The Fat Angel Sings

For more than sixty years now, the musical development of Dan Penn has been like a movie that is constantly in production with every glimpse of the director’s work in progress sought after by his fans.  There have been countless stills from the movie in the form of the many classic recordings of his material by other artists that have cemented his place in the songwriters Pantheon.  Very occasionally, we’ve had the pleasure of enjoying his own work through the handful of solo albumshe has released as full studio productions – “Nobody’s Fool” (1973), “DoRight Man” (1994) and “Living On Mercy” (2020).  

Legendary singer-songwriter Dan Penn — author of some of the most enduring tunes in popular music history — has released few albums in his entire storied career. With “Smoke Filled Room“, a personal collection of songs, he adds one more. Rooted in the red clay of Alabama and shaped by the studios of Memphis and Muscle Shoals, Penn’s work has long been central to the beating heart of Southern soul. An understated, yet powerful late-career offering, “Smoke Filled Room” adds to his legacy.

The album gathers rare and previously unreleased material from across Penn’s catalogue, which he has revisited and refined over a lifetime in music. Though Penn, now 84, has spent nearly 70 years writing songs for countless artists, his own studio output has been remarkably sparse.

As a result, his songwriting demos have long been prized by devoted fans and collectors. Over the past few decades, several collections have surfaced. He continues to revisit his archives, shaping overlooked material into fully realized works; “Smoke Filled Room” is his latest expression of that process. With “Smoke Filled Room”, Dan Penn reminds us that great songs don’t age. They deepen — and gain new resonance.

And then of course there is the Dan Penn and Spooner Oldham live album, “Moments From This Theatre”, where the songwriters’ skills are so spellbindingly executed publicly in their purest, naked form.

Like all writers, he is constantly jotting ideas, returning to them time after time to spark them into life.  Many get left behind but there are some that keep developing. Itches that need to be scratched. Periodically, we get to admire some of these survivors when Dan releases a collection of songs that he deems good enough to share with the outside world.  So far, there have been few in the series of “demo” albums issued privately on his own Dandy label.  “Blue Nite Lounge” was the first in 1999.  It came out because he had been in Louisiana on a songwriting trip with Carson Whitsett and Bucky Lindsey recording their efforts for what he intended to be his next full studio production.  When he got back home and heard the results, he decided that he simply couldn’t match the vocals he had done so it got released after a bit more work.  

Inspired by the reception it got, he followed it up in 2008 with “Junkyard Junky” as a consequence of him re-evaluating some archive material and deciding it was too good to just gather dust.  He repeated the process with “I Need A Holiday” in 2013.

But aside from “The Inside Track On Bobby Purify” (which was a look through the songwriter’s keyhole at the Bobby Purify album he produced in 2006), it’s been a long wait for this latest collection of his demos. “Smoke Filled Room” is the most recent review of his musical scrapbook and it has revealed original versions of some great songs that somehow never made it further than the Penn workbench.

As ever, the icing on the cake is Dan’s soulful singing and southern groove which bursts out of every track.  

This selection clearly illustrates the breadth of his range as a writer, especially when he is bouncing ideas around with the other collaborators on these sessions and in particular, with Carson Whitsett and Bucky Lindsey.  Their contribution at the song writing summit meetings with Dan was always fruitful.  Sadly,we’ve lost both of these musical architects now, but they live on through this release and their other work.  These gatherings were regular events over the course of the trio’s friendship, and it is a real joy hearing Carson’s contribution on keyboards on so many of these recordings.  Bucky’s inimitable voice on “Crazy Ol’ Girl” is a treat too.  

Let’s not forget that these tracks on “Smoke Filled Room” really are just demos because you might well do when you’re listening to them.  Normally, this kind of stuff doesn’t get heard outside of the world of song-pitching. They are not made with any intention of being released in the original format.  It is just part of the daily work of the songwriter and so it’s interesting listening to them and imagining how they might be interpreted by other artists. However, there is nothing quite like hearing them from the creator himself.  

When he told me that he had another collection ready for public consumption and asked what I thought of the idea, I said that if Dan Penn reckons that they are good enough to be heard that’s good enough for me.

Next in the line-up of foundational Little Feat albums to get the Rhino Deluxe treatment is the band’s 1971 self-titled debut album. Releasing as a 2LP vinyl set exclusively for RSD 2026, it includes the original album, AAA-cut from original master tape, alongside a bonus disc of rare previously unreleased alternate versions and outtakes from their early recording sessions.

The self-titled debut album by Little Feat, originally released in 1971, stands as one of the most sophisticated opening statements in the history of American rock ’n’ roll. While it didn’t achieve immediate commercial superstardom, it established Lowell George as a singular force — a slide guitar virtuoso with a surrealist’s wit and a soul singer’s phrasing.

The “Little Feat” Deluxe Edition finally gives this foundational record the expansive treatment it deserves. Curated with the participation of surviving band members, this is a masterclass in the spirit of the band’s early days, blending country-rock, blues, and folk into a greasy, soulful stew that could only have come out of Los Angeles in the early ’70s.

The first disc features a pristine remaster of the original 11-track album. But the second disc is where the Deluxe label truly earns its keep, offering a treasure trove of previously unreleased outtakes, demos, and alternate versions from the 1970 sessions at United Western Recorders. These archival tracks provide a fascinating “fly-on-the-wall” perspective of the band finding their voice. Perhaps most exciting are the session outtakes that feature different instrumental arrangements, revealing the band’s willingness to experiment with tempo and tone.

This limited-edition release of Mark Lanegan’s album “Bubblegum” marks the first time that his original plan for the record is being presented. During the sessions, Mark and his stellar cast of collaborators (PJ Harvey, Joshua Homme, Greg Dulli, & Duff McKagan etc) recorded enough material for two albums, but things changed and the album’s final track listing ended up being much different. This edition presents his original plan for the album.

The excavation of Mark Lanegan’s creative vault reaches a definitive peak with the release of “Bubblegum” (Original Draft), a comprehensive archival project that strips away the polished veneer of his 2004 masterpiece to reveal the jagged, skeletal remains of its inception. Released as part of a massive 20th-anniversary celebration of the original album, this collection serves as a sonic ghost story, documenting the transition from Lanegan’s folk-rooted melancholia into the heavy, industrial-blues hybrid that would define his later years.

The original “Bubblegum” was already a sprawling, star-studded affair featuring the likes of PJ Harvey, Josh Homme and Izzy Stradlin, but the Original Draft provides a voyeuristic look at the solitary demos and alternate takes recorded in hotel rooms and low-rent studios across the globe.

It is an essential document for understanding how a singer often associated with the grunge explosion of the 1990s managed to reinvent himself as a high-priest of the desert-rock avant-garde.”

Tracklisting: A1. When Your Number Isn’t Up, A2. Hit the City (feat. PJ Harvey), A3. Mirrored, A4. Methamphetamine Blues, B1. One Hundred Days, B2. Bombed, B3. Like Little Willie John, B4. Strange Religion, C1. Josephine, C2. Come to Me (feat. PJ Harvey), C3. Message to Mine, C4. Wedding Dress, D1. Lexington Slow Down, D2. Skeletal History, D3. Blood (Crackers & Honey)

Pressed on white vinyl, this 2XLP has been beautifully mastered by Geoff Pesche at Abbey Road. Profits from the record will be donated to the newly created Mark Lanegan Foundation.

Foxtide are made up of Elijah Gibbins-Croft, Oey James and Ian Robles, Foxtide are a byproduct of being bred by the beach and raised by a DIY house-show scene. The SoCal three-piece were formed around garage jam sessions and earned their cult following through the intense vitality of their live shows. First starting to release music in 2019, it was the band’s second EP “Visions” in 2021 that took them from a hometown secret to a band to watch nationally. 

Foxtide have played alongside Backseat Lovers, Echo & The Bunnymen, Lime Cordiale, Sarah & The Sundays, Mustard Service, Beach Goons, and more. Moving into the chapter of their next project, Foxtide are abandoning the idea that they need to create “perfect” music, and simply making what they like to listen to. Tinged with the aloofness of early 2000s rock, while experimenting with the formulas of modern pop, all threads are knotted in the authenticity behind Foxtide’s unrelenting love for music.”

Foxtide’s album “Entropy” is set to be released on April 17th, 2026. The album will feature 11 songs and has a total duration of 17 minutes. 

Fans can listen to the album on various platforms, including Apple Music and Amazon Music. 

Arriving on April 17th via Position Music, Foxtide will release their second album titled “Entropy”. A more mature step away from the surf-rock foundation the band introduced themselves with, “Entropy” draws near to the disorderly quality of life. Where celestial, nostalgic synths soar, the record remains tethered by guitar-forward arrangements and unguarded lyrics

San Diego’s Foxtide release one more single ahead of their new record, titled “Wait it Out.” The closing track of the upcoming album, Foxtide show themselves a lot of grace on the new song. Tender, patient, and anthemic, “Wait it Out” leafs through the pages of a chapter without allowing the book to slam shut.

Singer Elijah Gibbins-Croft said, “‘Wait it Out’ can be a message to yourself or the ones you love. That you’re willing to be patient for yourself or for them. Whether it’s waiting until you see them again or waiting with them for the hard times to pass.”

The album is described as a more mature step away from the surf- rock foundation, with celestial, nostalgic synths and guitar-forward arrangements. The title track, “Wait it Out,” is a message of patience, encouraging listeners to wait for themselves or loved ones. 

The Doors’ Strange Days 1967: A Work in Progress, Part 2 presents newly unearthed material from the band’s early 1967 album sessions, featuring rough mixes without final overdubs on side one and previously unreleased outtakes of “When the Music’s Over” on side two.

The Doors’  record store day is a revelatory archival release that provides an intimate window into the experimental zenith of one of rock’s most enigmatic bands. This LP is the direct successor to the previously unearthed first volume, continuing the deep dive into the 1967 studio sessions at Sunset Sound. While the original “Strange Days” album is celebrated for its polished, atmospheric production — including the pioneering use of the Moog synthesizer — this collection strips back those layers to reveal the raw, skeletal foundations of the songs.

For fans and historians, it offers a rare chance to hear Jim Morrison, Ray Manzarek, Robby Krieger and John Densmore crafting their second masterpiece in real-time, long before the final overdubs and musique concrète effects were applied.

Pressed on limited-edition transparent turquoise vinyl with an exclusive poster print included, it’s a visceral, unpolished look at a masterpiece in the making. Doors engineer Bruce Botnick said “[This is] a document showing some of the give and take of recording in the studio and sorting out the songs, and where they would eventually live.”

Off the back of the success of their second album “Caramel” and on the brink of their biggest headline tour to date, Coach Party release an exclusive pressing of their “Club Caramel” live sessions, featuring breakout singles Disco Dream and Girls!.

Coach Party are a British indie-rock band hailing from the Isle of Wight. With their unique sound and captivating performances, they have quickly gained recognition in the music industry. Known for their infectious melodies and heartfelt lyrics, their music resonates with listeners of all ages.

Off the back of the success of their 2nd album Caramel and on the brink of their biggest headline tour to date across the UK, Europe, US and Canada, Coach Party release an exclusive pressing of their “Club Caramel live sessions”, .

Captain Beefheart & The Magic Band’s fourth studio album, “Lick My Decals Off, Baby”, is often cited by Don Van Vliet himself as his favourite and most accomplished work. Released in December 1970 as the immediate follow up to the monolithic “Trout Mask Replica“, it refined that album’s chaotic energy into something arguably more complex, angular, and darker. This Deluxe Edition serves as the definitive celebration of this avant-garde masterpiece, offering fans a deeper look into the meticulous and often grueling creative process that defined The Magic Band.

This limited set features the original 15-track album recut from the original master tapes by the legendary Bernie Grundman, along with a second disc of previously unreleased instrumental versions and alternate takes from the original 1970 sessions at The Record Plant in West Hollywood. These instrumental tracks, allow listeners to hear the raw, unfettered machinery of The Magic Band without Beefheart’s guttural, multi-octave growl.

The advertisement for Beefhearts’ album “Lick my decals off, baby”

This transparency reveals the “impossible” chord progressions and syncopated rhythms that the band famously rehearsed for up to 14 hours a day under Van Vliet’s intense direction. The alternate takes of “Woe-Is-Uh-Me-Bop” and “I Wanna Find A Woman That’ll Hold My Big Toe Till I Have To Go” offer further insight into how these surrealist compositions evolved in the studio

Whether they’re rocking stadiums, making a beeline for the discotheque, or gathering around the campfire, the implicit message of Arkells is always the same: Everyone is welcome here. Since the beginning, Arkells have never wavered in their mission to be the house band that soundtracks the greatest nights of your life and provides emotional support in your darkest hours. And that spirit is reflected in an ever-evolving sound that hits all the perennial pleasure points — fusing the anthemic power of alt-rock, the pulpit-shaking passion of vintage soul, the off-the-cuff intimacy of singer-songwriter music, the urbane edge of 21st-century indie, and the futurist aesthetics of modern R&B.

Thanks to that eclectic ethos, Arkells have continued to evolve, while making everyone feel right at home. As one of the most rotated acts on radio, and record holders of the Juno for Group Of The Year, Arkells have extended their reach beyond borders by infiltrating all corners of pop culture; from sports telecasts and video games to the stages of Coachella and Bonnaroo.

But the band’s longevity is ultimately a function of their commitment to never coasting on past glories and to always live completely in the moment. Even through their impressive history together, Arkells still approach every gig as an opportunity to prove themselves to the unconverted; as they’re fond of saying, each time they take the stage, “we understand the assignment.” The first rule of rock ’n’ roll is to play every show like it’s your last — but as Arkells prove night after night, it’s just as important to hold onto the unbridled energy and enthusiasm of your first.”

The tour poster has “NO KINGS” in all-caps and Bruce says: “We are living through dark, disturbing and dangerous times, but do not despair — the cavalry is coming! Bruce Springsteen and The E Street Band will be taking the stage this spring from Minneapolis to California to Texas to Washington, D.C. for the Land of Hope And Dreams American Tour. We will be rocking your town in celebration and in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C. Everyone, regardless of where you stand or what you believe in, is welcome — so come on out and join the United Free Republic of E Street Nation 

Bruce Springsteen and The E Street Band perform “Purple Rain” in honour of “The Maestro” Prince for the opening night of the Land of Hope and Dreams American Tour in Minneapolis, Minnesota on March 31st, 2026.

Right from the start, you could tell this wasn’t going to be a typical run-through of hits. Opening with “War” (a The Temptations cover) was a bold move on its own—but bringing out Tom Morello and playing it for the first time since 2003 made it hit even harder. It set the tone fast: intense, a little gritty, and very intentional. That energy carried straight into “Born in the U.S.A.” and “Death to My Hometown,” both of which sounded louder and heavier with Morello in the mix.

The E Street Band sounded as tight as ever, and Springsteen had that mix of storytelling and edge he’s known for. Songs like “No Surrender” and “Darkness on the Edge of Town” felt familiar in the best way—but nothing about the night felt phoned in.

One of the coolest moments was “Streets of Minneapolis,” especially since it was the first time he’s done it with the full band. You could feel the crowd lean in a bit more for that one—it made the whole night feel connected to the city, not just another stop on tour.

There were also some quieter, heavier moments that really landed. “American Skin (41 Shots)” and “Long Walk Home” slowed things down in a way that made you actually stop and listen. When he introduced “Long Walk Home” as “a prayer for my country,” it didn’t feel scripted—it just felt honest.

The acoustic “House of a Thousand Guitars” gave everyone a breather before the show picked back up again. Then it just kept building—“Because the Night” (from the Patti Smith Group), “Wrecking Ball,” and “The Rising” all felt huge live.

By the time they hit “The Ghost of Tom Joad,” “Badlands,” and “Land of Hope and Dreams,” the place was fully locked in. Those songs, especially with Morello, had this raw, almost electric feeling that’s hard to describe unless you were there.

The encore was everything you’d expect—in a good way. “Born to Run,” “Dancing in the Dark,” “Tenth Avenue Freeze-Out”—all the moments people wait for. But the real surprise was ending with “Purple Rain” as a tribute to Prince. In Minneapolis, that just hits differently. It didn’t feel like a gimmick—it felt like respect.

Honestly, it didn’t feel like a three-hour show. It felt like a conversation, or maybe even a release. Springsteen’s not up there just going through the motions—he still means every word, and you can tell.

Baltimore’s Turnstile pay homage to Manchester giants The Stone Roses in tribute to late bass player Mani. Hardcore heroes Turnstile performed the unlikely cover version of The Stone Roses‘ classic track.

The Baltimore, Maryland, group chose the track for their appearance on triple j’s Like A Version series and said it felt appropriate after the recent death of Stone Roses bass player Gary ‘Mani’ Mounfield.

Yates says: “I love this song. It’s one of my favourite songs of all time. It’s unconventional and simple and just beautiful. “As a Brit, The Stone Roses were one of those bands that every kid who had any inkling towards anything alternative just knew from such an early age – just such an iconic band and, in my opinion, probably the coolest of all of the Manchester bands coming out at that time.”

“We’ve done covers for years. We’ve done different covers live, a lot of bands. But this was a different experience because we got to lay it down in a studio. It felt good to, especially when on tour and playing your songs every night, to break from that and play someone else’s.”

Mills, who hails from England, says she hopes people like their version of what she describes as a “powerful” song. “One of the most iconic bass lines of all time. I think it’s so powerful in its simplicity,” she says.

Turnstile cover The Stone Roses ‘I Wanna Be Adored’ live for triple j’s Like A Version.