and combining them to create something old but new at the same time. This is thanks in no small part to Josefin Öhrn’s mantra like vocal which shimmers over the drone noise and repeated organ motif with the delicate grace of a gossamer wing.

Track 3. Turkish Bath by The Don Ellis Orchestra.

Taken from Ellis’ Grammy nominated album ‘Electric Bath’, here we have a big-band instrumental whose sitar bookends firmly stamp the year 1967 on this ten minute epic. A punchy, brassy journey that begins in Persia but soon settles in to full on Latin lounge before returning to its middle eastern origins, it has lots to admire including the front-man’s turn on trumpet and some ahead of it’s time electric piano noodling in the final third. Ellis went on to compose the dynamite soundtrack for William Friedkin’s ‘The French Connection’ and also released his own funked up version of John Williams’ Star Wars main title which is well worth a listen should the fancy take you.

Track 4. Slow Down by Loose Ends.


Here he comes, swanning in at the eleventh hour. Better late than never I suppose. I mean, cruising in with this contemporary piece of UK R&B at this late stage? Do you know, I’ve become quite a fan of eighties UK soul over the past two years due to its ubiquity on the Top Of The Pops repeats on BBC4. I was never a massive fan at the time but stuff like this really floats my boat now. So yeah, he’s done it again albeit right on the deadline. It’s a good job he has impeccable taste and I love the tardy get.

Track 5. Marbled Birds by The Mantles.

It’s impossible to describe this next band without mentioning the word ‘jangly’, so let’s get that out of the way at the very beginning. These jangly San Franciscans have had a steady career since their 2009 debut, releasing a record every couple of years or so with absolutely no progression in their garage/eighties college pop style. This is by no means a bad thing, once you find your niche there’s absolutely nothing wrong with sticking with it, especially when you are knocking out delightfully laconic fayre such as this, the opener from their sophomore LP, 2013’s ‘Long Enough To Leave’.

Track 6. If There Is Something by Roxy Music.

If you were reading last week, and as I moaned about up the top there, not many of you were, you may recall that I mentioned I’ve currently got my massive schnozz in Simon Reynolds’ excellent ‘Shock And Awe, Glam Rock And It’s Legacy’. Unsurprisingly, a hefty amount of pages are given over to this weeks cover stars. Reynolds’ analysis of the track we feature here prompted me to revisit their debut LP, a record I’ve not listened to in an absolute age. It really is a stunning piece of work and I imagine that a fair few jaws dropped in 1972 on hearing something that was completely not of this world. Bryan Ferry’s vocal on this track is singled out in the book, the author describing that stunning vibrato thus; “Ferry’s most blood-curdling vocal theatrics ever-stricken histrionics wrenched from deep within, at once harrowingly visceral yet somehow utterly beyond human”. Again, I was in complete agreement with his account and immediately visited an online streaming service where that wonderful debut lifted me from a drab commute from Waterloo to Windsor to another, ahem, Virginia Plain.

Track 7. Playmate by Rolf Kühn.

Our second instrumental of the week comes from German clarinetist and bandleader Rolf Kühn. Beginning his recording career in 1960, Kühn has released discs in each of the last six decades and worked with some of the greats of Jazz, including Joachim Kühn, his pianist brother. This break-beat heavy slice of early seventies sophistication features a splendid turn from the younger sibling on Fender Rhodes and is included on the excellent compilation LP ‘The In-Kraut Volume 3’.

Track 8. ‘Tis A Pity She Was A Whore by David Bowie.

The penultimate year in My Long Goodbye To Leeds feature next and we’re back in the annus horribilis that was 2016. We said goodbye to some true giants last year but the major loss for me was the thin white duke’s death right at the beginning of that most wretched twelve months. Released on 8th January, his 69th Birthday, the album ‘Blackstar’ proved to be Bowie’s swansong as two days later, he was gone. I look back at that day often and recall the absolute and total grief I felt for someone I had never known personally, a first for me as I have always managed to keep an air of detachment when it comes to celebrity. Not this time though. I struggled to stem the flow of tears for days after his passing and even now I find it difficult to listen to his music as it brings back the sad memories of that dark time in January. Still, with every month that falls from the calendar it gets easier to go back and appreciate what an absolute one-off he was. This track from Blackstar has steadily become one of my favourites, not just from that LP but from his whole canon. The superb free-form sax from Donny McCaslin which powers the track is one of the reasons, but it’s David’s voice that I return for. There are signs of his frail state, but his god given instrument is still an absolute joy to behold. We’ll never see his like again you know. Never.

Track 9. Pianni by Mara Carlyle.

I first heard this track a couple of weeks ago when Guy Garvey featured it on his BBC 6 music show ‘Guy Garvey’s Finest Hour’ (Sundays 1400-1600 BST). It was a typically lazy Sunday afternoon and as I laid semi-comatose with a belly full of roast dinner, this simple but beautiful piece of music gave me an overwhelming feeling of immense calm and well-being. It’s criminally short however, indeed Garvey mentioned that he played it over and over for a fair few times while looking after his baby boy and never tired of each repeat. I’ve since discovered that it was used as the backing for a commercial for a popular Scandinavian furniture store a couple of years back which is news to me.

Track 10. Sincerely by The Moonglows.

Another week, another Soul Slowie closer. This doo-wop classic reached number one on the Billboard R&B chart and the top 20 of the pop chart in 1954. Managed by legendary DJ Alan Freed who has a co-writing credit here, this was their debut single for the Chess label and became their signature song and biggest hit.

Alright then, that should do you for another week. Hope you enjoyed it. Thanks to everyone who spreads the good word on facebook every week. Your shares are truly appreciated. I know more than anyone that it’s tough to switch people on to new things, but as long as we keep trying, we’re fighting the good fight.

Before I go, we lost another legend this week. Sleep well Tom.x

I’ll hopefully see your lovely faces at the same time and place in seven Earth days.

Until then, Keep on movin’, don’t stop like the hands of time.

Andrew Orley.

You Remind Me Of The Past That I Wanted To Be Before I Forgot.


Nobody’s Listening. No.90. 2.10.17.

Nobody’s Listening Facebook Page.

Hullo. Another week, another glamorous location. This time around you find your favourite blog and playlist positioned in deepest darkest Staffordshire. I’ve got a lovely view of the A38 from my budget hotel window and the traffic is providing a constant flow of white noise.

What better way to drown it out than with ten hand-picked quality tracks? Nine by my own fair hand and the remainder courtesy of my very good friend, bandmate and celebrated importer of rare exotic fruits, Paul D’Cruz. He’s topping the list this week as you can see if you look down there.

Alright then. let’s take it to the limit, one more time..

Track 1. Just Like You Imagined by Nine Inch Nails.


So here he is, and unusually on time too! Lifted from 1999’s ‘The Fragile’ which was Trent Reznor’s third studio outing with his band, this is a typically raucous affair once it gets going with it’s trademark layered industrial guitars and synth patches. Also featured on the track is pianist Mike Garson who is most famous for his work with David Bowie, in particular his stunning avant-garde contributions to ‘Aladdin Sane’ and his jaunty turn on ‘Young Americans’. My own, personal opinion is that he’s a tad underused here but his presence is felt enough to add extra depth to this instrumental piece.

Track 2. Shout About Pepsi by Denny Wright & The Hustlers.

The 1995 Studio 2 compilation album ‘The Sound Gallery’ was a firm after hours favourite for a good few years after its release, the perfect companion for winding down after some hardcore club action. A collection of library music used for ads, lifts and TV shows, it kicked off the mid nineties Easy revival and has since been plundered by lazy daytime shows in the mould of ‘Come Dine With Me’ as backing music for their repetitive content. There’s genuine gold contained within the comp including Paddy Kingsland’s majestic ‘The Earthmen’, Mandingo’s frankly bonkers ‘The Headhunter’, and five (count’em) five contributions from the incomparable genius that is Alan Hawkshaw. Also included is this funker from legendary session guitarist Denny Wright. An original composition which was included on the 1974 MPI soft drink tie-in LP ‘Non Stop Pepsi Party’, it never failed to get weary feet moving again back in the day.

Track 3. Baby Don’t Go by Colorama.

We featured the original Sonny And Cher version of this classic song on a very early edition of Nobody’s Listening but this brand new cover by Carwyn Ellis’ outfit is far too good not to warrant another appearance. This interpretation, which closes their brand new LP ‘Some Things Just Take Time’, is a good representation of the indie bands new direction. With a sparse, country-folk arrangement, he turns the song into his own. Beautiful stuff.

Track 4. Two Creatures by The Tears.

I’ve previously mentioned in these pages that Suede were one of my road to Damascus bands, an act that I was obsessed with for a good couple of years mainly due to the chemistry between Brett Anderson and Bernard Butler. When the latter left the band halfway through their second album ‘Dog Man Star’, the honeymoon was pretty much over, and save for a few outstanding tracks on the Butler-less follow up ‘Coming Up’, I pretty much left them behind. When this project was announced back in late 2004, I was cock-a-hoop at the prospect of one of my favourite double-acts putting their differences aside, albeit in a different guise. The album ‘Here Come The Tears’ was released in April the following year and didn’t disappoint being choc full of that wonderful Butler guitar sound and Anderson back to his vocal best. This is a stand-out track from said LP and manages to catch some of the same fire that those early Suede songs were ablaze with, complete with a direct lift from Bowie’s ‘Sound And Vision’. I was lucky enough to catch them live at Glastonbury a few months later and recall wearing a massive beam throughout at the sight of two heroes reunited at last. They then promptly split up again. The buggers.

Track 5. Rainbow Sign By Sarah Webster Fabio.

Poet, performer, scholar, and educator Sarah Webster Fabio is considered a foundational member of the West Coast Black Arts Movement. She recorded four LP’s in the early seventies including the collected works that formed 1972’s ‘Boss Soul’ from which this interpretation of one her most celebrated works comes. Accompanied by various members of her family, Sarah’s words are at first recited by Thomas Fabio before she takes the reigns for the final few passages, backed by the rest of her funky brood.

Track 6. The Plum Blossom by Yusef Lateef.

This is the opening track from Lateef’s 1961 LP ‘Eastern Sounds’ which continued his exploration into Middle Eastern music. Featuring the man himself on Chinese globular flute (generally referred to as xun) and light backing courtesy of bebop legend Barry Harris on piano, it’s very much a minimalist piece. Save for a plucked rubab from bassist Ernie Farrow and a few tambourine shakes by Lex Humphries , that’s pretty much it as far as the instrumentation goes. Less is very often more though and that’s the case here with the quartet’s efforts combining to provide a gentle, affecting piece of wonderment.

Track 7. Forever by Roy Wood.

I’m currently working my way through Simon Reynold’s hefty tome ‘Shock And Awe – Glam Rock And Its Legacy’, a captivating look at the early seventies phenomenon which was as influential a genre as any other I can think of. Among the hefty deconstructions of Bowie, Bolan and Roxy, there’s a few pages given over to the Wizzard main man. In between leaving ELO and forming the ‘zard, Wood released a solo LP and even managed to dent the charts with this, hitherto unknown to me, stand alone single which reached number eight on the hit parade in early ’73. In the book, Reynolds describes it as “A jump-cut composite that leapt from The Beach Boys to Neil Sedaka” and I completely agree with him. A curio that bridged the gap between the psych-pop of The Move and that Christmas song.

Track 8. Can’t Keep Checking My Phone by Unknown Mortal Orchestra.

It’s 2015 in my Long goodbye to Leeds feature next. It was in May of that year that the current Mrs Orley and I had a rare couple of days sans-child so we took full advantage and made the trip to Liverpool for the Sound City festival, an annual shindig that takes place in the re-generated dockland area of the city. It was the lure of headliners The Flaming Lips that attracted us to the suburban gathering and as expected, they were a class act. The under-card was a quality proposition too mind, with special mentions for Stealing Sheep and the always enjoyable Dutch Uncles. However, these Kiwi/U.S psych rockers were the clear highlight of the support acts, their askew, modern day disco meets indie-psych anthems filled the cavernous disused warehouse which housed the second stage. This was the lead single from their third, and to date, latest LP ‘Multi-Love’ and was an earworm of mine for the rest of the day and beyond.

Track 9. Archid Orange Dwarf by Hannah Peel.

This weeks cover star released her third solo LP just last week under the alias of Mary Casio. A seven-movement odyssey composed for analogue synthesisers and a full 29 piece colliery brass band, ‘Mary Casio: Journey to Cassiopeia’ is a coming together of the futuristic and traditional that not only works wonderfully but creates a sound that is at the same time warm and distant. Hannah is truly one of the twenty first centuries real treasures, an artist who is unafraid to explore the possibilities of music of the past and the future. We should be thankful that we have visionaries such as Peel, an exploratory artist who can effortlessly flit from styles such as traditional Irish folk to creating challenging, cinematic soundscapes in a heartbeat.

Track 10. You’ve Got My Mind Messed Up by James Carr.

Our soul slowie closer this week is the title track and closer of Carr’s 1967 LP, a record which is now regarded as one of the greatest deep soul records of all time. This single version managed to reach number 7 on the Billboard R&B chart in 1966 and provided him with his first hit before Carr went on to record the original and definitive version of the soul standard ‘The Dark End of the Street’. Maybe it’s the over-familiarity of the latter, but I much prefer this lesser known track which has a stunning vocal performance from Carr, elevating him to the dizzy heights of his contemporary Otis Redding.

Cor Blimey! That’s another week done with then. Don’t forget to share with friends as that’s what it’s all about innit? Pass it all off as your own if you like. Instant cool points right there and I’d hate to think I do all this for nothing.

I’ll see you in seven days time with more or less the same sort of carry on. Be sure to make it a date as I road checked number 91 on my journey home this afternoon and let me tell you, it’s an absolute banger.

Until then, farewell my summer love, farewell.

Andrew Orley.

There Are Dreams In Your Heart, Where Love Lasts Forever. From The Depth Of My Soul, I’ll Make Them Come True.


Nobody’s Listening. No.89. 25.9.17.

Nobody’s Listening Facebook Page.

Hullo. After last weeks adventure in North Wales, you join a sleepy NL this week planted back in sunny Slough. It is actually sunny too, I’m enjoying the mid teen temperatures as Summer exhales it’s last breath before we look forward to crappy weather, stripped trees, extra layers of clothing and six months of darkness. Whoopee.

Fret not! Shining a light every Friday is your favourite playlist and blog, here to keep you warm with one big aural cuddle.

Paulo is of course joining in with the embrace. Hopefully. It’s bloody Tuesday as I type and he’s still not submitted this weeks pick. When I get my hands on my very good friend, bandmate and ex-bodyguard to Clive Dunn he’s going to get a right ticking off, let me tell you.

Anyways, onwards! We have all the time in the world…

Track 1. Heaven Must Have Sent You by The Elgins.

We begin with a stone cold classic courtesy of Holland, Dozier, Holland.
Surely every single one of you are familiar with this slab of Motown goodness. It took 5 years to make a dent on the UK hit parade, and bolstered by its popularity on the Northern Soul scene, peaked at No.3 in 1971. One of those records that can brighten the darkest of moods and plant dimples on the dourest of fizzogs. It honestly is one of my favourite platters ever and I can’t think of a better way to kick off the eighty ninth edition of this playlist. The only mystery is that it’s taken 89 of the bloody things before its made an appearance.

Track 2. Follow The Leader by Foxygen.

Let’s keep that good mood going with this joyous single which was released late last year. This was the taster from their fourth LP, 2017’s ‘Hang’, an album which was an ambitious jump for the indie-rock duo featuring a forty piece orchestra arranged by NL alumnus Mathew E White and the kind of songs Todd Rundgren was knocking out at his peak. The accompanying video below features some excellent choreography and adds to the tracks overall ebullience in spades.

Track 3. Medicine To Cure Medicine Sickness by Lorelle Meets The Obsolete.

Ok, nobody wants to bool along with a dopey smile on their face all the time, so let’s turn the dial to darker. The duo of Lorena Quintanilla (‘Lorelle’) and Alberto Gonzalez (‘The Obsolete’) contributed this track to Sonic Cathedral’s excellent Psych For Sore Eyes compilation EP in 2013 and were soon signed up to the London based label, releasing their debut LP the following year. Psychy-shoegazey goodness from Guadalajara, there’s a distinct European feel to proceedings here with shades of Krautrock, Stereolab and Spacemen 3, indeed, The Spaceman that is Pete Kember (AKA Sonic Boom) went on to produce the band.

Track 4. From Home by The Troggs.

We carry on The Spacemen 3 connection with this weeks cover stars. When Jason Pierce’s relationship with the aforementioned Kember soured beyond reconciliation, he took to the studio with the remaining members of the band to record what would become Spiritualized’s debut single, a cover of Chip Taylor’s much interpreted ‘Any Way That You Want Me.’, a song which also provided those scruffy gets up the top there with their fifth UK hit single. Much more influential than their novelty name suggests, The Troggs were massively significant to the garage and punk movements and listening to this Reg Presley penned song lifted from their 1966 LP ‘From Nowhere’ it’s not difficult to hear why. With superb fuzzy guitar courtesy of Chris Britton and Reg’s snarly, sarky vocal, it’s not a million miles away from the scene which would explode ten years later.

Track 5. High Pressure Days by The Units.

Our next track was first brought to my attention by my brother in law on one of the many compilations we used to exchange at Christmastime. I don’t know exactly why but it has been an earworm of late and I find myself singing the opening refrain of “Saw Johnny Tonight, But We Didn’t Say Hello To Each Other” at frequent intervals. This lot hailed from San Francisco and were one of America’s earliest electronic new wave bands and are now cited as one of the progenitors of Synthpunk. This is their first 7″ single released in 1979 and has since gained a new audience when it was covered for Grand Theft Auto V by Los Angeles noise rock band HEALTH who changed the title to “High Pressure Dave”.

Track 6. Afrospace by Blakai.


Well, he’s made it by the skin of his teeth again. But, as always, it’s more than worth the wait. Another new blip on my radar this one and I was astonished to find out it’s twelve years old! Featuring the vocals of one Bembe Segue, this is an effervescent breaker that I’m currently bouncing my leg like buggery to. Just see if you can keep still while it’s on, Impossible!

Track 7. Soft Sounds From Another Planet by Japanese Breakfast.

Essentially a solo project for Oregon based musician Michelle Zauner, this outfit released their second LP a couple of months back of which this is the title track. As with our earlier selection from Lorelle Meets The Obsolete, the ghost of shoegaze rears its head here with reverb drenched vocals backed by organ drone which gives way to guitars, first acoustic then progressively crunchy before transforming into an almost countrified playout for the final third. A song of three halves then, but each has its own tale to tell and all combine to a thing of some beauty.

Track 8. Autumn In New York by Hampton Hawes.

A seasonal jazz standard next and Hampton Hawes’ take on the evergreen, excuse the pun, “Autumn In New York”. This piece was composed by Vernon Duke for the 1934 musical ‘Thumbs Up!’, a little known revue that is probably most famous for this song and “Zing! Went the Strings of My Heart” which was revived by The Trammps for a 1972 single release. Hawes was a fascinating character who was arrested on heroin charges in 1958 and sentenced to ten years in prison, serving five before Executive Clemency was granted by President Kennedy in 1963. He returned to performing and recording and later wrote his autobiography and one of the formative books on the be-bop era ‘Raise Up Off Me’ before succumbing to a brain haemorrhage in 1977 at the age of 48. Excuse me, while I repair to a popular book selling website to purchase said tome..

Track 9. Wave by Beck.

Next, we move on to 2014 for my Long Goodbye To Leeds feature. We’re actually heading towards completion on our move back North, so hopefully things should tie in nicely over the next few playlists. Anyhoo, this track comes from scientologist (hold it against him, but not his music) Beck’s LP release of that year, the gorgeous ‘Morning Phase’. It was during the first knockings of Spring that I heard the album and it’s slow acoustic and lushly orchestrated songs will be indelibly connected to the early morning sunrise drives I took to work in Todmorden. As I negotiated the winding roads of the upper Calder valley, this record ensured that I always arrived on site in a blissed-out mood. Always a bonus when you’re about to engage in some heavy duty railway fixin’. Have a listen and see how it improves your outlook, just don’t take it too far and consider the works of Ron Hubbard as visionary.

Track 10. You Better Move On by Arthur Alexander.

This weeks soul slowie closer was a favourite of sixties English beat groups in that it was covered by The Rolling Stones, The Hollies and The Moody Blues. This original version was recorded at FAME Studios in Muscle Shoals, Alabama and released as Alexander’s debut single in 1961. Arthur also wrote “Anna (Go to Him)” which is notable for it’s inclusion on the Mop-Tops debut LP ‘Please, Please Me’.

There it is then. These weeks are dropping off the calendar in record time no?

We’re limping towards that all important playlist number 100 which will be a very special affair. I haven’t come up with anything yet, but let’s just get through the next ten first, eh? Number ninety will be here at the same time and place next week.

Until then, get fresh for the weekend.

Andrew Orley.

The Night Is Long, Forget Your Foolish Pride, Nothing’s Wrong, Now You’re Beside Me Again.

pet clarke

Nobody’s Listening. No.88. 18.9.17.

Nobody’s Listening Facebook Page.

Hullo. Another N.L. on the road this week as you join me in sunny/windy/rainy North Wales. I’d love to regale you with tales of the vibrant, exciting hub that is Wrexham but it isn’t, so I can’t. Although I did get to see Hartlepool United grind out a goal-less draw at the Racecourse Stadium on an exceptionally soggy Tuesday night. If that experience isn’t a metaphor for this sorry forgotten town, then I don’t know what is.

Still, here to lighten up your quickly darkening nights is the playlist and blog that will always be a rainbow in the greyest of skies. And Paul is of course here to add further colour to our broad spectrum. This week, my very good friend, bandmate and curator of the national museum of novelty tea-pots takes us back to 2013, which by sheer coincidence is also the same year we alight on in my long goodbye to Leeds feature.

So, lord, let it rain on me, let it all come down..

Track 1. At My Most Beautiful by R.E.M.

Everybody has their favourite period R.E.M. For me it began with 1991’s ‘Out Of Time’ and the massive hit ‘Losing My Religion’ which was my entry point. I came late to the Georgian alt-rockers but was mildly obsessed with them for a month or so before my head was turned by all things Seattle and I gently placed them in the file marked ‘Like’. They went on to release quality albums for the rest of their lifespan including the masterpiece that is ‘Automatic For The People’ but there’s also lots to admire in their later output including this beautiful third single from 1998’s ‘Up’. Written as a homage to the Beach Boys, it is lush with harmonies and is unusually straight-forward for a band who mainly erred on the side of oblique.

Track 2. Love And Death by Ebo Taylor.

Ebo Taylor has been a vital figure on the Ghanaian music scene for over six decades. In the late ’50s he was active in the influential highlife bands the Stargazers and the Broadway Dance Band and worked with that colossus of Afrobeat, Fela Kuti, in the sixties. This is the title track from his first internationally released LP which was distributed through Strut Records in 2010. A grooving piece despite its melancholic subject matter, it could have been recorded at any point in the past fifty years.

Track 3. King Shiv by Man Man.


This experimental rock band from Philadelphia are a new one on me although they have been around for almost fifteen years now. This track comes from their last release to date the 2013 LP ‘On Oni Pond’. A slightly dubby joint this one, with leader and keys-man Honus Honus coming across as a sort of proto John Grant. Another quality selection from the man-chld D’Cruz.

Track 4. Better Friends by Ela Orleans.

Hailing from Poland and currently living in New York, Ela Orleans has been making records since 1991 with a prolific spurt of activity in the last 10 years or so. This is from her 2009 album ‘Lost’ and is atypical of her output being that it is built on layered atmospherics with deep shades of the Velvet Underground, not only in its John Cale-esque drone but also the vocal which aims for Nico but comes off more Moe Tucker. This is no bad thing by any stretch.

Track 5. Death Cream Part 2 (Watch Out For The Cream) by Sonny & The Sunsets.

West-coast story-teller Sonny Smith is no stranger to these parts having notched up a brace of appearances on the playlist in the past. This time around, he’s back with a sequel to his 2009 track ‘Death Cream’. Taken from last years LP ‘Moods Baby Moods’ this has the stamp of its producer tUnE-yArDs’ Merrill Garbus who brings her gift of sonic trickery to compliment and enhance the Californian’s laconic style.

Track 6. You’re All That Matters by Billy Taylor.

Taylor is probably most well known for his civil rights anthem ‘I Wish That I Knew How It Feels To Be Free’, a tune memorably covered by Nina Simone and the title music to the BBC’s movie magazine ‘Film…’. In a rich career he recorded dozens of LP’s with his trio comprising of Doug Watkins on bass and sticks-man Ray Mosca, including 1961’s ‘Interlude’. This comes from said record and showcases Billy’s deft touch perfectly, his improvisational style owing a certain debt to his mentor, the great Art Tatum.

Track 7. My Children by Protomartyr.

Released just last month, this is the second single to be lifted from the Detroit post-punk outfit’s fourth LP ‘Relatives in Descent’. Vocalist Joe Casey is on the record as having expressed appreciation for Joy Division, Pere Ubu and the Fall and this influence is readily recognisable on this track. There’s definite parallels in his half arsed baritone delivery and the guitar work of Greg Ahee bears uncanny similarities to Craig Scanlon. Mark E Smith once said that bands tend to copy The Fall when they’ve run out of ideas. I say if you’re going to copy anyone, Copy The Fall.

Track 8. Colour My World by Petula Clark.

Our cover star this week is a voice I recall fondly from my childhood. ‘Our Pet’ was born Sally Olwen Clark in 1934 and became a child star on BBC radio at the age of nine. During the forties and fifties she also launched a film career starring alongside such luminaries as Alec Guinness and Anthony Newley as well as branching out into the European pop market recording in French, Spanish, German and Portuguese. The sixties were her high water mark however and with an incredible run of joyous pop songs penned by Tony Hatch and Jackie Trent, she cemented her reputation as a national treasure. This single attempted to emulate the success of the magnificent ‘Downtown’ but failed to chart and was considered a flop at the time. For my money, it’s easily up there with it and there’s lots to love here, particularly the none-more-66 usage of the sitar. Ms. Clark is still performing today at the ripe old age of 84, her voice undimmed by time.

Track 9. Contact by Daft Punk.

So we reach 2013 in my Long Goodbye To Leeds feature, this house move better gain traction soon as I’m quickly running out of years to look back on! This was the album of that year and despite the ubiquity of the Pharrell Williams fronted, Nile Rodgers riffing smash ‘Get Lucky’ it remains an astonishing record. I have loved Daft Punk since their inception but nothing prepared me for this none more disco solid gold platter. It was on a clear M1 at around four in the morning that I gave it it’s debut spin and with the volume pumped to the max I recall the goosebumps remained for the full 75 minutes running time. By the time I reached this, the albums closer, those pimples were fit to explode. Built around a sample of “We Ride Tonight” by Australian rock band The Sherbs, the song also includes audio from the Apollo 17 mission, courtesy of NASA and Captain Eugene Cernan. But it’s those drums masterfully thumped by Omar Hakim that made my foot depress the accelerator, oh man, those drums.

Track 10. Need To Belong by Jerry Butler.

Our Soul Slowie closer this week comes courtesy of former Impressions frontman Jerry Butler. Released in 1963, this 45 didn’t make any big waves on the hit parade but was a song that received considerable airplay in the aftermath of the assassination of President Kennedy, Disc-Jockey’s believing its mournful but hopeful message could help heal a broken nation. I wonder what they’d play if Trump copped a bullet? ‘Good Times’ by Chic presumably. Satire. Right There.

And on that sombre note, we close the curtains on another edition. Cheer up though! I’ll be back next week with another ten selections and some shite commentary which is generally littered with information cribbed from Wikipedia.

Before I go, I promised my mate Ste Hindley that I would mention him in this weeks blog. So there you go Ste. Happy 39th Birthday you big lump. Not that he’ll ever see it as I don’t think he likes music. Or words.;-)

Andrew Orley.

When Sundown Pales The Sky, I Want To Hide A While Behind Your Smile, And Everywhere I’d Look, Your Eyes I’d Find.


Nobody’s Listening. No.87. 11.9.17.

Nobody’s Listening Facebook Page.

Hullo. And welcome to another chuffer ride on a soggy Tuesday morning. Yep, it definitely looks Autumnal out there but I refuse to give up on the sphere of hot plasma just yet. Surely we can squeeze a few more weeks of soleil before reaching for the mittens?

I’m keeping the Summer alive on the playlist with Hot soul, sunny, jangly indie and thoughts of festivals past, so keep your hands off that thermostat and don’t pack away your beachwear just yet.

Paulo is joining me in denying the end of the season. My very good friend, bandmate and Farrier to Gary Wilmot’s prize winning Shetland ponies weighs in with a distinctly breezy piece of sixties pop.

Y’all Ready for this?

Track 1. Barabajagal (Love Is Hot) by Donovan.

This weeks cover star is Donovan Philips Leitch. The man who would be Dylan started out as a folk troubadour however, it was when he rode the wave of the summer of love that he really came into his own. Teaming up with Mickie Most he began releasing exceptional pop fayre such as ‘Sunshine Superman’, ‘Mellow Yellow’ and ‘Jennifer Juniper’. This single from 1969 has wonderfully chuggy backing by The Jeff Beck Band is probably my favourite of his (it’s up there with the majestic ‘Atlantis’) and was his last Top 40 hit on both sides of the Atlantic.

Track 2. Mapping by Fitkinwall.

Our next selection comes from FitkinWall, the partnership of pianist and composer Graham Fitkin and harpist Ruth Wall. Moog and autoharp heavy atmospherics is the order of the day here and this track from 2015’s ‘Lost’ has the thankful ability to transform a sodden train journey down the east coast mainline to somewhere more attractive. It’s ethereal qualities have been most welcome this morning when the aural alternative is listening to the two business ladies sat at my table discussing sales figures and projected targets.

Track 3. Johnny Yen by James.

Like most, it was the breakthrough hits ‘Sit Down’ and ‘Come Home’ that pricked my ears with James, but it wasn’t long before I quickly devoured their back catalogue including their first two LP’s debut ‘Stutter’ and sophomore effort ‘Strip-mine’. This, for me, is the stand-out track from that first record and was a set highlight when I was one of the unwashed, but reeking of patchouli masses who made the trip down to Alton Towers in 1992 to pay homage to their towering indie anthems. I recall imitating Tim Booth’s ‘Radged scarecrow’ dance as the Staffordshire rain soaked my daisy t shirt to the skin. Happy, care-free times..

Track 4. Kites Are fun by The Free Design.


When Paul submitted this weeks pick, I was convinced that I had already featured it on a previous Nobody’s Listening. This may be the case, and I can’t be bothered to look through 86 playlists to verify. Besides, I’ll always have time for this delightfully light slice of late sixties easy listening so any repeat showing is more than welcome. I recall I first heard it on a sunny Sunday afternoon whilst living in Wakefield ten or so years ago and fell for its charms instantly. It’s difficult not to love a song extolling the joys of this most genteel of pastimes.

Track 5. Life & Death by Chairmen Of The Board.

Leaving behind the solid gold soul-pop of hits such as ‘Give Me Just a Little More Time’ and ‘(You’ve Got Me) Dangling on a String’, Chairmen Of The Board turned full on psych-funk-rock for their final LP, 1974’s ‘Skin I’m In’. Hardly surprising when you consider their back up band at the time included several members of Funkadelic and Parliament, including Bernie Worrell and Eddie Hazel. This is that albums centerpiece and is an epic cover of Sly Stewart’s ‘Life and Death’ that blends the song’s pulsating melody with flowery instrumental passages built of Mellotron and synthesizer.

Track 6. Fazon by Jonathan Wilson.

Augmented by James King’s dazzling Saxophone, this cover of short lived San-Franciscan psych rockers Sopwith Camel graced Wilson’s second LP ‘Fanfare’ which was released in 2013. The LP is a continuation from his wonderful debut ‘Gentle Spirit’ and features an impressive list of collaborators including Roy Harper, David Crosby, Graham Nash, Benmont Tench, Father John Misty and Patrick Sansone. Below is a mesmerising live performance of the track recorded for Seattle based radio station and doyens of eclecticism KEXP-FM.

Track 7. People Help the People by Cherry Ghost.

We reach 2012 for my long goodbye to Leeds feature this week and a recollection of my first visit to the Deershed festival in North Yorkshire. This was the first time we took our young son to such an event and after years of hedonism it made a pleasant change to actually enjoy some music for once. We’ve returned to Topcliffe every year since and it is now a highlight of the summer. This band closed the Sunday afternoon of that year (being a family orientated festival, there was no Sunday night ‘out with a bang’ massive headliners) and as Simon Aldred sang his gentle acoustic observations with the sound of children’s laughter surrounding me, I’m not ashamed to say I got a tad emotional. Included in his set was a beautiful cover of the recently departed Whitney Houston’s ‘How Will I Know’ which I’ve not been able to find since but would love to hear again.

Track 8. If You Want by Reptaliens.

Brand new stuff from Portland lo-fi peddlers Reptaliens next. This four piece, spearheaded by husband and wife Cole and Bambi Browning, released their debut LP two weeks ago and this is the lead track from it. Inspired by all things sci-fi their moniker derives from an interest in cult mentality, transhumanism, and conspiracy theories. That doesn’t hinder their knack with a decent pop song as is evident here. With a dreamy melodic line and hooks that penetrate after just one listen, this lot are an exciting prospect.

Track 9. Another Sleepless Night by Anne Murray.

This piece of undemanding pop fluff was a country hit for Canadian songbird Anne Murray in 1982 and was used to hilarious effect by Vic and Bob on their second sketch show series for the BBC, ‘Bang, Bang, It’s Reeves and Mortimer’ in 1999. If you haven’t seen it, vidi Here and when you’ve dried your pants, have another listen, it really is splendid pop music in the mould of Neil Sedaka.

Track 10. Oh Girl by The Chi-Lites.

We’re in 1972 and the peak of soft Chicago Soul for this weeks slowie closer. ‘Oh Girl’ was the Chi-Lites’ first and only number-one single on the Billboard Hot 100, peaking at that position in May 1972 for one week. Subsequently covered by eighties heart throb Paul Young and pock-marked soulman Seal, but nothing touches this original performance and that lovely harmonica line.

That wraps things up for another week then. Numbero eighty-eight-o will be winging its way to you at the same time and place in seven days time. So I’ll say ta-ra for now but before I go, we lost two genuine legends this week, tribute is paid below. Rest Easy, Walter and Holger.x

Andrew Orley.

I Feel Like Laughing, Lord, I Feel Like Crying Now.


Nobody’s Listening. No.86. 4.9.17.

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Hullo. After last weeks locomotive journey adventure you find a Nobody’s Listening firmly on home soil this week as I take advantage of a quiet house with all occupants adrift in the land of nod. So join me in a brew, kick your shoes off and shove some of these lovely sounds in your head-holes. Although it is Friday night now, so stuff the tea and neck some liquor.

Paul is with us, and on time with his pick for once! This week my very good friend, bandmate and co-owner of the racehorse “Uncle Big-bum” has selected a track from a band who sound-tracked our days spent in an attic.

So c’mon and bring your juke-box money…

Track 1. Cast It At The Setting Sail by Danielson.


And here he is, kicking off this weeks proceedings with a track from New Jersey’s Danielson. As I mentioned in the intro there, this act were one of the many bands that we would listen to in-between crafting three minute pop epics at 5 Low Bank Street Farsley. I’d like to think that the choice of music we relaxed to on our breaks somehow found their way into our own music by Osmosis, but truth be told, we did a bit more ‘relaxing’ than music making in those days so any chance of influence was minimal at best. This is a cut from their seventh studio LP, 2006’s ‘Ships’.

Track 2. It’s About My Baby by The Strangeloves.

After penning hits for sixties girl groups including the 1963 smash “My Boyfriend’s Back” for The Angels, NYC production trio Bob Feldman, Jerry Goldstein, and Richard Gottehrer decided to ride the British Invasion and create a fictional band hailing from Australia, as you do. They scored a massive hit with their second single under the fictitious moniker, that being ‘I Want Candy’ in 1965 and this is the, in my opinion anyway, superior b-side.

Track 3. Backlash by Kikagaku Moyo.

Kikagaku Moyo are a Japanese psychedelic band from Tokyo and their name translates to ‘geometric patterns’. This five piece create a fantastic noise on this, the opening track from their second LP released earlier this year. With distorted guitars backed by that all important motorik beat, this may not be breaking any new ground but it is an excellent example of a genre that is as strong today as it was at its birth an astonishing fifty years ago. Probably even stronger.

Track 4. Open Arms by Elbow.

We reach my Long Goodbye To Leeds feature next. This week, we’re in 2011 and the year I became a dad. Orley jr came into the world in March of that year, the very same week that Bury’s Elbow released their fifth LP ‘Build A Rocket Boys’. The songs from that LP will forever be linked with sleepless nights, the smell of milk formula, worry, panic and wonder and this track with Guy Garvey’s typically heartfelt vocals can instantly transport me back to those early days of fatherhood.

Track 5. It Really Hurts Me Girl by The Carstairs.

We’ve got a Northern double up next beginning with a stone cold Blackpool Mecca classic which caused an earthquake when Ian Levine dropped it for the very first time in 1973. Now credited as the first record of the Modern Soul genre, it was Levine who discovered the record on one of his many crate digging expeditions to the U.S. As it didn’t fit the bill of classic Northern, being that it was recorded the previous year and had a polished, hi-fidelity sound, purists began to bemoan the ‘modernity’ of these new records and the scene split into two factions. All I can hear is music I could dance to all night long but I suppose it was a different time and passions were high..

Track 6. Somebody (Somewhere) Needs You by Ike And Tina Turner.

The second track in our twofer was a big surprise to me when I heard it for the first time just last week. You don’t need me to explain that Ike And Tina Turner were mostly known for their growling R&B heavy soul from the early sixties onwards. This however was a departure and an anomaly, highly polished Detroit style Northern Soul and it is AMAZING! Written by Frank Wilson (the man that brought you ‘Do I Love You (Indeed I Do)’), this had been released as a single in 1966 but failed to make any big impressions. I seriously can’t think why, Tina is on top form here and that wondrous voice is superbly suited to the Northern style. A real find this, and a track which will stay with me for the rest of my days. I’m going to stop gushing now and listen to it for the fourth time in a row.

Track 7. Only Grey by Cool Ghouls.

Let’s start with that name, great innit? The greatness doesn’t stop there though, these psych-rockers from San Francisco also craft superb music and have been releasing consistently excellent records for five years or so now. This Comes from their latest release, ‘Gords Horse’ which was initially a casette only release when they recorded it in their van whilst on the road last year. With chugging guitars and an incessant beat, it sails very close to Django Django’s superb ‘Default’ but has enough of it’s own charm and style to win the day.

Track 8. Don’t Let Me Down by Marcia Griffiths.

Our cover star this week takes on the classic Wackers b-side to ‘Get Back’.
Marcia Griffiths is probably best known in the UK as one half of Bob & Marcia, the duo scored a No 5 on the hit parade in 1970 with ‘Young, Gifted And Black’. Marcia began her career in Jamaica in 1964 at the age of Fifteen and has been releasing records and touring ever since. From ’74 to ’81 she was also a member of The I Three, the backing singers for Bob Marley and The Wailers and is now rightly regarded as reggae royalty.

Track 9. The Horses Will Not Ride, The Gospel Won’t Be Spoken by Tom Brosseau.

Tom Brosseau’s new album ‘North Dakota Impressions’ completes a trilogy of LP’s that began with 2014’s Grass Punks and 2015’s Perfect Abandon. Regular readers/listeners will note that Tom is no stranger to Nobody’s Listening, this must be his third or fourth appearance making him contender for most featured artist. There’s a reason for this. I absolutely adore this feller. Close your eyes and take in this track, recorded live, and start adoring him too.

Track 10. Don’t Come A-Knockin’ by Mary Lee Whitney.

Another week, another soul slowie closer. I don’t have much information on this top notch sixties mid-tempo, the internet is drawing blanks save for a few sites offering the original vinyl for sale. What I do know about Mary Lee Whitney is she is the featured female voice on Stevie Wonder’s classic ‘AS’ from Songs In The Key Of Life. Personally, I love the Bacharach style this song has and in particular the string backed bridge to the chorus.

And that’s that then. Another ten tunes to see you right until next Friday when I’ll unleash more amazing pieces of mucus to phenomenal indifference.

Until then, keep smiling through, just like you, always do.

Andrew Orley.

If You Were Mine, There Would Be Bluebirds Singing As I Tend My Roses.


Nobody’s Listening. No.85. 28.8.17.

Nobody’s Listening Facebook Page.

Hullo. This weeks playlist comes to you on a Monday evening direct from the east coast main line as I make yet another chuffer journey to the national cesspit. I’m taking advantage of the train operators offer of free wi-fi and will attempt to compose the whole thing in two and a bit hours, so forgive me if it all seems a bit rushed. What do you mean it always seems rushed? Cheeky.

Paulo is joining me on the journey. Not physically of course, and presently he hasn’t submitted this weeks pick just yet. Let’s see if my very good friend, bandmate and runner-up in the 1979 West Yorkshire wheelbarrow of the year comes up with the goods before I pull into Kings Cross.

So, come on, let’s get to rammin’..

Track 1. Lucretia Mac Evil by Bruce Forsyth.

It was a great shame to learn of the great man’s passing last week, a mainstay of British television for over sixty years, he also had an immense pool of talent to call upon and was one of those very rare creatures, a true all round entertainer. Whilst his singing voice wasn’t the strongest, he still gave it his all and this eminently likeable cover of Blood, Sweat And Tears’ psych-funk cut Lucretia Mac Evil is bolstered by superb backing, not least the deft hammond provided by Don Hunt. Rest easy Brucie.

Track 2. Start Running by The Comet Is Coming.

Any band that consists of members named ‘King Shabaka’,’Danalogue the Conquerer’ and ‘Betamax Killer’ are alright in my book. This London trio formed just four years ago and have made big waves on the psych jazz scene. It’s inevitable that the great Sun Ra’s name looms large over their cosmic stylings, in fact they embrace the comparisons wholly and have no qualms whatsoever in acknowledging their debt to the erstwhile Herman Poole Blount. This track is the opener to their ‘Death to the Planet’ EP which was released on record store day earlier this year and is an interstellar journey. Join them on their trip because space IS the place.

Track 3. My People…Hold On by Eddie Kendricks.

The title track to the second solo LP from former Temptation Kendricks is quite close to the psych soul that his former bandmates were releasing at the time. I mention this fact as the new direction his group were taking was the reason Eddie took his falsetto and up and left The Temps. Bit strange, no? Either way, this is a hot, politically driven slow groove that went some way to solidify his success as a solo artist, faring better than his friend and fellow Temptations departee, David Ruffin.

Track 4. PYT by Easy Star All Stars.


He’s made it with half an hour to spare, gawd love him. This band are a go to in the wee small hours of the morning, their Radiohead and Pink Floyd cover albums have been a firm late night favourite of mine for some years now. Paul’s pick is a new one on me however, as their 2012 Jacko cover LP ‘Easy Star’s Thrillah’ had passed me by up until now. On the strength of this cut, featuring guest vocals from Kirsty Rock, it won’t be long until it’s accompanying a few early morning snifters.

Track 5. The Message by The Cornshed Sisters.

This weeks cover stars caught my ears on a six hour drive back from Gatwick a week or so back. There was something so familiar about the songs structure that I couldn’t quite put my finger on until I heard it for a second time and it clicked. Hailing from Sunderland, this four piece have close ties to Field Music. Peter Brewis is married to Jennie, one of the four fictional sisters that make up the group and his production hand is all over this slow burner. By the time you get to the two minute twenty second mark, it will become apparent that their fellow Mackems have exerted a massive influence on this track. Their second LP is due for release this November, I anticipate greatness.

Track 6. Pony by Annette Peacock.

Crikey, we’re at Grantham already, better get a wriggle on if I’m going to get this all wrapped up by the time we get to ‘ver smoke’. Here we have a truly special track that is made all the more remarkable by the fact that it was recorded live and in one take. Hailed as an innovator of avant garde Jazz and one of the progenitors of rap, Peacock’s songs have been covered by a diverse array of artists including David Bowie, Brian Eno, Mick Ronson, Al Kooper, Pat Metheny, Jaco Pastorius, Bill Frisell, Chris Spedding, Mary Halvorson, Nels Cline, RZA, Busta Rhymes, J-Live, Ghostface Killah, and Morcheeba.

Track 7. Heaven Is A Truck by Pavement.

We’re still in 2010 for this weeks Long Goodbye to Leeds feature. When Pavement announced they were to reform for their first gigs in ten years back in 2009, the initial shows they announced were three dates for the summer sound series in NYC ear-marked for September the following year. Having never travelled to the states, this was the perfect opportunity and excuse to plan a long overdue trip with the added bonus of catching a band I loved but never caught live first time around. Inevitably, more dates were announced leading up to these shows including a number of engagements in England. I couldn’t quite wait until the states trip and made the journey to Brixton to see them in the May of that year, but that open air show on a hot September night in central park will live longer in my memory. This track, from 1994’s ‘Crooked Rain, Crooked Rain’, featured in one of the two encores and was just another a highlight in a night brimming with highlights.

Track 8. This Is Your Night by The Flat Five.

With a fabtastic vintage style and sound, you’d be forgiven for mistaking this next track as a sixties studio session from a band in the mould of the fifth dimension. They are, in fact, a modern day five piece hailing from Chicago and released their debut LP just last year. Let these warm close harmonies wrap around you and send you off to another time, because this time is a bit horrible if we’re being honest…

Track 9. Equestrian by Omni.

…although it’s not all bad news, as we have bands like Atlanta’s Omni releasing superb records such as this lo-fi guitar driven track which dropped last month and is the first single from their second album titled Multi-task. Better get a move on, ten minutes until this engine arrives in Lahndahn town.

Track 10. No Faith, No Love by Mitty Collier.

This weeks soul slowie closer has been on the cards for some weeks now but has always been bumped back by other tracks. That’s not to say it’s inferior, no sir. Released on Chess in 1965, this single was a reworking of a James Cleveland song which only managed to scrape into the hot 100, peaking at #91. Have you seen the shite that tops the charts these days? I ask you..

Phew! Made it with seconds to spare. Now, on with the day job. Boo.

Be sure to join us next week when I’ll hopefully have more time to cobble this mess together. Rest assured, the music will, as always, still be of a supreme quality, even if the words that go with it remain close to mediocrity.

Until then, don’t make me over.

Andrew Orley.

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.