You’ve likely never heard of Dan Penn and, if that’s the case, one reason is probably that you’re not the sort of person who reads songwriting credits. If you did, you’d know this Alabama native from the many popular songs he has written or co-written—the Box Tops’ “Cry Like a Baby,” Janis Joplin’s “A Woman Left Lonely,” Clarence Carter’s “Slippin’ Around,” Aretha Franklin’s “Do Right Woman, Do Right Man,” James Carr’s “Dark End of the Street,” and James and Bobby Purify’s “I’m Your Puppet,” to name a few.

Penn is at least as good a singer as he is a writer, but another reason you likely haven’t heard of him is that he hasn’t exactly focused on recording, much less self-promotion. Living on Mercy, which came out in 2020, was his first all-new collection of material since he debuted nearly half a century earlier with 1973’s Nobody’s Fool. It was also his first studio production since 1995’s Do Right Man.

The wait for more fresh recordings by Penn continues. In the meantime, though, we have the newly released Smoke Filled Room, an 11-track collection of old demos selected by him from his archives.

These tunes, all written or co-written by Penn, are not among the ones that have made him a legend among performers. Though soul singer Irma Thomas recorded Smoke Filled Room’s title track on a 1992 album called True Believer, most, if not all, the other material here has not seen the light of day until now. That’s rather amazing, because numbers like “One Blue Light,” “There’s Nothing Out There,” and “Battling the Blues” sound like classics plucked from the Stax/Volt catalog.

Also amazing are Penn’s intimate, emotionally intense vocal performances. With sparse backup, his soulful voice is constantly front and center, and what a rich and emotive voice it is. When he sings, he pulls you into his world and makes you believe every line.

Never heard of Dan Penn? You have now.

The album is available on vinyl here and on CD here.

Also Noteworthy

The Blasters, Rare Blasts: Studio Outtakes and Movie Music 1979–1985. Rare Blasts, the latest reissue from the Blasters, is a blast. This is party-ready, heavily sax-spiced music that recalls the energy of rockabilly and rock ’n’ rollers like Jerry Lee Lewis and Little Richard. Also incorporating elements of R&B, swing, jazz, and blues, the album offers yet another reminder of the group’s talent and versatility.

The set, which first appeared as part of a five-LP package issued for last year’s Record Store Day, collects tracks created between 1980 and 1985. The trailblazing roots/Americana band, led by brothers Dave and Phil Alvin, delivers Dave’s “Blue Shadows” and Jerry Leiber and Mike Stoller’s “One Bad Stud,” both of which figured in the soundtrack of the 1984 film Streets of Fire. Also on the program are a dozen studio outtakes, including four more of Dave’s compositions, Willie Dixon’s “21 Days in Jail,” Howlin’ Wolf’s “So Glad,” and six other numbers.

Phil’s impassioned vocals are a treat and so is Dave’s stinging lead guitar work. The other players—drummer Bill Bateman, keyboardist Gene Taylor, and saxophonists Lee Allen and Steve Berlin—are in fine form as well.

The album is available here.

Matthew Payne, Better Times. Half the cuts on this debut full-length album from Austin, Texas–based Matthew Payne are very good, and the rest are even better. Backed by a sparingly employed trio consisting of co-producer James Stevens (percussion), Marty Muse (pedal steel, resonator), and Kevin Smith (bass), Payne delivers an all-originals set that recalls veteran folkies like Sammy Walker, James Talley, and Townes Van Zandt as well as Bruce Springsteen’s Nebraska. At times, such as on a number called “Name,” Payne also sounds redolent of early Bob Dylan.

The best of the CD’s 10 first-person tales are its somber, understated, confessional ballads. Among them is the title cut and album opener, whose protagonist tries to believe better times are coming, but confides, “[I] lost my job, got no money coming in, my family needs more than I’m givin’ / I want to be the man my son looks up to, but I’m tired and I’m broken and I don’t know what to do.”

Another standout is “Adilena,” a heartbreaker about a lost love in which the singer admits, “I wanted you so badly but all I did was hide.” Also excellent are “Slip Through Me,” where Payne sings, “Winter’s comin’ and I ain’t ready / Everything’s dying or going someplace I can’t see”; and the haunting “My Father’s Son,” where he describes his dad’s shortcomings and then says, “Forgive me for doing just what he done / “I wish I weren’t my father’s son.”

The album is available for download here.

Banshee Tree, Bad Luck.  The Denver-based quartet known as Banshee Tree spent five years honing its music before releasing this terrific sophomore release. Lead vocalist and guitarist Thom LaFond wrote all the material, which is as accessible as it is adventurous. Other players include Michelle Pietrafitta (drums, vocals), Jesse Shantor (keyboards, sax), and Jason Bertone (bass).

The album is rooted in richly textured indie rock, but the band liberally employs jazzy sax fills and guitar work as well as enough pop seasoning to occasionally recall outfits like Starbuck. A track called “Glue” even features a bluegrass-flavored guest spot by Leftover Salmon banjo player Andy Thorn. The impressionistic lyrics are deftly written, but you might be too caught up in the atmospheric music to pay them the attention they deserve.

The album is available for download here.