Friday, August 28, 2026

TA-80 - 25


After releasing three albums in four years, Arizona's mega-awesome pop-punk rock 'n' roll power quintet TA-80 came into 2026 with a clear plan: play a bunch of shows, record a bunch of singles and EPs, and start writing the best album of 2027. Why stop when you're on a roll? 

This is a particularly significant year for the band since it marks the 25th anniversary of its formation. To celebrate its 26th year as a band (yeah, that's how the math works), TA-80 has dusted off four songs from its early years and re-recorded them for 25, a brand-new EP that is out now on Allegedly Records. You can find TA-80's digital catalog online tracing back to 2010. But there's also an early catalog of titles you can only hear if you own the original CD-Rs, cassettes, compilation albums, reel-to-reel tapes, VHS videos, floppy discs, voice mails, etc. The band would be the first to tell you that they hadn't fully found their sound when they wrote and recorded a lot of that stuff. But for this release, the band chose four songs from its early 2000s period that it found worthy of revisiting and re-recording. So they dug out their iPods, guzzled lots of SoBe Lizard Fuel, frosted their tips, and transported themselves back in time. Exactly 26 copies of a CD release were pressed — one representing each year that this planet has had the pleasure of existing with TA-80 in it. Each copy is unique and comes with caringly hand-drawn art representing a particular year in the storied life of TA-80. If you didn't know these were old songs, you might think it was just a cool new EP from one of your favorite bands. These tracks are legit good, and certainly they benefit from the "We know now what we didn't know then" perspective that the band brought to this project.   

"Radio Beehive" (which originally appeared on TA-80s's 2001 album '80-'83) pulls no punches. It's almost straight-up '80s metal. Check that: it is straight-up '80s metal, and it totally kicks ass. It's fun, loud, and sure to rock your face off. These folks always knows how to get the party started, and here they do just that! You think I won't have the intestinal fortitude to choose this track for embedding? Try me! "No Call No Show," originally a 2005 demo for the band's mid-2000s lost album, 40 oz. Rose, takes the EP in a very different direction. It has more of a laidback, fuzzed-out '90s alternative rock/power pop vibe to it, and it shows that TA-80 can do pure pop with the best of 'em. "Super Slob," from the 2003 album TA-80 Are Go!, is vintage 2000s-style pop-punk that's catchy as hell but still packs a punch. "This City Night," also written for the ill-fated 40 oz. Rose, closes things out with anthemic rock energy. TA-80 might not play stadiums, but it sure makes music that could fill them. I love that this release embraces the band's past yet aligns wonderfully with its present vibe. And it's neat to hear four different members of TA-80 on lead vocals (Russ sings "Super Slob," and Jens duets with Amy on "This City Night"). Bandcamp and CD versions come with bonus tracks culled from a couple of split singles the band has done recently with The Femurs and Rob Moss and Skintight Skin (more on that one in a couple days!). 

When I say a release is limited, that usually means 100 copies. But with only 26 copies of 25 made and a few already spoken for, you best not dilly-dally if you want to get your hands on that sweet polycarbonate plastic! Tonight I will drink to the first 25 years of TA-80 and hope I'm still around to review 50 when it comes out. By then, we'll be nostalgic for the good old days before the robots fully took over! 

Vista Blue - "Championship of Love"


Just in time for Week Zero of College Football season 2026, we get Vista Blue's first-ever football-themed (or as Mick Fletcher will insist, American football–themed) single! And once again, I'm reminded of why this is one of my favorite bands. Day 1 of college football season is practically a holiday for me. I'm decorating the house, stocking up on snacks, studying the two-deeps, and canceling all my prior commitments. And I'll be pre-gaming with "Championship of Love"! 

The energetic & very poppy title track is the kind of song Mike is so very good at writing: a song ostensibly about an aging football player hoping for one last shot at a ring that is really a love song (about a dude hoping for, uh, one last shot at a ring). The song is loaded with classic football references (contract incentives, playbooks, the trenches, plays under review, telegraphing moves, franchise tags, hail Mary passes) which contribute to the larger metaphor. It's tough enough to find love when you're young and at your peak. But what happens when you've lost a step and your game is in decline? There's nothing worse than wanting something so badly and feeling in your gut that it's out of reach. But still, you never give up. And that's what this song celebrates. Even with me having won the championship of love a number of years ago, there was a long period of time when I wondered if I ever would. Twentysomething me is really feeling this song. 

On the digital flip side, the punkier (at least two reviewers will call it Ramones-ish) "She's My Taysom Hill" at first appears to be another song using football as a metaphor for romantic relationships. But upon further inspection, I'm sensing a flipped script! This sure seems to be a love song that's really about a football player. What happens when that dependable & versatile quarterback/tight end/fullback/receiver/special teamer who has always been #1 in your heart parts ways with your favorite team? It's a tough pill to swallow, especially when you have to think about him possibly going to the Broncos and finally winning a ring. Sports breakups can be brutal (I refuse to face the fact that Kyle Schwarber will someday not be a Phillie), and sometimes music is all we have to make them bearable. This is one of the sweetest dumb songs you'll ever hear. And it pairs so perfectly with the A-side! 

Alright! Vista Blue, as always, could not be any more on-point with its timing. Everybody loves football! Who's ready for Week Zero? I was so pumped that I wanted to go back to the school paper for the fifth year I never had, but the Big Ten says it won't take any former pros. I bet Lane Kiffin would hook me up. For the next 19 Saturdays, I will not be very productive. Something tells me my reviews will be getting a lot shorter. I don't think anyone will be complaining. 

Sunday, August 23, 2026

Ruckus - self titled 12"


Three years after dropping the impressive single Two Easy, the international super-group Ruckus has delivered a 12" EP that has all the punk rockers going crazy. Drunken Sailor Records and Under The Gun Records have teamed up to unleash this beast of a record — which features six tracks that recall a time when pub rock and trashy glam rock 'n' roll collided at full speed and coalesced into the shooting star we know as punk rock. The band is made up of Kam Lindsey (The Stance) on lead vocals, Mario DaCosta on bass, Brian Crozier (NY Hounds) on rhythm guitar, Alex Palazzo (NY Hounds) on drums, Ethan Stahl (The Prize, Loose Lips, Chubby & The Gang) on lead guitar, and Nick Norrman (Ingrates) on lead guitar. That's a "Wow!" lineup, and the music totally lives up to pedigree. Ruckus manages a very old school sound without coming off like a copy of any band in particular. I love the way these songs combine a rawer approach to production with booty-shaking energy, unapologetic pop hooks, and super-tough vocals. There's really no other band out there that sounds like this. This is punk rock. This is rock 'n' roll. But it's not the same by-the-numbers punk rock 'n' roll that you hear all the time. This EP was recorded in 2024, yet you could easily convince someone it was from 1978 or 1982. Those bass lines are insane, and the double-barreled lead guitar totally works. With only four new tracks, this record still leaves us wanting more. But isn't that how you're supposed to do it? If you want the vinyl, I'd recommend not hesitating!

Saturday, August 22, 2026

The Batter Ups - "Cailee"


One thing I'll never tire of is well-executed bubblegum pop-punk. Denmark's Thomas Stubgaard, whom you may remember from Tommy and the Rockets, has a new band called The Batter Ups going that could not be any more up my alley. This one-man operation combines a distinctly European (meaning very pop-leaning) style of pop-punk with a heavy dose of comic book and sci-fi fandom. Before I'd even heard a note of the music, the band slogan "Fast songs; Catchy hooks; Awkward crushes; Questionable decisions" had me won over! Mixed and mastered by the great Perry Leenhouts, new single "Cailee" is a love letter to the actress Cailee Spaeny. What a catchy tune! It's a perfect pop-punk song that wears its sci-fi geek heart on its sleeve. The song is taken from the forthcoming album Interstellar Crush, and you can bet I'm stoked to hear it! If you like "Cailee," be sure to check out the other tracks already posted on The Batter Ups' Bandcamp — one of which is a Green Day cover!

JEM Records Celebrates Bob Dylan


It seems like only yesterday that JEM Records launched its Celebrates series with a stunning tribute to John Lennon. But the math tells me that that was almost six years ago, and here we are now with the 7th installment, JEM Records Celebrates Bob Dylan. The fact that Marty Scott and JEM's talented roster of bands have kept this project going all this time and produced a new album every single year is beyond impressive. That shows a tremendous commitment — and I can't even begin to imagine how much works goes into bringing these albums into existence. I know not everyone is on the tribute album train; however, I love the idea of celebrating great songwriting and enrichening the legacy of great songs. In the case of Bob Dylan, we're talking about perhaps the greatest American songwriter of the rock 'n' roll era. You could do a triple album of Dylan covers and not even scratch the surface of his most essential work. So song selection was going to be critical here. JEM Records Celebrates Bob Dylan does an excellent job of choosing some of the obvious classics but also going outside the box a few times. And, as we've come to expect in this series, none of these bands/artists settle for a note-for-note cover. Marty Scott gives them all free reign to make these songs their own, and they do just that. 

The earlier JEM Records Celebrates installments seemed like such no-brainers because they involved such core influences (Beatles, Kinks, Who, Beach Boys) on the label's roster. But with these last two albums (Dylan and David Bowie), we're really starting to see what makes this project interesting. It's clear that all these artists are big Dylan fans, but you might not always notice it in their own music. So to hear them take these classic songs and put their own signatures on them is very exciting. 

The Half/Cubes come the closest to a "straight" cover with their version of "The Mighty Quinn," but still they interpret the song through the lens of power pop and classic guitar pop. The Airport 77s make "It Ain't Me, Babe" sound like, well, The Airport 77s! The Midnight Callers give 1965's "It’s All Over Now, Baby Blue" a fresh makeover that brings to mind Big Star and Badfinger. The Weeklings tackle one of Dylan's most iconic songs, "Rainy Day Woman #12 and 35," and completely transform it with their master class harmonies. Similarly, The Grip Weeds and The Anderson Council make "This Wheels On Fire" and "Queen Jane Approximately" sound like classic slices of later '60s UK guitar pop. The On and Ons imbue "Meet Me In The Morning" with a vintage garage rock feel, while The High Frequencies reimagine "Subterranean Homesick Blues" as an early '80s new wave hit. It's no surprise that Paul Collins (covering "Stuck in Mobile with The Memphis Blues Again") and Nick Piunti (covering "Mr. Tambourine Man") both knock it out of the park. Then there are the two curveballs. The Jive, making its debut for JEM, has at "I Ain't Gonna Go To Hell for Anybody" from Dylan's gospel period. It's both a surprising selection and a surprisingly sophisticated performance — sounding completely unlike what I would have expected from The Jive. I feel like I've walked into a room and found the class clown solving the impossible math equation that the teacher left on the board. Perhaps the album's most extraordinary cut is The Cynz's rocking take on the extremely controversial "Neighborhood Bully." The song has been a fixture on The Underground Garage this summer, and hats off to Marty Scott for having the guts to back up the band's song choice.

Like its six predecessors in this series, JEM Records Celebrates Bob Dylan does exactly what it aims to do: celebrate an artist who changed music. In the liner notes, Richard Barone writes, "Does the world really need another Bob Dylan tribute album? The answer, at least for the foreseeable future, will always be 'Yes.'" I could not agree more. You don't even have to be a huge Dylan fan to enjoy this album. The songs speak for themselves, but what these artists have done with the source material is remarkable in its own right. If you view a cover song not as act of generating filler but as an act of love and admiration, I think you'd have to say these JEM Celebrates albums demonstrate how it ought to be done. Great songs ought to be both played forever and re-made forever. Even hardcore Bob Dylan fans, who will surely listen to this record critically, will have a hard denying that these 12 bands and artists truly get it.

Sunday, August 16, 2026

Candybar - First Bite


Well here's something the world absolutely needed! Say hello to Candybar from Brooklyn, New York! Big Eyes were one of the shining lights of punk-influenced power pop in the 2010s. They released four albums between 2011 and 2019, establishing Kait Eldridge as one of the finest songwriters of her generation. And just like that, they were gone. Candybar reunites Eldridge with her Big Eyes band-mate Jeff Ridenour. They're joined by Lily Gist (Frida Kill) on bass and Dante Fotino (Born Sinner, Puddle Splasher) on drums. There was very little advance hype about Candybar, but it's not going to take long for the excitement to spread given the quality of the foursome's debut EP. It's called First Bite, and it delivers three truly excellent tracks. Candybar is not necessarily Big Eyes, part 2. But if you've always loved the way Eldridge blends punk, power pop, and rock influences in her own signature style, you will not be disappointed in First Bite. All three of these tracks rock hard and are crammed full of hooks. The catchy, crunching "Queen of Sunday" is an ode to the coziest day of the week and the joy of lying around the house doing whatever you feel like. "Love Comes and Goes" (which has a bit of a glam rock vibe to it) and the pure pop gem "Wash the Salt" are heartfelt, deeply relatable love songs. As the title reflects, this is just a small first taste of what Candybar has in store for us. This is a band that people are going to be talking about, and so many of us have taken that first bite and are left craving much more. Stay tuned!

Saturday, August 15, 2026

Nato Coles & the Blue Diamond Band - Join Us For A Few


Let's play a game of "good news/bad news." I'll deal with the bad news first: Nato Coles & the Blue Diamond Band have gone on an indefinite hiatus. The good news is that Join Us For A Few, the band's third studio album, is finally available digitally after being a vinyl-only release for a few months. I hear a phrase like "indefinite hiatus" and can't help but wonder if I'll ever have the chance to review this band again. I suppose that depends on how long I keep wiring about music. As it is, an album release from Nato Coles & the Blue Diamond Band is a rare occurrence. There was a six-year gap between Promises To Deliver and Flyover and nearly a seven-year gap between Flyover and Join Us For A Few. I've spoken frequently about Promises To Deliver being one of my favorite records of this particular century, and I think my personal connection to that album has led me to undervalue its successor, Flyover. It's never quite fair to judge one record in comparison to another, and I don't want to make the mistake of putting Join Us For A Few in competition with either of its predecessors. 

So let's talk about what Join Us For A Few is: it's the work of a great American rock 'n' roll band led by a songwriter who always knows how to balance heart & grit with tuneful melodies and sing-along choruses. Over the years, this band has honed its craft and established itself as a quintessential rootsy bar band. The punk roots are still there in spirit, but the songs on this record are given plenty of room to breathe, typically falling into the four–five minute range. The band is again pulling from 20th century meat & potatoes Americana — blending early rock 'n' roll with country, rhythm & blues, and folk rock influences. The band, seasoned by years and years on the road, has never sounded better. And Nato Coles has fully come into his own as a songwriter. I probably did him a disservice in the past by emphasizing some of his musical influences rather than focusing on what's unique and appealing about him as an artist. He personifies heart-on-sleeve sincerity, and time and life have only amplified his talents. This album has some top-quality punchy rockers in "Hiraeth" and "Can't Get My Mind Off Of You." But it's the ballads and semi-ballads that are the real heart and soul of the record. When a songwriter can get to the point where their ballads are songs you actually look forward to as opposed to merely tolerate, that's when you know they've mastered their craft. You have to be pretty confident to start an album with a five-minute mellow jam like "The 4th of July," but there's no doubt that this was the perfect opener. It's anthemic, soulful, and moving. Similarly, "Strangers' Backyards" and "Fire Without a Flame" are as powerful and poignant as any song Nato has ever written. The band also reworked one of its most beloved songs, "Midnight In Memphis" (from its split with State Drugs), and made it even better. And how about a cover of The Brains' new wave hit "Money Changes Everything" (famously covered by Cyndi Lauper) completely revamped to conjure late night barroom regret? 

Let's be clear: a hiatus, even when indefinite, is not necessarily a closing of the book. If I had to put money on it, I'd bet on this not being the last we hear from Nato Coles & the Blue Diamond Band. But if this is the last we hear from the band for a good while, they are are hitting pause on a high note. The album title is welcoming by design. It summarizes the very spirit of this band. These are guys who will play their hearts out for you and then sit and drink with you. Join Us For A Few is essentially a hang session with your drinking buddies. These songs mix sadness and heartache with hope and joy. They tell stories and reflect on life. They represent what is best about music: its capacity to form connections between people. This band can still rock with the best of 'em, but it's the songs that really stand out. If you're a longtime fan and have been waiting, as I have, for Join Us For A Few to make its way to a digital platform, you will not be disappointed. And if you've yet to be initiated into the world of Nato Coles & the Blue Diamond Band, this is a fine place to start. In a year full of great rock 'n' roll albums, this one is very worthy of your consideration.