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.

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


Nobody’s Listening. No.74. 8.5.17.

Nobody’s Listening Facebook Page.

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

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

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

Track 1. Instant Hit by The Slits.

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

Track 2. Bad Cloud Overhead by Blackrock.

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

Track 3. Shine A Light by Spiritualized.

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

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

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

Track 5. Silurian Blue by Floating Points.

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

Track 6. Dan Glo by Bendith.

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

Track 7. I Fall To Pieces by Patsy Cline.

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

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

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

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


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

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

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

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

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

Andrew Orley.

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


Nobody’s Listening. No.73 1.5.17.

Nobody’s Listening Facebook Page.

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

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

Shall we get on with it then?

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

Track 1. Rock & Roll by The Velvet Underground.

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

Track 2. Hip Bounce by Scuba Z.

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

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

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

Track 4. Mucha Muchacha by Esquivel.

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

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

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

Track 6. Made Of The Sun by Heliocentrics.

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

Track 7. Sitting In The Park by Billy Stewart.

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

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


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

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

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

Track 10. This Is Beautiful by Shirley Ellis.

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

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

Until then. take it easy, chicken.

Andrew Orley.

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


Nobody’s Listening No.72. 24.4.17.

Nobody’s Listening Facebook Page.

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

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

Alright then, come fly with me..

Track 1. Showrooms by Sam Prekop.

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

Track 2. Rosa Rosa by Andrzej Korzyñski.

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

Track 3. Berries That Burn by Tobacco.


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

Track 4. Peppermint by Spectrals.

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

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

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

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

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

Track 7. Mountain View by Pye Corner Audio.

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

Track 8. Shift-work by The Fall.

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

Track 9. Minor’s Holiday by Kenny Dorham.

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

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

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

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

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

Andrew Orley.

What’s Going On?

Various - 1964

Nobody’s Listening. No.71. 17.4.17

Nobody’s Listening Facebook Page.

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

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

Hey. Ho. Let’s go..

Track 1. I Dig Girls by Bobby Rydell.

Teen Idol. 1959. B-side.

Track 2. Pockets by Four Tet.

Electronica. 2006. Squelchy.

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


Canadian. Kooky. Brilliant.

Track 4. Ancient Robots by Conspiracy Of Owls.

Detroit. Bubblegum. Harmonies.

Track 5. Boy Don’t Be Afraid by 79.5.

Pop. Sunshine. Girls.

Track 6. Care by Kaada.

Norwegian. Woo-wop. Cut n paste.

Track 7. Prism Song by Julie Byrne.

Delicate. Nu-folk. Buffalo.

Track 8. Stay by Bernard Butler.

Overlooked. Solo. Lush.

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

Milwaukee. Ten-piece. Retro.

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

Motown. Debut. Genius.

There. You. Go.

Normal. Service. Resumes.

Friday. Next. Week.

Until. Next. Time.

Enjoy. The. Silence.

Andrew. Neil. Orley.