Ben Tatar And The Tatar Tots: "The Kids' Table" (2026) CD Review

Ben Tatar And The Tatar Tots continue their delicious tradition of singing only about food on their new release, The Kids' Table. The kids' table, of course, is always the fun table at holiday gatherings, the table with the most joy, the most noise, and likely the most spills. The band captures the fun of that table in the original songs of this album. And just as a side note, what other bands can you think of that have a theme to their material? There is The Baseball Project, of course, all their songs being about baseball. The Zambonis sing about hockey. The Firkins sing about beer. There is also The Legendary Ten Seconds, singing about Richard the Third. Any others? Anyway, this album is a treat for anyone who likes both music and food, regardless of which table he or she ends up at during holiday feasts. The band is made up of Ben Tatar on vocals, acoustic guitar, trombone, trumpet, keyboards, glockenspiel and banjo; Jon Gould on electric guitar; Cory Biggerstaff on bass; Kurt Lubbe on drums; and Anthony Bruno on saxophone and clarinet. Cameron Tatar and Everleigh Tatar provide some vocals.

The Kids' Table opens with its title track, which has a good rock sound, with a steady beat, at its start. "I have dreams/Of cakes and ice creams," Ben sings at the beginning. Soon the song kicks in. "And I recall/The flavor of it all/The aromas wafting down the hall/Assembling the group." We all have memories like those, don't we? And certain smells, certain tastes, take us back. "Save a spot at the kids' table for me," he sings, a certain amount of excitement in his voice. The horns respond. It's a fun number, featuring some nice work on bass, and that instrumental section in the second half is wonderful. That's followed by "Jumping Beans," a song that in its first moments promises to be a fun one, with the great rhythm. I love the drums on this track, and the song feels like a dance. A silly dance, to be sure, but aren't all dances delightfully silly dances? "Jumping beans are coming to town/Up, down, left and right/Jumping beans are out of sight/My jumps are sky high/Everybody jump, no reason why." And then he sings, "Everybody join in the fun." That's a key line, not just to this catchy song, but the whole album. For this is fun, and it encourages all of us listening to have fun too.

The rhythm is a big part of the appeal of "Put A Little Ranch On It" too, a big part of its fun. And the song mentions the band in its lyrics: "Put a little ranch on it/It's good on cucs and carrots too/Makes Tatar Tots a happy crew." Of course, that now makes me wonder if these musicians are covering themselves in ranch dressing. No judgment. Whatever you enjoy. This song has a cool vibe, and these guys wouldn't lose that sense of cool even if they were covered in Russian or Catalina dressing. The fun continues with "Pass It On Down The Line," which has a delightful jazzy vibe and a totally delicious rhythm. It's a song about wanting a hot dog, and the title makes me think he's ordering the hot dog at the ball park and his seat is in the middle of a row. The clarinet work here is absolutely wonderful, the heart of this piece. This is one of my personal favorites (and I don't even like hot dogs).

There is more of a folk sound at the beginning of "Pictures Of Food," and the first lines made me laugh out loud the first time I put on this disc: "Scrolling through my mama's phone/That's what she gets for leaving me alone." This song is adorable. "A picture of a menu, and a picture of my dad/Then ten to twenty pictures of a dinner that they had." Those lines remind me of comedian Lachlan Patterson's bit about how photos used to tell a story, used to have meaning, while now we take pictures of food and clothing we think of purchasing. And, in fact, this song's second verse mentions clothes: "Here's a picture he took yesterday/Of a shirt he didn't buy/Ten pictures of the same thing/In case my sister blinked an eye." Perhaps Ben Tatar heard that same comedy routine. And in this song he talks about how we all do it, how we all take pointless and numerous photos of completely uninteresting subjects. The band then gets into a rock sound with "The Candy Dance," a song in which Ben Tatar asks, "What kind of candy is your, what kind of candy is your, what kind of candy is your favorite?" There is a dance associated with each candy. I'm partial to milk chocolate and white chocolate. I used to buy one-pound bags of M&Ms, back when such a thing existed. Now there is much less than a pound in those bags, and yet they cost more than twice what they used to. That's progress. I don't buy them anymore. Too expensive. Anyway, this fun song encourages dancing.

"Get ready to act out the foods in this song, and in the end let's see who can do them all at once," Ben Tatar tells us at the beginning of "All The Cooks In The Kitchen." I love the playful aspect of these songs, heard in lines like "Flip a pancake with your foot/That's a thing to do." Hmm, I'm guessing if I tried to do that, that would end up being a pancake I wouldn't be eating. But I'm digging this song. It features nice stuff from the brass section. "Crack an egg with your armpit." That's followed by "Five Second Rule," another jazzy delight, moving at a fast pace. "One hot potato jumped off my plate/But the timer starts when it hits the floor/Better be quick if you want some more." And how could anyone not love the moment when he says, "Cue the sad trombone"? The band gets a little funky for the album's final number, "Boogie On The Cookie." "There's a boogie on the cookie, oh yeah/There's jam on my bread." Yup, this is fun. And silly. And it features some good work from the horns.

CD Track List

1. The Kids' Table
2. Jumping Beans
3. Put A Little Ranch On It
4. Pass It On Down The Line
5. Pictures Of Food
6. The Candy Dance
7. All The Cooks In The Kitchen
8. Five Second Rule
9. Boogie On The Cookie

The Kids' Table is scheduled to be released on November 20, 2026 (just in time for Thanksgiving).

The dB's: "Cycles Per Second: US Tour 2024" (2026) CD Review

If, like me, you were unable to get a copy of The dB's Record Store Day release Cycles Per Second: US Tour 2024 earlier this year, there is some excellent news. The album is being released on CD, and in addition to the record's thirteen tracks, there are another nine included here. I still wish I'd been able to get that record, of course, but this expanded edition helps alleviate some of the disappointment I felt at missing out on it. After all, I'd been at the November 16th show in Los Angeles that is represented here, and that was an outstanding concert. Interestingly, the songs are in a different order than they were on the vinyl release, and a different order from the concert I attended, which is odd. All the songs that were played at that show, with the exception of "My Little Red Book" (which is a cover), are included here, though these recordings come from different shows, both Los Angeles shows and the North Carolina show. For some reason, the liner notes do not indicate which songs come from which show, which is a shame. The band is made up of original members Chris Stamey on guitar, Peter Holsapple on guitar, Gene Holder on bass, and Will Rigby on drums, along with Wes Lachot on keys.

The disc opens with "Neverland," a song from Repercussion, the band's second album, released in 1981. "You're asking where did my love go/I tell you really I don't know." This is a song the band played deep in the set at the Zebulon show I attended in Los Angeles, but it works really well in this lead spot too, establishing the wonderful sort of power pop the band excels at. The track features some excellent stuff on guitar, particularly at the end. It's followed by "Black And White." This song opened the band's debut album, and it closed out the set at Zebulon, and it is perhaps the band's most popular song. There is a fantastic energy here, and the crowd joins in on the action, singing "You don't like it at all." And check out Will's drumming near the end. There is the power in power pop.

"Dynamite" is another song the band played late in the set at the concert. I wonder why the songs were re-ordered. This order places the song after "Black And White," as it was on that first album. Anyway, this is an spectacular rendition, the bass at the center. It features some very cool stuff on drums, as well as some wonderful touches on guitar and a catchy keyboard part. But it's the vocal work that has always drawn me to this song, and the vocal work here is excellent. Because the songs are not in the order presented at the shows, the applause at the end fades out before the next track, "Lonely Is (As Lonely Does)" (here titled simply "Lonely Is") begins. This is a song from Like This, released in 1984. "Well, living in the past is rough/Living here today is enough."

I recall that at the show I attended "Happenstance" was a highlight for me. And listening to this rendition now, it is a highlight of this disc (though, again, I'm not sure if this recording comes from the show I attended or one of the others). There is a delicious intensity to the delivery, some excellent vocal work and a great beat. Also, I love that section in the middle when the guitar takes control, when it transports us to an unusual place. You might find yourself holding your breath as you wonder just where the guitar will take you. The song builds wonderfully from there toward its climax. That's followed by "Love Is For Lovers," which did follow "Happenstance" at the concert I attended. This is a delightful rendition. And I love that the lyrics include a nod to Shakespeare's Measure For Measure (that title itself a biblical reference).

We can hear the crowd react as "She's Not Worried" begins. This is a song from the band's first album, and a total delight. "Sometimes I don't say the silly words she wants to hear/But you know they're always on my mind." There is a bit of a Beach Boys flavor here, and this song is another highlight of the disc. "She's not bothered by the foolish way I lead my life/'Cause she knows it'll be over soon." Then a totally delicious beat sets "Cycles Per Second" in motion, and sets us in motion too. Everything is working perfectly, ths song's fantastic energy driving us forward, the drumming keeping us grooving. This is another of the band's most popular numbers, a song from the debut album. It is the second song the band played at the Zebulon show I attended.

"Molly Says" is a song that was not played at the Los Angeles show, the only such number on this disc. It comes from The Sound Of Music, an album the band released in 1987. It's a good song with some lyrics that stand out, such as these lines: "She could stand in a deep, dark hole/And still look down on me." And of course its title puts this song in that special category that includes "Candy Says," "Stephanie Says," "Lisa Says" and "Jane Says." It is followed by "We Were Happy There," which was the first encore at the show I attended. It comes from Repercussion. Isn't there something beautifully sad in a line like "We were happy there"? As it places happiness in a time and place that exist no longer. I'm digging the bass line. There are a couple of moments when the guitar reminds me of T. Rex's "Bang A Gong (Get It On)." The song ends with the line "And we're going to go back home," which is a cheerful idea, and delivered with a certain beauty. "(I Thought) You Wanted To Know" was also in the encore. It was the final song of the night. It features that great jangly guitar, like The Byrds. "(I Thought) You Wanted To Know" was the band's first single, released in 1978. This is a wonderful version. "Molly Says," "We Were Happy There" and "(I Thought) You Wanted To Know" were not included on the Record Store Day release.

"Living A Lie" is the lead track from Repercussion, and another that was not included on the Record Store Day release. It features a fantastic vocal performance and some excellent stuff on guitar. There is a delicious strength to this song, a power. And speaking of power, that song is followed by "That Time Is Gone," a song full of attitude and grit, and another of the album's highlights. It comes from the band's 2012 album, Falling Off The Sky. This song is so damn good, and is perhaps more striking now than when it was released. "You'd better wake up, wake up, wake up/That time is gone." Then "From A Window To A Screen" features a beautiful vocal performance. "Some would say we were friends/I won't make that mistake again."

"The Fight" is the song the band chose to open the Zebulon concert I attended. It's one of my favorite songs from the first album. The version included here is excellent, with all the energy you'd hope for, hopping in the right spots, rocking in the right spots, and with a strong vocal performance. I'm still curious why this song didn't open the album. You can hear the crowd responding enthusiastically at the end. That's followed by "Before We Were Born," a song from Falling Off The Sky, one of that album's highlights. "I'm telling you right now/Nothing's gonna change a thing/Are you ready for the news/It's hidden in the words I sing." And he tells her, "I've got a feeling that I knew you/Before we were born, before we were born." And that guitar work adds to the great vibe of this song. Then "Big Brown Eyes" features a great bass line. Right from the start, that bass is delicious. This music has such a good feel to it. "You give me something to think about."

A delightful rhythm is at the center of "Ask For Jill," and is a large part of this song's appeal, making it a fun one to dance to. But there is more going on here, including some particularly interesting guitar work. The crowd joins the band during that section in the second half when Chris held up the pages containing the lines from one side of the phone conversation. That's followed by "I'm In Love," the opening moments of this song, with that great drumming, pulling us in. The vocal work stands out here. "I've got, I've got no idea/Just how far to press my luck." And I love the way that declaration is delivered, "I'm in love, I'm in love, I'm in love." We even get a brief burst from Chris on harmonica. "In Spain" then follows. This was one of the encores at the show I attended, and is another fun number, featuring some very cool stuff on guitar. By the way, none of the stage banter is included on this live album, just the songs.

The album concludes with two versions of "Amplifier," the first coming from one of the two Los Angeles shows, and the second from the North Carolina show (the only tracks so identified). Hey, if you're going to choose one song to get two renditions, this is the one. It's such a great song. Check out these lines: "She took his car, took his bike/She took everything that she thought he liked/And what she couldn't take/She found a way to break." And here Wes gets a chance to really shine on keys. In the first version, after that great keyboard lead, Wes is introduced. Will and Gene are also introduced, Gene described as "Weighing in at 121, standing six foot nine." The second version is slightly shorter. This one also contains some great stuff on guitar, and Wes gets his cool lead. The band jams, with a little nod to "Funk #49," but in this one, the band members are not introduced.

CD Track List

1. Neverland
2. Black And White
3. Dynamite
4. Lonely Is
5. Happenstance
6. Love Is For Lovers
7. She's Not Worried
8. Cycles Per Second
9. Molly Says
10. We Were Happy There
11. (I Thought) You Wanted To Know
12. Living A Lie
13. That Time Is Gone
14. From A Window To A Screen
15. The Fight
16. Before We Were Born
17. Big Brown Eyes
18. Ask For Jill
19. I'm In Love
20. In Spain
21. Amplifier (LA)
22. Amplifier (NC)

Cycles Per Second: US Tour 2024 is scheduled to be released on October 30, 2026 on Propeller Sound Recordings. It's such a treat to revisit these songs. I hope this band tours again soon.

Dallas Burrow: "The Way The West Was Won" (2025) CD Review

Dallas Burrow is a singer and songwriter based in New Braunfels, Texas. He released his first EP in 2012, and followed it with three more in 2016. His first full-length album, Southern Wind, came out in 2019, and was followed by a self-titled album in 2021 and Blood Brothers in 2023, and then two live albums in 2024. His music exists in that wonderful land between folk and country, personal numbers that feel universal. Then last year, he gave us The Way The West Was Won, an album with its own particular vibe, mostly original country songs that conjure a different time. Songs that tell stories of another age. The classic look of the album cover gives us a good clue as to what we might expect from these songs. The album was produced by Lloyd Maines, who plays dobro, bass, acoustic guitar, electric guitar, steel guitar, banjo, flute and percussion on these tracks. It was engineered, mixed and mastered by Pat Manske, who is on percussion. Dallas Burrow has some special guests joining him, including Ray Wylie Hubbard, Kelly Willis and Jim Lauderdale.

The album's first track, "Read 'Em And Weep," opens with some cool guitar work, and then he counts us in, perhaps dealing us in, for the first line then is "Cut the cards, boys, deal me in." And we are invited into a world of the untamed west, a world of possibilities, which is so appealing. "I've got a little story to tell." And indeed Dallas Burrow proves himself a damn fine storyteller. This track features special guest Ray Wylie Hubbard on vocals. It also contains some really nice work by Katie Shore on fiddle, that instrument a large part of the track's appeal, a large part of what enables us to journey to that time. Then her fiddle work at the beginning of "Colorado Bound" sets a very different tone. This song has a gentle, sweet, pretty sound, and its first line, "I saw you in a daydream," comes naturally from that sound. "Heading west for the mountains/In a sleeper car/In your head you were counting/All your lucky stars." Kelly Willis joins him on vocals for this one, delivering some beautiful work, and Lloyd Maines provides some good stuff on dobro. We are set in motion to Colorado, while also remaining behind, watching as the train goes.

Brian Beken is on fiddle for "Disappearing Ink," providing some nice work at the start, and at key moments throughout the track. The rhythm of this one plays a prominent role, not just the percussion, but the rhythm of the vocal delivery. This track features some wonderful vocal touches, like when there is almost a growl to his voice as he repeats, "Here I go again." Lloyd Maines delivers good work on banjo, including during that delicious instrumental section. "I've been a hundred places I shouldn't have been/I spent my last dollar 'bout a hundred times." That's followed by "Justice In The West." Something about this one has me feeling good from its opening moments. It's in the rhythm of the guitar, it's in the tone of his voice. We all know this place, recognize it, and feel drawn to it. And we can be there through this music. This song is told from the perspective of someone who became a lawman and went after bandits. It's a world that is now in the past. Not just our past, but the narrator's as well. This is a wonderful song, one of my personal favorites.

Another strong character is established in the opening lines of "Black Rock Desert Blues": "I headed out of Silver Springs/Just pawned a wedding ring/I've done some terrible things/But that one haunts me still." This track contains some really nice guitar work, and Bukka Allen adds some great flavor on accordion. We learn more about that wedding ring later in the song. Again, Dallas Burrow can tell a good tale, and this track is another of the album's highlights. It is followed by "Streets Of Dodge," which also makes great use of the accordion. There is something in that instrument that works to conjure memories, and to place us within them. There is a gentle, easygoing vibe to this song, and yet the tale turns to one of pain and loss. "I left old Dodge City/When I lost my loving bride/When I lost my loving bride." Then "Tornado" begins like one of those classic westerns, with a very cool sound. The opening lines are delivered in a way close to spoken word, setting the atmosphere for this tale about a horse named Tornado and that horse's rider.

Jim Lauderdale joins Dallas on vocals for "The Way The West Was Won," the album's title track. "Gold in them hills, and hope in our chest/We saddled up the ponies and we headed out west." There has always been something appealing about heading west, right? Following dreams, following legends, following desires. Lloyd Maines delivers some great work on dobro, as well as guitar and bass, on this track. Then Lloyd Maines plays flute on "Indian Song," and that instrument helps to create the atmosphere in the song's opening moments. This one features an especially cool vocal performance. "Got run off by long knives/The settlers and the trains." I also love the way this track ends. I highly recommend checking it out. "Time is of the essence/It's always running out/Like a freight train in the night," Dallas Burrow then sings at the beginning of "Livin' For Today." Oh yes, and as we get older we become more and more aware of that, and songs like this one hit us harder. Katie Shore returns on fiddle, delivering some wonderful work, especially on her lead in the middle. This is another of my personal favorites. "But if all our days are numbered/Like the sand in an hourglass/We still have a choice/As to how we let 'em pass."

"When The Cowboy Rides" is a lively number, featuring good stuff from Brian Beken on fiddle. It's a song that puts cowboys, poets and philosophers out on the same plain. "A woman's heart is wild as the sea/You can love her, but set her free/It's been this way for eternity/A woman's heart is wilder than the sea." Lloyd Maines delivers some good work on steel guitar, and Jim Lauderdale provides harmony vocals. Then "The High Low" begins with some nice work on guitar. The vocals have a friendly folk tone, fitting the vibe established by the guitar. And soon the percussion and fiddle are added and everything feels right. Brian Beken delivers excellent work not just on fiddle, but also mandolin. I love the playful aspect to this song, heard in lines like "She was born a brunette/Grew up to be a blonde." It's a fun number. And Jim Lauderdale, Kelly Willis, Katie Shore, Lloyd Maines and Pat Manske all join Dallas Burrow on vocals near the end. The album then concludes with "Cowboy's Prayer." "At the end of the trail" seems a perfect line to begin this album's final track, doesn't it? This song feels like the end of the day as well as the end of the trail. "If I've done some wrong, Lord/Well, I'll pay the price/If you could forgive me/That sure would be nice."

CD Track List

1. Read 'Em And Weep
2. Colorado Bound
3. Disappearing Ink
4. Justice In The West
5. Black Rock Desert Blues
6. Streets Of Dodge
7. Tornado
8. The Way The West Was Won
9. Indian Song
10. Livin' For Today
11. When The Cowboy Rides
12. The High Low
13. Cowboy's Prayers

The Way The West Was Won was released on September 26, 2025 on Forty Below Records. And since then, Dallas Burrow has released another album, Modern Day Vagabond, which came out just last week.