The Fat Angel Sings

The Small Faces’ posthumous 1969 compilation “The Autumn Stone” will be reissued in expanded form on March 28th, to kick off the 60th anniversary celebrations of Immediate Records. Curated by drummer Kenney Jones, the new reissue is a joint release with his own Nice Records.

Newly mastered by Nick Robbins, it boasts a number of previously unreleased and rare versions of Small Faces songs, including stripped-down acoustic mixes and live tracks.

“What I really like about this new deluxe edition is the Small Faces finally get to have an input. Immediate originally rushed out ‘The Autumn Stone’ compilation after we’d split into the Faces & Humble Pie. And no one spotted the big mistake on the cover or that songs had been left off! I’ve added an unreleased track and versions newly mixed that have never been heard before, a whole side of acoustic mixes that showcase Steve Marriott’s incredible voice, one side of live songs newly mastered to vinyl at the correct speed & everything is remastered from original tapes, including the Decca tracks. I’ve added songs that me, Ronnie, Mac & Steve loved working on & I got to correct all the errors with the original sound. The box set looks incredible, with gold foil lettering, 3-LPs pressed on 180-gram autumn stone and gold vinyl. There’s a 68-page hardback book which has so much in it, including sleeve notes, interviews, track-by-track details, a feature on our ‘1862’ sessions & pages of rare memorabilia, original artwork & previously unseen photos by our wonderful photographers, including Gered Mankowitz. I’m so pleased Gered is working with me on the album he originally helped design. Which means after 55 years, he’s finally put the Small Faces name on the cover!” KENNEY JONES, 2025

As well as a standard 3-CD edition, “The Autumn Stone” will be reissued as 3-LP coloured vinyl box-set including a 68-page hardback book containing detailed sleeve notes and track-by-track recording information, illustrated with rare memorabilia, original artwork and previously unseen photos by Small Faces photographers Tony Gale and Gered Mankowitz. The vinyl box-set boasts gold foil lettering, with the band’s name finally restored to the front cover, having been mistakenly left off on the album’s original 1969 release.

The vinyl package is limited to 3000 numbered copies, 750 of which are signed by Kenney Jones and Gered Mankowitz.

It’s here! The 50th-anniversary Super Deluxe Edition of Genesis’ “The Lamb Lies Down On Broadway” lands on 28th March 2025, and it’s everything we could have hoped for—and then some. If you’re a fan of this iconic double album, this new set promises to be the definitive version, loaded with extras that dig deep into the creation, live performance, and legacy of this legendary release.  Genesis’ incredible body of work, ‘The Lamb Lies Down On Broadway’ is a landmark record, and one of the most influential progressive rock albums of all time. Originally released in November 1974, ‘The Lamb’ is celebrating its 50th Anniversary  This definitive compendium was created with input from all band members involved in the record and follows the arc of the album’s creation and tour, giving fans a deep dive into the music and visual elements.

Released on 22nd November 1974, “The Lamb Lies Down On Broadway” marked a pivotal moment for Genesis. Sitting at the crossroads of their early prog roots and future mainstream success, the album remains a landmark in progressive rock history. With its intricate musicality, ambitious concept, and theatrical live presentation, it’s an album that has fascinated fans and critics alike for decades.

Now, 50 years on, this Super Deluxe Edition takes us back to the making of this extraordinary record while giving us new ways to experience it. Whether you view “The Lamb Lies Down On Broadway” as a prog rock masterpiece, a flawed experiment, or both, its influence is undeniable. The album’s ambition—both musically and conceptually—has made it a cornerstone of the genre. This 50th-anniversary edition celebrates everything that makes “The Lamb” so special while offering new ways to explore its rich history.

As Alexis Petridis writes in the liner notes: “Perhaps it makes sense that an album as complex as “The Lamb Lies Down On Broadway” has an equally complex history… It’s hard not to be struck by the fact that [the band members] seldom agree about it. Some think it’s the best album of their career; others see it as a brave but flawed experiment. Whatever your view, there’s every chance that The Lamb is all those things—flawed experiment, career highlight, prog masterpiece—at once.”

What’s in the Box?
The 50th Anniversary Super Deluxe Edition is available in multiple formats:  A Brand-New Remaster The original album has been remastered at Abbey Road Studios by Miles Showell from the original 1974 analogue tapes. This new mix brings the music to life like never before. “Live at the Shrine Auditorium, Los Angeles – January 24, 1975“,

For the first time, the complete performance from Genesis’ legendary “The Lamb” tour is available, including encore tracks “Watcher of the Skies” and “The Musical Box.”

‘The Lamb’ Dolby ATMOS mix overseen by Peter Gabriel and Tony Banks at Real World Studios; Download card featuring three never-before-released demos from the Headley Grange Sessions,

Exclusive Headley Grange Demos Three never-before-released demos from the album’s writing sessions at the legendary Headley Grange are included via a digital download card. These demos offer a rare glimpse into the early creative process of the band. Deluxe 60-Page Book This gorgeous coffee table-style book includes: Extensive liner notes by Alexis Petridis, featuring interviews with all five band members: Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford.
Rare and unseen photos by Armando Gallo, Richard Haines, and others.
A deep dive into the album’s creation and live performances.

Collectible Memorabilia A reproduction of the 1975 tour programme.
A replica concert ticket and promotional poster. “The Lamb Lies Down On Broadway” 50th Anniversary Super Deluxe Edition is released on 28th March 2025. 

5LP + Blu-ray Audio
4CD + Blu-ray Audio

“The Lamb Lies Down on Broadway” (50th Anniversary Super Deluxe Edition) will provide a deep dive into the music and visual elements around this seminal album and pivotal period of time for the band. The album was the pinnacle of the band’s early success and is regarded as one of the most important progressive rock records of all time.   The Genesis band members have been involved in the oversight and approvals around this new Super Deluxe Edition of the album, including new liner notes. The album will celebrate its 50th  Anniversary this year.

The latest issue of Record Collector is out and features on the cover John Lydon as he reveals the contents of his record collection. Remember that Capital Radio show in 1977 with DJ Tommy Vance –‘The Punk And His Music,’ it was called – in which Johnny Rotten blew us away by coming out as an unashamed fan of Peter Hammill, Augustus Pablo, Gary Glitter and more? Well, this is an updated version of that: journalist Simon Goddard and photographer John Chapple are invited into Lydon’s Malibu home to show us the music (and memorabilia) that have marked the key stages of his life, up to and including the death of his beloved Nora. It’s fascinating stuff. As is the Kris Needs feature on Tim Buckley, Lois Wilson’s chat with Andy Fairweather Low, and David Stubbs’ interview with Kevin Godley in which he reclaims 10cc from Yacht Rock hell and repositions them correctly as peers of Mothers Of Invention and Steely Dan, Van Dyke Parks and Sparks. The interest goes so much deeper…

The great rock and soul band, first known as The Young Rascals, and later, simply, The Rascals, delivered some of the great sides of the mid-to-late ’60s with such era-defining singles as “Good Lovin’,” “Groovin’,” “It’s a Beautiful Morning” and “People Got To Be Free.” Now, the group’s entire Atlantic Records output, spanning 1965-1971, is being released on May 2024, on Now Sounds via the U.K.’s Cherry Red Records, as a 7-CD box set, “The Rascals: It’s Wonderful: The Complete Atlantic Studio Recordings”. The 152 remastered songs include 14 previously unreleased tracks. The first four albums are presented in both stereo and mono, along with significant single edits and foreign language versions. The collection includes a 60-page booklet with detailed notes and rare illustrations from The Rascals archives.

“Time Peace: The Rascals Greatest Hits” marked both the culmination of the former “Young” Rascals’ early career and the transition to a new beginning. More than the “best of” it was intended as, it was an effective compilation of the seminal hit singles the band amassed during its chart-topping seminal period, from 1965 throughout 1968, beginning with their first record to capture attention, “I Ain’t Gonna Eat Out My Heart Anymore,” through to 1968’s chart-topper, “A Beautiful Morning” (A.K.A. “It’s a Beautiful Morning”).

Not surprisingly, “Time Peace”, released on June 24th, 1968, topped the U.S. album sales chart and enjoyed an extended run that lasted some 20 weeks. Just as significantly, it documented the trajectory of a group that initially made its name as a white group that could purvey pure R&B. Many didn’t realize until much later that they themselves weren’t a black band. That said, their visual image certainly didn’t lend itself to that impression, given the attempt to exploit the “rascally” persona by dressing in knickers, wide-collared shirts and caps of a schoolboy variety.

The Rascals were: Dino Danelli, Eddie Brigati, Felix Cavaliere, Gene Cornish  Rascals keyboardist Felix Cavaliere, percussionist Eddie Brigati, drummer Dino Danelli and guitarist Gene Cornish evolved and matured rapidly. Original material, mostly by Cavaliere and Brigati, the group’s primary lead vocalists, began to dominate their albums, and they started to incorporate elements of jazz, rock, psychedelia and more. The result was some of the finest popular music of its time.

Nevertheless, The Rascals were clearly more than a novelty. They became an international sensation, appearing on The Ed Sullivan Show and even opening for the Beatles at Shea Stadium. More importantly, they were a potent instrumental outfit. Felix Cavaliere’s trademark organ flourishes helped define their sound, while guitarist Gene Cornish proved an able resource when it came to driving them; the relentless riffing on one particular song on “Time Peace, “Come On Up,” serves as a prime example. As for Dino Danelli, suffice it to say he remains one of the most underrated drummers in the annals of rock ’n’ roll, a powerhouse performer very much in the same vein as Keith Moon.

As time went on, the Rascals began to veer away from the R&B covers that had helped sustain them early on. While several early offerings that were penned by others had a prominent place on “Time Peace” specifically their first big hit, “Good Lovin’,” and the perennial soul standards “Mustang Sally” and “In the Midnight Hour” the album also effectively documents the evolution of the Cavaliere/Eddie Brigati songwriting team. (Brigati, who initially sang lead and took the fore on “I Ain’t Gonna Eat Out My Heart Anymore,” eventually ceded that role to Cavaliere and settled instead for backing vocals and percussion.)

The two made their mark as co-writers, with several of the songs on this collection—“You Better Run” (later a hit for Pat Benatar), “Love Is a Beautiful Thing,” “A Girl Like You,” “How Can I Be Sure,” “It’s Wonderful,” “It’s a Beautiful Morning” and, of course, “Groovin’”.

Those songs also reflected the fact that, at this point, the Rascals could be considered more than a mere a pop band. “Love Is a Beautiful Thing,” “Beautiful Morning” and “A Girl Like You” found them expanding their instrumental arsenal with brass and orchestration. (Listen to the inventive combination of harps and horns that embellish the latter.) They incorporated jazz influences as well, soliciting contributions of such renowned musicians as flutist Hubert Laws to place them on the periphery of a more progressive sound.

On the other hand, the selections credited solely to Cavaliere, “Come Up Up” and “(I’ve Been) Lonely Too Long,” dealt mainly with courtship, love and occasional heartbreak, but managed to do so in a way that was as personal as they were poignant. It was a theme echoed early on with “I Ain’t Gonna Eat Out My Heart Anymore” and later through any number of other songs in this collection, including “You Better Run,” “Love Is a Beautiful Thing” and “How Can I Be Sure.”

So while “Time Peace” could be considered a document detailing the end of an era, it also marked a makeover. The album that preceded it, “Once Upon a Dream“, was an attempt to break from their commercial constraints and offer instead a conceptual offering that Cavaliere wistfully referred to as an attempt at a “Sgt. Pepperish” production. They would continue in that vein long after Time Peace as well, releasing a string of ambitious epochs—”Search and Nearness, See, Peaceful World” and “The Island of Real” well into the early ’70s.

Incredibly, the group’s “People Got To Be Free,” was released as a single in July but wasn’t included on the “Time Peace” album, which had been issued just a week earlier. It became the band’s third song to reach #1. (It was included months later on their 1969 album, “Freedom Suite“.)

From the label’s announcement: In the mid-1960s, the Rascals fused the best of rock and soul and they remain one of the most beloved of acts of that era. The electrifying quartet of Felix Cavaliere, Eddie Brigati, Gene Cornish and Dino Danelli defined the term blue-eyed soul. As the hits mounted up, the group expanded their musical horizons and revealed a powerful songcraft with introspective originals “Groovin’” [one of the group’s three #1 singles] and “How Can I Be Sure,” both future standards.

Although the Rascals are principally remembered for their singles, their albums were also studded with gems, and showcased not just their signature rock and R&B styles but also a progressive exploration of jazz, Eastern modes, psychedelia and other diverse styles. This set presents the full complement of their cornerstone Atlantic recordings, featuring the band’s seven LPs for the label—the first four in both mono and stereo variations—along with assorted non-LP singles, foreign language versions and, for the very first time on a Rascals reissue, 14 previously unreleased tracks.

It’s Wonderful is the definitive compendium of the group’s first five years 1965-1971, charting their growth from New York club band to international superstars. Compiled and suitably remastered by Alec Palao, this major refurbishment of their catalogue leaves no stone unturned. A nearly 10,000-word essay by Richie Unterberger provides an in-depth account of their career, and is supplemented by an extensive session history and copious illustrations from the Rascals Archives. All housed in a deluxe, handsomely appointed box art directed and designed by Steve Stanley.

Stevie Van Zandt heaped a ton of praise on the Rascals when he inducted them into the Rock and Roll Hall of Fame in 1997. If you think he was being hyperbolic, you probably haven’t heard the group, which likely means you weren’t around in the mid- and late 1960s. 

“It’s Wonderful” includes a 60-page book with a 10,000 word essay penned by Richie Unterberger, and tons of rare photos from the Rascals Archives.

Cloth are twins Rachael & Paul Swinton from Glasgow, Scotland.

Released on Mogwai’s Rock Action Records, we are really delighted to bring you Cloth’s new “Pink Silence” LP and a very handsome Dinked Edition too!. Cloth are a Glaswegian duo composed of twin siblings . They’ve released a few projects over the past few years, including the November 2024 single “Polaroid,” which sounds a bit like if Imogen Heap went rock. That song is going to be on the duo’s newly-announced album “Pink Silence”, out this April, and they’re sharing another song from it today called “Golden.”

releases April 25th, 2025

There is new a song for you now, and the beginning of a new chapter. It’s called “I’m Not There”. I think that’s all I’ll say. I hope it lives well in your ears. These last few weeks, Nick and I have sung to Glaswegians and Cardiffians (yes that’s what people from Cardiff are called, I googled it). We were accompanied by strings at those shows, same as at the Union Chapel at Christmas, which temporarily elevated us to the status of ‘seated theatre band’. It was classy while it lasted. We played a lot of new songs which felt correct. Back to drums and standing and beer again soon I think.

This song was written under a particularly dense cloud, with a rainy brain. I was draining my subconscious, not present in the slightest and it came out very fast, which doesn’t happen often these days.  What may also be interesting to some is that the recording is a fully live performance, we played it once and once only and that’s all the listener hears bar a single piano added later.   

Very excited for you all to be hearing this new chapter unfold this year. A huge thank you to everyone involved, please honour the credits below.    

Written and Peformed by Flyte Drums – Ethan Johns Produced and mixed by Ethan Johns   

The Tubs’ second album, “Cotton Crown“, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock “Chain Reaction” to Husker Du aggression “One More Day” to melancholy sophisto-pop “Narcissist” gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and “Cotton Crown” sees them continuing to explore this world and creating a distinctly Tubular sound in the process.

This is in no small part down to Owen ‘O’ Williams’ vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. “Cotton Crown” sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there’s a palpable sense of risk in his self assessments / confessions. 

The build-up to the Tubs’ new album, “Cotton Crown“, has been incredible so far. “Freak Mode” and “Narcissist” hit all the right levels of amped-up jangle-pop, brightened by bang-on, tempo-shredding guitars. And the sweetness doesn’t rest on “Chain Reaction,” a punk-as-all-get-out track about, as bandleader Owen “O” Williams puts it, “being a scammer/swindler/charlatan/snake oil salesman/trickster/bluffer/con artist/grifter/dodgy dealer/hustler” in the “world of love.”

Caught somewhere between Hüsker Dü and Richard Thompson, the Celtic band risks it all on “Chain Reaction,” dissolving into “the mould on the bathroom wall, the creeping dread [and] the balance limit.” The song is all gas, no brakes. Even in bleakness, the Tubs fill breakneck rock ‘n’ roll with sensational joy.

No more so in the track’s closing track “Strange”– an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As  Williams says: “I’d tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled.” The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.)

The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you’ve got yourself a recipe for indie rock greatness.

Features guest vocals from Lan McCardle (Joanna Gruesome/Ex Void).

The London group’s sophomore album, “Cotton Crown”, out March 7th, 2024 via Trouble In Mind Records. For fans of  Richard Thompson, The La’s, The Charlatans, Aztec Camera, Superchunk, The Chills, Felt, The Smiths, Pentangle.

This new Robin Kester single is splendid. The Dutch musician is now in an elite class, having recently signed with Memphis Industries, a Brit label with a roster featuring the Go! Team and Field Music. “Departure,” her new collaboration with This Is The Kit’s Rozi Plain, is diaristically influenced and filled with gestures of leaving. “You travel to a sunlit place, but the light there is also strange,” she sings against Ali Chant’s synthesized, orchestral production. The track is dappled in vibrant havoc, hiking upwards in scale as a wall of voices harmonizes behind Kester’s.

There are glimpses of a young Beth Gibbons here, but Robin Kester’s chamber singing bellows like the seams of a moor rupturing into uniqueness. “Departure” is beautiful in all of its zig-zagging, executed as a perfect wash of pop decadence.

On “Mountain,” Cryogeyser teams up with Wednesday’s Karly Hartzman for a sonic sierra that feels, somehow, equal parts crushing and caressing. The LA trio’s latest offering from their upcoming self-titled album feels like watching an ice sculpture melt in reverse: Shawn Marom’s fuzzed-out guitar work creates a wall of sound that’s less Phil Spector and more frozen waterfall, while Hartzman’s soaring harmonies weave through the mix like Northern Lights. When they sing, “I hear one door closing holds another open,” it hits you with the weight of an avalanche in slow motion.

“Mountain” is a meditation on friendship that trades the usual longing for something rarer—the warm glow of actually having what you want.

The track builds like a snowball rolling downhill, gradually gathering mass and momentum until all of a sudden you realize it’s become something altogether massive and mesmerizing