SOULFLY brings "ENSLAVED" to Baltimore

MONDAY, APRIL 30
Soulfly and Incite at the Ottobar
Max Cavalera is back on the road again with a new Soulfly record, bringing his tribal Brazilian death metal to the Ottobar this April. “Enslaved” is the band’s eighth studio release and features new recruits Tony Campos from Prong, Ministry, and Static-X on bass and Borknagar drummer David Kinkade. Cavalera was a founding member of Brazil’s Sepultura and wrote the groundbreaking albums “Arise,” “Chaos A.D.,” and “Roots,” before a bitter split with the band in 1997. He went on to form Soulfly that same year and continued to explore new territories musically. In recent times, he has collaborated with his brother and former Sepultura bandmate Iggor with the Cavalera Conspiracy, and has been a driving force in his son Richie’s metal band, Incite, who have just hit the studio to work on their second album with producer Logan Mader from Machine Head. The new Soulfly record, “Enslaved,” celebrates the band’s 15th anniversary and deals with themes of slavery, with songs like “Chains,” “Legions,” and “World Scum .” Respected metal and hardcore producer Chris “Zeuss” Harris took the helm on this newest collection of bone-crunching madness and it features appearances by Dez Fafara of Coal Chamber and DevilDriver and Cattle Decapitation vocalist Travis Ryan, as well as help from his sons Zion, Igor, and Ritchie. The Cavalera family run across North America winds to an end in Baltimore and joining the guys on this night of mayhem is Lody King.
Starts at 7 p.m. $20. - Jason Walsh
Ottobar: 2549 N. Howard St. Baltimore, MD; 410-662-0069; www.theottobar.com

BIOHAZARD: REBORN IN DEFIANCE

BIOHAZARD: REBORN IN DEFIANCE
by Jason Walsh
An interview with Billy Graziadei

The guys in BIOHAZARD have already had a busy year. It kicked off with the Persistance Tour in Europe with SUICIDAL TENDENCIES, TERROR, and WALLS OF JERICHO, followed by a U.S. run alongside MADBALL and SWORN ENEMY, and then a jump across the globe to Australia for dates with HATEBREED, RAISED FIST, and CRO-MAGS. And they are only warming up…

This is in support of their long-awaited new record, “Reborn In Defiance,” which dropped on January 20 on Nuclear Blast Records. It was the first collaboration to feature all the original core members since 1994’s “State of the World Address,” which was the last record with founding guitarist Bobby Hambel. Hambel along with vocalist/bassist Evan Seinfeld, vocalist/guitarist Billy Graziadei, and drummer Danny Schuler, reunited in 2008 and hit the world running, touring relentlessly for the next few years, and in the process wrote the material for this newest offering. Things were looking good and the planets seemed to be aligned for the guys from Brooklyn, however the unexpected happened when the recording of the new album was completed. Seinfeld chose to leave the band and the four who were “Down For Life” were now three.

BIOHAZARD brought in their former guitarist and longtime friend Scott Roberts to fill in Seinfeld’s bass and vocal duties. With the album out and tours set in motion, Roberts has made a perfect fit and has kept the BIOHAZARD machine rolling.

BIOHAZARD formed in 1987 and made their worldwide impact with the 1992 record “Urban Discipline,” from which videos of “Punishment” and “Shades of Grey” gave punk, metal, and hiphop fans alike a glimpse of the newest tattooed hooligans from the New York underground. Now twenty years later, the Hazard is back and showing no signs of slowing down, no matter what obstacles stand in their way. I had a chance to catch up with Billy Graziadei to talk about the new record and the future of BIOHAZARD, as well as his experience on the road with the guys from BLOOD FOR BLOOD.

How are you doing, Billy? How are things going?

GRAZIADEI: It’s going great. Awesome. How are you, man?

Not too bad. So, let’s talk about the new record. What made you guys decide that this was something that you wanted to do now?

GRAZIADEI: (laughs) You know in our world, and I don’t know how it is in other people’s worlds, my music career has been probably the most unplanned adventure I ever dreamed of. It’s fucked up, but you know we haven’t really made plans in our career. You know as a kid I guess we always went for whatever because who knows if they are going to be around tomorrow. When you get a little older and you have more responsibility, kind of the last thing you want to do is to leave this Earth tomorrow without planning ahead, having shit taken care of. We got back together, it was a reunion…we went our separate ways and I think having time away from each other, and I had another band called SUICIDE CITY, and we all did different things. But I think the time away from each other brought us to a different level obviously as people because we grew up a lot as musicians and artists. The thing that mattered to us, you know, when we split up and during the majority part of our successful career didn’t really matter to us anymore. We didn’t really give a fuck about the things that seemed to drive in between us and wins their way into our friendship and shit. So it was kind of like it almost came full circle. When we started out we didn’t know anything about the music industry and we could give a fuck about it, pardon my French, but it was like, you know, it was just four dudes that found that we were more productive as people…couldn’t give a shit about getting high and smoking angel dust and doing stupid shit, you know, on the corners of Brooklyn that we hung out at. Coming full circle, I guess the reunion was kind of like…for a long time I thought I was the last lever and wrongfully so. You know, when we split up I realized “holy shit,” I couldn’t put food on my table anymore. It’s not going to pay my rent and I tried other ways to survive and make a living. Now I realized, especially these days, you can’t rely on the music industry and your music to make a living off of, so we do it for the love of it, like we did when we started. To not have the pressure of paying my car payment or your grocery bill on my shoulders off of BIOHAZARD makes it way more fun and enjoyable and it’s more real in a way because I really think it came full circle. Back then when we started we really didn’t know any better. Now we know better but we realize, “well, ok, this is what matters.” We do it because we like to do it, not because we have to do it.

I like that. Because when you guys started, you did this because you loved it, and then it became, you know, kind of a job, and like you said you were depending on it to survive, to live. When it ended you realized, it’s not the most important thing. So going back to it, returning to it, it seems like you are returning to it for all the right reasons, not because you had to pay bills. It’s because you believed in the music that you guys were doing.

GRAZIADEI: You know, I don’t know if you know much about my band SUICIDE CITY. I was in this band called SUICIDE CITY, and living in a van, we toured with everyone from GWAR to MINDLESS SELF INDULGENCE, DANZIG, TAKING BACK SUNDAY, all over the States like five or six times, in a van, lugging our own gear, like it was in the beginning of BIOHAZARD. We don’t put ourselves out there and do what we do and go through what we do for the money. The money, especially starting out, is far and in between. You’re not able to pay your bills for a long time starting out. We didn’t go back into it for the money. If we did, going back to the question, as far as planning and stuff, it would have been a better move for us to release a record before we got back together, or at least something. But it wasn’t about that for us. I think for me, and a lot of people have kind of misunderstood what I’ve meant, but it gave us a chance to kind of rewrite history in a way. People, I think, their last impression of BIOHAZARD was here and there from the late 90s. The original BIOHAZARD, the impact that we had was strong and I think that it was something that was awesome to me, and when we kind of fizzled away in our relationships and friendships and different members, something was missing and never the same. It wasn’t until we really split up and I ventured off putting my attention into other projects and other things, that I realized what I wanted, and what that was, was having the four guys back together again. Once that was gone, it was like a three-legged dog, you know what I mean? We had great moments and I’m proud of a lot of moments in albums in songs, but there was something that was always missing and I was never able to put my finger on it until it was over, and the possibility of us getting together then was like, it was done. Creatively I had already moved on. I had formed relationships and friendships, you know, and creative relationships with other musicians and I wasn’t into it. Then I got a call that Evan and Bobby had dinner one night in Manhattan, and at first I was like, “no fucking way...this is unbelievable, there’s no way this going to happen.” There’s no way those two dudes could sit in the same room together, let alone having dinner together in Manhattan. But I called, Bobby and it was true, it happened, and then that was the catalyst that got us back together and we all started talking and hanging out and that was, to me, the point when were able to rewrite history. We went out there and played with the same passion that we did when we started and playing all the songs that we wrote together when we started. This is what BIOHAZARD is. You can listen to the rumors, you can listen to what your big brother says, you can listen to the magazines and the websites or the hype machine at the record labels and all that crap, but this is the real deal and that was the most important thing for us. Through that and because of that, shit worked. I didn’t think we’d last two days let alone two months, but you know, two years and three years went by and then during that time we were sharing musical ideas back and forth, jamming shit, and started jamming some new songs live. Everything was natural and it was kind of like, “if it ain’t broke, don’t fix it.” So, we let shit go and we ended up with a record and then once again, like I said (laughs), you know Evan split right after we finished the record and quit. So we got tossed another curve ball but that’s always been BIOHAZARD. We’ve always been dealt like a crazy fucking hand with our backs against the wall. I kind of prefer being the underdog…the fight of the underdog. We got all the odds stacked against them from winning the fight and it puts us in a better position. So, we’re psyched for the tour and then writing up a lot for a new record, which is kind of something we did back in the earlier days. You know, by the time the record came out, we already had four or five new songs and so that’s where we are right now and we’re psyched to be where we are. No complaints.

Now when you guys got back together, the four of you guys, the core lineup, you know how much fun was that and how cool was that to be back together and doing what you were doing?

GRAZIADEI: It was awesome, you know. We went around the world a couple times, went places we’d never been before, and made a lot of friends. Saw a lot of old friends and made a lot of new friends. It was great. It was great to do it together as the four of us. Like I said, it wasn’t until we split up that I realized, “Wow,” that was the one thing we didn’t achieve, you know, was getting back together and having that original chemical combination of the four of us together again. Like I said, once we split up it was kind of too late. Having that back together again on stage…it’s this weird thing. BIOHAZARD can’t be a well rehearsed, well-polished machine that has computerized-synched light show and pyrotechnics. You know, and as a fan of KISS before I got into punk rock, that’d be awesome, but what’s special about BIOHAZARD is that kind of like the unknown. You never know what’s going to happen and when it’s going to happen. It’s just this organized chaos that is no other than BIOHAZARD to me. That’s what makes every show unique and I’m certainly proud to be a part of, you know.

So I’ve got to ask. Why did Evan leave? Was he just not into it anymore or did he have other things going on?

GRAZIADEI: There was some really heavy personal stuff in his life and it was his choice to quit I guess, to our surprise. But out of respect for him, and I’ve heard he’s mentioned things and whatever, but our choice is to let that be private for him and it’s his private issue. If it were me, I’d prefer him to give me that same respect. It’s an issue that’s personal to him.

I understand. So where do you go from here? You’re back to three now, and it’s a different three this time. Are you guys looking for somebody?

GRAZIADEI: We had our friend Scott who was the last guitar player for BIOHAZARD when we spilt up in 2003 or 2004. He took over bass duties and covered the vocals that I couldn’t and can’t cover and that’s where we are right now. We did venture off into looking for someone else but we took Scott to China, we did some European shows and England shows. They were all great. We’re really psyched and it rocks as is, so we don’t have any official, you know, press release that’s like, “here’s the new guy.” There won’t be any kind of hype around the unveiling of this dude out of the bowels of Brooklyn, but we’re BIOHAZARD and I’m not going to take the band out on tour, none us will for that matter, I’m not going to stand on stage with a version of BIOHAZARD that I don’t think kicks ass. I’d rather go out and put together some friends of mine in a cover band than to kind of not pay respect to the history of BIOHAZARD in that way. Is it different? Yeah, it’s different but the soul of the band is there and between the shows and the performances, everyone wants it so. If we didn’t think it was going to be cool, we would have thrown in the towel.

So Scott’s going to be continuing on with you guys?

GRAZIADEI: Scott’s with us. He’s the man. He’s awesome.

He’s in there.

GRAZIADEI: He’s in there, yeah (laughs).

Now the new record is called “Reborn In Defiance.” Tell me about this record.

GRAZIADEI: (laughs) Well, if you sit tight, you’re probably going to get the whole record for free because it’s a different era, you know. It used to be like, record companies were so paranoid about things getting leaked. Now you kind of leak, I find everyone involved with us, you know they’re like, “why don’t you give this song away,” and we’re like “ok.” We did our part. The business behind it isn’t really our concern. We’re just proud of the music that we wrote and the songs that we wrote together. The difference I think for “Reborn” versus some of our latter records of our career versus some of the earlier records of our career is, this record we went in and didn’t really give a fuck about anything other than each song we were writing on and our producer Toby Wright was spot-on on keeping us focused on that alone. From the label to management, you know, “you were supposed to have done this record last month” and it was like “who gives a fuck?” When we’re done with this song, we’re going to move on to the next song, but not until we’re 100% satisfied with what we’re working on. To me, I said all along, if you make a great group of songs that becomes a CD that you call “Reborn in Defiance,” nobody is going to sit back and go “wow, this is a great record but it would have been much better if it was out in September.” So for us, it took longer and one of the reasons was that we played all these songs live, like we would go out and come home for a couple of weeks and work in the studio and jam on some new songs, and then we’d go out and try them live and change them. You know, “I felt better this way, let’s try dropping this tempo there, let’s pick up this part at half time, or I don’t like the way this was, let’s try this.” So the next time, we would try something different and that was something we did with songs like “Punishment” and “Urban Discipline,” “What Makes Us Tick.” So many of our earlier songs in our career and the songs kind of grow into their own kind of thing and on this record we did that. Another reason we wrote this record while we still touring as a reunion tour. That played a big hand in having that live sound on this record that we lacked. Before we split up, we were going to the studio, write songs, record them, and then we’d start jamming them and playing them and I think because of that those songs are different. “Reborn in Defiance,” to me, is a great bookmark, you know, it’s all of our records, but that live energy is there with that earlier music that I love and missed for a long time.

Now I read Danny said, “This is one of the best albums the band has ever done and right now just going to see what the future holds.” So right now, 2012, what does the future hold for BIOHAZARD?

GRAZIADEI: Well if we make it through the first few months, we’ll be on tour, so pretty much 2012 is cut out for touring and I’m psyched to be back on the road to play. As far as it being the best record, we definitely worked the hardest and put more effort into this record than we put in a lot of our records over the years. It’s hard to remember where our heads were working on “Mata Leao.” At the time it was everything we had and all of our focus went into that record but it definitely felt like we put more effort into this than anything else going on in our life at that moment. And whether or not anyone likes it or not, I’m proud of it and I’m psyched about it and I’ve always had the stance of “if no one likes it, I don’t give a fuck, I like it,” and that’s all that matters. That stance is always how I’ve raised the flag for me in BIOHAZARD. It’s stood the test of time and there are very few moments that I’m not proud of in our career and this is definitely one of the highest flags in my flagpole in front of my house. Now, it’s the touring cycle and we go on and have a chance to play with bands that we love from SUICIDAL TENDENCIES to MADBALL to SLIPKNOT and HATEBREED. There’s just so many great opportunities in 2012 we’re going to unfold right before everybody’s eyes.

Very cool. Now I saw a lot of your pictures from FACEBOOK where you were hitting the road with the guys from BLOOD FOR BLOOD, filling in for “White Trash” Rob. How much fun was that for you?

GRAZIADEI: It was great. We played with them when they first started and I watched them throughout their career make some fucking great music and was a fan of the band. When Rob didn’t tour anymore, they called me up and asked me if I was into it and I fucking jumped on the ship right away. I love the band. Touring with them, we spent I think maybe a good year and a half on tour, here and there. Great times, good times. I have a whole new family that I’m part of. It’s a great thing. I’m really psyched about being a member of BLOOD FOR BLOOD also.

It seemed like everything I saw and all the stuff I read was that you guys were having a great time. I’m really bummed I didn’t get to see that because I’m a huge BLOOD FOR BLOOD fan. But it was very cool that you guys went out and did that. I think a lot of people appreciated that.

GRAZIADEI: Yeah, we loved it. I’ve got to hand it to them, those guys did a lot of great things, made a lot of great decisions in their career. Are you from New York?

Long story short, born in Los Angeles, raised in New Jersey, New York, Philadelphia area. My dad’s from Brooklyn, but I live in Virginia now.

GRAZIADEI: So you’re in the East Coast, even though you were born West Coast. We never really played…we didn’t do anything…We played Boston, Albany, and I think that was like the closest thing, you know. We played Connecticut like in a small club, that was a sick show, but we didn’t play New York, didn’t play Jersey, Philly. I was like “guys, what are we doing?” But we’ll hit it. But right now, my focus is on BIOHAZARD and the guys are working on a new BLOOD FOR BLOOD record. So the timing is cool, when the BIOHAZARD camp is done then I’m sure, kick back up with BLOOD FOR BLOOD.

The Celtic Sounds Run Wild This Month in DC

The Celtic Sounds Run Wild This Month in DC
by Jason Walsh

It’s that time of year when everybody is Irish, and this March during the St. Patrick’s Day season there will be many opportunities to check out some of the world’s best Celtic music in the District. Though the Shamrock Fest with headliners Dropkick Murpys leading the charge may be the biggest party this month, its not the only party.

Those beautiful sirens from Ireland kick off the festivities at the Patriot Center on Saturday, March 3. The “Celtic Woman: Believe” tour celebrates the group’s seventh studio album, “Believe,” which released in January featuring their newest vocalist Lisa Lambe, who has been involved with the group since their beginnings and just celebrated her 21st birthday this past summer. “I’m still the baby of the group,” Agnew said. “Nobody can take that away from me. But yeah, I’m finally a real Celtic Woman. I almost can’t believe it, really. It’s a little bit scary. It’s all over now.”

Joining the newcomer are veteran song stylists Chloë Agnew and Susan McFadden, who replaces the pregnant Lisa Kelly, now expecting her fourth child. “I’m so honored and excited to be joining Celtic Woman,” McFadden said. “I have followed Celtic Woman’s success over the years and I’m thrilled to have been asked to be a part of something so special.”

Rounding out the angelic harmonies is the stunning and wild pixie fiddler Máiréad Nesbitt, who brings excitement and energy to the stage everywhere they perform. For an evening of what some have called “Riverdance for the Voice,” head out to the Patriot Center for one of the most amazing performances of the music of Ireland.

That same evening the modern sounds of Gaelic Storm kick off a two-night run at the Birchmere. Formed in Santa Monica in the mid 90s out of O’Brien’s Irish Pub, where founding member Patrick Murphy was the manager, Gaelic Storm got their first big international break, performing “An Irish Party in Third Class” in the steerage room scene in James Cameron’s epic film, “Titantic.” Since then, the Storm has toured relentlessly and released eight studio albums, including the most recent, “Cabbage.” Dueling harmonies and jamming Irish instruments make this Southern California five-piece one of the most relevant acts in the Gaelic genre, and you have two chances to catch them.

Ireland’s Altan arrive March 6 from County Donegal led by vocalist Mairéad Ní Mhaonaigh, who formed the band with her now deceased husband, Frankie Kennedy, back in 1987. Performing at the Barns at Wolf Trap, Altan are out supporting their current release, “Poison Glen,” which saw the veteran Irish folk group once again challenging themselves. “As we were working on ‘Poison Glen,’ we saw how we are developing more creativity in the band, using the studio almost as another instrument,” Ní Mhaonaigh said. “We are proud of that, we are proud of this album, and we see there are more possibilities ahead for us to explore.”

Also lighting up the stage at the Barns this month are the Irish Rovers from Canada, who have been firing up pubs since 1963 with their choral renditions of Irish Drinking Songs. The Toronto based quartet have been together for almost a half century now, releasing two records last year, and fans will be able to check out their veteran chops on March 14.

Maura O’ Connell is yet another to cross the pond this March from her native Ireland for a performance at the Birchmere. This contemporary Irish folk singer blends her love of American country music with the harmonies from her homeland. She has had a prosperous career for more than three decades and fans will have a chance to enjoy her enchanting voice on March 10.

Another veteran act hitting the Kennedy Center this month are the Chieftans. The Grammy-Award-winning group from Dublin were one of the first to bring Celtic music to the attention of the mainstream music industry with their exciting traditional folk sound. Formed in 1962, the Cheiftans are celebrating their 50th anniversary with the release of “Voice of Ages,” which sees the Irish elders collaborating with some of the great young talents in modern music, such as Bon Iver, the Decemberists, and The Civil Wars. “With 50 years of glorious music behind us," founding member Paddy Moloney said, “I can think of nothing more exciting than to spend another 50 years collaborating with the best voices of the future.” The Chieftans will be at the Kennedy Center on March 16.

The “First Lady of Celtic Music” will be hosting the fun on St. Patrick’s Day at the National Geographic Auditorium. Moya Brennan got her early start with the Grammy-Award-winning Clannad, which her family formed in the 70s in County Donegal. Now the critically acclaimed songstress has taken to the road with her own outfit, the Moya Brennan Band, which sees a stage full of musicians with traditional instruments combined with Brennan’s hauntingly beautiful voice. The performance not to miss this month is on March 17.

Rounding out the month’s festivities are the Fighting Jamesons with their rocking Celtic covers and sing-a-longs, who will be at the State Theatre in Falls Church on March 16th, and in Annapolis, The Rovers and Crossing Celtic will have the roof shaking at Rams Head On Stage on the same evening. There are many opportunities to take in some of the greatest performers in the Gaelic genre this month. It’s just a matter of deciding which ones to check out. Slainte.

March 2012 Music Picks for ON TAP Magazine in DC

THURSDAY, MARCH 1
Deicide, Jungle Rot, and Abigail Williams at Jaxx
March kicks off with a night of demonic headbanging from some of the heaviest in the industry. Led by Deicide and their controversial frontman Glen Benton, the metal militia is in full force at Jaxx this month. Formed in 1987 in Tampa, Deicide was part of the late 80s/early 90s death metal movement that started with the likes of Cannibal Corpse, Obituary, and Morbid Angel. This incarnation of the band does not feature founding brothers, Brian and Eric Hoffman who left in 2004, but Jack Owen from Cannibal Corpse stepped up to handle guitar duties as well as Kevin Quirion of Order of Ennead, who joined in 2009. Deicide is on the road supporting “To Hell With God,” which finally released last February on Century Media Records after being on hold for several years. Joining Deicide on the night’s mayhem is Abigail Williams, who have been rolling through the area several times over the last couple months, as well as Jungle Rot from Wisconsin with their latest release, “Death on Command.” Providing additional support at this all-ages event is Lecherous Nocturne and Orthrus. Metal.
Starts at 6 p.m. $22 advance/$25 day of show. - Jason Walsh
Jaxx: 6355 Rolling Rd. Springfield, VA; 703-569-5940; www.jaxxroxx.com

FRIDAY, MARCH 2
Corrosion of Conformity at the Sonar
Raleigh’s classic hardcore metal trio is back on the road, celebrating their early work and roots in the movement. Corrosion of Conformity is coming to Baltimore with the original “Animosity” lineup of Woody Weatherman, Mike Dean, and Reed Mullin. Pepper Keenan, who is also a member of Down, won’t be on this run but continues to remain a member of the band. C.O.C. is out promoting their latest self-titled release, “Corrosion of Conformity,” which is their eighth studio offering and hit shelves at the end of February. Corrosion is best known for their early works, “Eye for an Eye,” “Animosity,” and “Technocracy,” and were part of the late 80s crossover movement which was most evident in their 1991 metal release, “Blind.” Joining the NC thrashers on this nostalgic return is Torche, Valient Thorr, and A Storm of Light.
Starts at 7 p.m. $20 advance/$23 day of show. - Jason Walsh
Sonar: 407 E. Saratoga St., Baltimore, MD; 410-783-7888;www.sonarbaltimore.com


SATURDAY, MARCH 3
Possessed at Jaxx
One of the most influential death metal bands from its early origins is making its way to Virginia this month. Possessed, the Bay Area outfit who rose alongside the likes of Metallica and Exodus during this crucial era in San Francisco Thrash’s history, annihilated metal fans with their first release in 1985, the widely respected “Seven Churches.” Led by sole remaining member, frontman Jeff Becerra, Possessed has had its ups and downs and significant number of lineup changes over the years. They took their longest hiatus in 1993, reforming again in 2007, and played many of the large European metal festivals over the last few years with members of Sadistic Intent. The current lineup includes Becerra alongside Pessimist guitarist Kelly McLauchlin, Nailshitter guitarist Dan Gonzalez, and Asesino bassist Tony Campos. This all-ages show at Jaxx will have special opening guests to be announced.
Starts at 6:30 p.m. $20 advance/$22 day of show. - Jason Walsh
Jaxx: 6355 Rolling Rd. Springfield, VA; 703-569-5940; www.jaxxroxx.com

TUESDAY, MARCH 6
Experience Hendrix at the Music Center at Strathmore
The music of one of the most celebrated guitarists of all time will be performed by some of the most incredible musicians in the industry this month. “Experience Hendrix” is being billed as “the concert event of the year,” celebrating the music and legacy of 60s acid rock innovator Jimi Hendrix. Headlining this all-star cast of talent is former Band of Gypsys band member and friend, Billy Cox, as well as blues legend Buddy Guy and Robby Krieger from The Doors. Also along for the ride are the Jonny Lang, Kenny Wayne Shepherd, Robert Randolph, Eric Johnson, and Cesar Rosas and David Hidalgo from Los Lobos. Rounding out this stacked lineup is Keb’ Mo’ and Dweezil Zappa, Brad Whitford from Aerosmith, Bootsy Collins, Taj Mahal, and Chris Layton from Stevie Ray Vaughan’s bands. For a night of some of the best six-string slingers playing some of the most influential guitar rock of all time, this is one show you might not want to miss.
Starts at 8 p.m. $64.95-137.80 -Jason Walsh
The Music Center at Strathmore: 5301 Tuckerman Lane, North Bethesda, MD; 301-581-5100; www.strathmore.org

WEDNESDAY, MARCH 7
Anti-Flag, The Flatliners, and The Have Nots at the Rock N Roll Hotel
Pittsburgh’s politically-charged punk heroes Anti-Flag are making another sweep across the nation, this time to support their most current album, “The General Strike.” Founding guitarist and vocalist Justin Sane said the record’s title echoes the current state of the world. “There is a General Strike of sorts taking place all over the world right now as a result of The Arab Spring and Occupy Wall Street,” he said. “We wanted to highlight the fact that these movements are interconnected. The roots of Anti-Flag go as far back as 1988 and according to Sane fans feel this newest collection of songs draws from some of their earlier efforts, but the band always strives to cover new ground when they hit the studio. “Most people think it harks back to Anti-Flag’s ‘The Terror State’ and ‘For Blood and Empire’ records. To me, it’s just another creation that we approached in the same way we approach every record, but if they see it harkening back to a certain era of Anti-Flag that is fine with me as I love both of those records. I can tell you this, it is by far
Anti-Flag’s most aggressive record, which is simply a sign a of times
we live in.” When Anti-Flag loads in to the Rock N Roll Hotel, they will have The Flatliners from Toronto and the Have Nots from Boston along for the night of chaos, which should make for an interesting lineup. “The Flat Liners flat out rock,” Sane said. “They’re an awesome band and awesome
dudes who I hope to do as much touring with as possible. We haven't
had the pleasure of rocking with the Have Nots, but I'm psyched to see
Them.” The tour kicks off in Philadelphia on March 6 and they hit DC the following night. Sane encourages locals to come out to the show and take in the experience. “When an Anti-Flag show ends, and the air clears, the feeling of unity between the people in the room is hard to describe. This is because an Anti-Flag show is a space where everyone matters. A place where everyone should have an equal opportunity to have fun and rock out,
regardless of every petty bullshit clash that people deal with in every day life. Our show is more than a rock event, it is a coming together of people. A place that people can leave feeling as if this world has a chance because the people they encounter in the room will remind them that there are still good people in this world. That’s what I'm reminded of every time I play an Anti-Flag show and that's why after all of the blood, sweat and tears I've put in, I'm still performing.”
Starts at 6 p.m. $15. - Jason Walsh
Rock N Roll Hotel: 1353 H St. NE, D.C.; 202-388-ROCK; www.rockandrollhoteldc.com

WEDNESDAY, MARCH 7
Playing for Change at Rams Head On Stage
What started as a project to bring the music of street musicians from around the world together on one song in video and audio has turned into an international phenomenon. The now famous “Stand by Me” video, which features nearly 40 artists filmed from across the globe, edited together into one singular song has had almost 40 million views on You Tube and since the project’s early inception in 2004, producer Mark Johnson has continued to connect these people through music. “The idea for this project arose from a common belief that music has the power to break down boundaries and overcome distances between people,” Johnson said. “No matter whether people come from different geographic, political, economic, spiritual, or ideological backgrounds, music has the universal power to transcend and unite us as one human race. And with this truth firmly fixed in our minds, we set out to share it with the world.” Johnson has continued to record many classic standards with artists worldwide, including Bob Marley’s “One Love” and John Lennon’s “Imagine.” For a chance to see a collection of these dedicated performers all on one stage, Annapolis will be the place to be this March.
Starts at 8 p.m. $35 - Jason Walsh
Rams Head On Stage: 33 West St., Annapolis, MD; 410-268-4545; www.ramsheadtavern.com

THURSDAY, MARCH 8
Dangermuffin at the Jammin Java
They’ll be jamming’ at the Java this month as South Carolina’s Dangermuffin rolls into town with their “organic and cool” Americana folk sounds. Formed in Folly Beach, Dangermuffin is a trio that puts the groove into this acoustic styling in what they call “a punchy, folk-jam pastry with a sweet-toothed soul of the South.” Joining the guys from SC is the solo endeavor Cris Jacobs band, who has spent the last decade with his Baltimore outfit, The Bridge. For a night of down-home fun with a slight twist, the Java will be the place to be, but be warned, this gig will be standing room only.
Starts at 8 p.m. $10 advance/$13 day of show. - Jason Walsh
Jammin Java: 227 Maple Ave. East, Vienna, VA; 703-255-1566; www.jamminjava.com

THURSDAY, MARCH 8
Los Amigos Invisibles at the Black Cat
A night of international flavor hits the Black Cat this month as Los Amigos Invisibles bring their acid-jazz disco/funk fusion all the way from Venezuela. Nominated for multiple Grammys and winners of a Latin Grammy, this dance band with Latin flavor is now based out of New York, with six critically acclaimed releases to date, including the most recent, “Commercial,” from which they dropped an outtakes E.P. last year called “Not So Commercial.” The Amigos are currently signed to David Byrne’s Luaka Bop record label. If you like your tunes high-energy with dance beats mixed with some South American soul, Los Amigos Invisibles will be the band for you this month.
Starts at 8 p.m. $22 advance/$25 day of show. - Jason Walsh
Black Cat: 1811 14th St. NW, D.C.; 202-667-4490; www.blackcatdc.com

TUESDAY, MARCH 13
Iced Earth and Warbringer at the 9:30 Club
Tampa’s Iced Earth is returning to the 9:30 with their patent blend of power thrash. Formed in 1985, Iced Earth is led by founding guitarist Jon Schaffer and they released their tenth studio album, “Dystopia,” last October. This is the first record to feature their new lead singer, Stu Block from Into Eternity, who replaces longtime frontman Matt Barlow. Joining the onslaught is Warbringer, a thrasher band out of California’s Ventura County who came together in 2004. Warbringer dropped their third and most recent endeavor, “Worlds Torn Asunder,” this past September on Century Media Records. For a weeknight of head banging havoc from two of metal’s favorites, head out to the 9:30 Club with your horns raised high.
Starts at 7 p.m. $25. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

WEDNESDAY, MARCH 14
Uncle Kracker at the 9:30 Club
Matthew Shafer a.k.a. Uncle Kracker is on the road sharing his Top 40 spin on hiphop/rock. Originally a DJ back in the day for his bro Kid Rock, Uncle Kracker set out on his own, releasing his debut “Double Wide” in 2001, which had the hit, “Follow Me,” a popular track that helped propel the record to double platinum. Kracker has since completed three more records with the help of Kid Rock as producer, and is scheduled for the release of new material sometime this year, dubbed “Postcards from Home.” Alabama songstress Sonia Leigh joins Uncle Kracker on this tour as well as fellow Detroit singer-songwriter Ty Stone.
Starts at 7 p.m. $25. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

THURSDAY, MARCH 15
Hank 3 at the 9:30 Club
Shelton Hank Williams, or Hank Williams III, or just Hank 3, has always been a busy guy. When he’s not drumming for Arson Anthem or playing bass for Phil Anselmo’s Superjoint Ritual or working on his punk/metal band Assjack, he’s continuing to reinvent himself in his solo work blending country roots with punk, hardcore, metal, and psychobilly elements in a sound that is distinctly his own. After a heated split with Nashville’s Curb Records label, who released his previous albums, Hank 3 struck out on his own last year, dropping three new albums on his own label through metal giants, Megaforce Records. “Ghost to a Ghost/Guttertown” is a two-disc country album, while the “3 Bar Ranch Cattle Callin’” metal record is dubbed “cattle-core,” and lastly “Attention Deficit Domination” sees Hank 3 exploring doom rock. Williams said the undertaking was no easy task. “It’s been intense, man,” he said. “Having my own label hasn’t cut into my creativity so far, and that was the main thing I was worried about. Since I did all four records at once, there was a lot to organize and a lot to deal with in general. I do it all on my end as far as the layouts and the art and all that shit, and then send it to ’em. Megaforce has stepped up and helped me create my vision, ‘cuz no one else would be into putting all that product out at once. That was huge for me, man, to approach it like that. I wanted to come out of the gate full-on, and so far, so good.” Williams continues his North American run that started last year, supporting this new material and he divides the show into different sets of the various styles. You never know what might happen at a Hank 3 show.
Starts at 7:30 p.m. $20. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

FRIDAY, MARCH 16
Henry Rollins at the Baltimore Sound Stage
DC native Henry Rollins is on the road again with his spoken word act, vocalizing his observations, rants, and opinions about all that he’s seen in his millions of miles of travel. Dubbed “The Long March 2012-2013 Tour,” Rollins kicked off the outing in Europe and will be returning stateside and to Baltimore for an evening of waxing poetic in a way only he can do. He made his mark with the seminal punk band Black Flag in the 80s, moving on to the Rollins Band through the 90s, before undertaking a career in film as television as well as a regular radio DJ in Los Angeles. Last year he released a book of photographs and writings called “Occupants.” Fans of Rollins fast-talking, quick-witted banter won’t want to miss this chance to hear what Henry has to say.
Starts at 8 p.m. $25 advance/$30 day of show. -Jason Walsh
Baltimore Soundstage: 124 Market Pl., Baltimore, MD; 410-244-0057; www.baltimoresoundstage.com

SATURDAY, MARCH 17
Psychedelic Furs at the State Theatre
Those classic 80s sounds are returning to the region as the Psychedelic Furs find their way to Falls Church. The original London alt-rockers who made their name with the title song to the John Hughes film, “Pretty in Pink,” the Furs have continued to keep New Wave alive in an industry that changes almost every day. Formed by brothers Richard and Tim Butler in 1977, the band went on hiatus during the 90s, working in the band Love Spit Love, and reformed in 2000. On this go around, the Furs will be performing their second album from 1981, “Talk Talk Talk,” in its entirety. Joining them on this evening is DC’s Dance for the Dying, and if you miss them at Falls Church, they will be playing at Rams Head On Stage in Annapolis on Monday, March 19.
Starts at 7 p.m. $36. - Jason Walsh
The State Theatre: 220 N. Washington St. Falls Church, VA; 703-237-0300; www.thestatetheatre.com

MONDAY, MARCH 19
Toots and the Maytals at the 9:30 Club
Legendary reggae songwriter Frederick “Toots” Hibbert is bringing the Maytals back to the States for some positive vibrations this March. Formed in the early 60s when Ska was booming in their native Jamaica, Toots and Maytals soulful style quickly became popular, earning them a place in the annals of reggae music. “Pressure Drop” still remains one of their greatest and most covered hits, among their endless catalog of great Rastafari standards. Through the last five decades, the Maytals have continued to tour and particpate in large festivals and this current run gives reggae fans a chance to see Jamaican royalty play some of the great island sounds.
Starts at 7 p.m. $26. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

TUESDAY, MARCH 20
Metal Alliance Tour 2012 at Sonar
The Alliance has formed and will be crushing souls in Baltimore this month at a festival led by Santa Barbara’s DevilDriver, who are out on the road promoting their recent gift to the metal gods, “Beast,” which released this past summer. Dubbed the “Metal Alliance Tour 2012,” DevilDriver is joined by The Faceless, a technical death metal crew out of Encino, as well as Maryland’s Dying Fetus. Also on board is Arizona’s Job For A Cowboy, 3 Inches of Blood from Canada, and Impending Doom from Riverside, California. Rounding out the bill is Wretched, the death metal outfit from Charlotte. Aside from this stacked lineup of metal’s heaviest, there will be some local bands supporting as well.
Starts at 3:30 p.m. $22 advance - Jason Walsh
Sonar: 407 E. Saratoga St., Baltimore, MD; 410-783-7888;www.sonarbaltimore.com

TUESDAY, MARCH 20
Kasabian at the 9:30 Club
English Indie rockers Kasabian are crossing the pond from their native Leicestershire, supporting last year’s “Velociraptor!” record, the band’s fourth studio release. Formed in 1997, Kasabian are heavily influenced by the sound of The Stone Roses, and have been compared to Happy Mondays, Primal Scream, and Oasis. Their swirl of electronic and DJ hooks with alt-rock sensibilities have made them a popular act internationally. This current run stateside further promotes “Velociraptor!” with their U.K. hit “Switchblade Smiles.”
Starts at 7 p.m. $22. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

SATURDAY, MARCH 24
Band of Skulls and We Are Augustines at the 9:30 Club
What started as Fleeing New York, saw three college students in Southampton, England, bring their love of rock and songwriting together and become a force in the London music scene. Band of Skulls is the brainchild of guitarist and vocalist Russell Marsden, bassists and vocalist Emma Richardson, and drummer Matt Hayward. Combining the garage and ALT rock ideals with a flavorful of blues, Band of Skulls have now released three albums, including “Sweet Sour” which hit the market last month. Joining the Skulls on their run across the States is We Are Augustines from Brooklyn, who are out supporting their debut, “Rise Ye Sunken Ships.”
Starts at 8 p.m. $18. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

MONDAY, MARCH 26
Kevin Seconds, Kepi Ghoulie, Vic Ruggiero, and Franz Nicolay at the Black Cat
Many of the veteran hardcore guys from the 80s have found their way of expressing those angst-filled emotions in the latter years acoustically. Kevin Seconds is one of those true pioneers who keeps going. Seconds formed 7 Seconds in 1979 with his brother Steve Youth and wrote some of the most influential anthems in the early 80s during hardcore’s early beginnings. Songs like “Young ‘Til I Die” and “Walk Together Rock Together” spoke to suburban kids everywhere during the Reagan era, but it was in 1989 when Kevin picked up an acoustic guitar and began his solo career that has now spanned more than two decades. Joining this run with Seconds is Kepi Ghoulie from Sacramento’s The Groovie Ghoulies, punk and indie composer Franz Nicolay, and Vic Ruggiero, best known for his time with the Slackers and Rancid. This is an opportunity for fans to see some of these old-school legends throw down some personal solo sounds.
Starts at 8 p.m. $10 advance/$12 day of show. - Jason Walsh
Black Cat: 1811 14th St. NW, D.C.; 202-667-4490; www.blackcatdc.com

TUESDAY, MARCH 27
D.R.I. at Baltimore Soundstage
One of hardcore’s fastest are coming to the region this month, as Houston’s D.R.I. brings the classic crossover thrashcore to Baltimore. Known for their blistering one-minute anthems, the Dirty Rotten Imbeciles have been slaying venues since the early 80s. Led by founders Spike Cassidy and frontman Kurt Brecht, D.R.I. made their mark with “The Dirty Rotten L.P.,” followed by “Dealing With It,” and the groundbreaking “Crossover,” which was one of the first metal/hardcore fusions that began the change in heavy music that still echoes today. If you like it fast, this is a show you won’t want to miss.
Starts at 6 p.m. $15. -Jason Walsh
Baltimore Soundstage: 124 Market Pl., Baltimore, MD; 410-244-0057; www.baltimoresoundstage.com

TUESDAY, MARCH 27
The Revival Tour at the Recher Theatre
Yet another collection of punk and hardcore veterans turn off the amps and pick up acoustic guitars in what has now become an annual tradition. “The Revival Tour,” started in 2008 by Chuck Ragan of Hot Water Music, has featured some of the great underground artists performing in a light that many have not seen. Joining Ragan on this year’s installment is Dan Andriano of Alkaline Trio, Tommy Gabel of Against Me!, and Cory Branan, who has collaborated with Lucero and Thrift Store Cowboys. Sponsored by Ten-Four Records, this tribute to folk music brings some of the great talents of modern music into a unique and unexpected setting.
Starts at 7 p.m. $15 advance $18 day of show. - Jason Walsh
Recher Theatre: 512 York Rd. Towson, MD; 410-337-7178;
www.rechertheatre.com

WEDNESDAY, MARCH 28
Van Halen at the Verizon Center
This is the tour Van Halen fans have been waiting decades for…The Van Halen brothers reunited with David Lee Roth, and a new album of new songs, well sort of…
“A Different Kind of Truth” is the first collaboration between Eddie, Alex, and Diamond Dave in 27 years, and the first record to feature Eddie’s son Wolfgang on bass, replacing original member Michael Anthony. However, the songs come from early, unreleased material by the band during the mid-to-late 70s. This ends one of the longest standing feuds in rock history and now fans have a chance to catch it before it ends, because who knows with these guys. Roth hasn’t worked on material with the VH brothers since their commercial height with the release of “1984.” It was during that tour that tensions arose and Roth’s departure, going on to have a successful but short-lived solo career, while Van Halen saw the beginning of the Sammy Hagar era. They’ve released a video from the album’s first single, “Tattoo,” which shows that even though these guys are in their late 50s, Roth still has his chops and Eddie can still light up a fretboard. This reunion has been in the making since 2006 when the early rumblings were made, followed by some performances with Roth, but the new album and ambitious North American Tour will determine whether these guys, all these years later, can finally get along. Van Halen formed in 1972, originally as “Mammoth,” but began their rise stardom with their first self-titled record that contained the hits “Runnin’ with the Devil,” “You Really Got Me,” “Ain’t Talkin’ ‘Bout Love,” and the guitar lesson/clinic, “Eruption.” The band enjoyed a decade of success with Roth so hopefully they can enjoy a decade more. Opening for Van Halen will be the 70s sounds of Kool & the Gang.
Starts at 7:30 p.m. $79.50-149.50. - Jason Walsh
Verizon Center: 601 F. St. NW, D.C.; 202-628-3200; www.verizoncenter.com

THURSDAY, MARCH 29
Nero at the 9:30 Club
London’s Nero started as a drum and bass trio but has evolved, incorporating dubstep with house music elements. Formed in 2004, the electronic chaos features producers Daniel Stephens and Joe Ray, with vocalist Alana Watson who joined the duo in 2008. Nero released many singles over the last few years which have done well on the U.K. charts, but their debut album, “Welcome Reality,” hit the mainstream last August, rising to the number one spots in Britain, as well as going gold at home as well as in Australia. Supporting Nero on this outing is Los Angeles DJ/producer Dillon Francis with his own spin on dubstep.
Starts at 10 p.m. $40. - Jason Walsh
9:30 Club: 815 V. St. NW, D.C.; 202-265-0930; www.930.com

FRIDAY, MARCH 30
Reckless Fest at Sonar
Modern metal will be scorching the stages of the Sonar as the Reckless Fest unleashes some of the newest bone-crushing bands upon Baltimore. Leading the pack is Britain’s Asking Alexandria who released “Reckless & Relentless” on Sumerian Records last year. Adding to the chaos is the blazing fast riffage of Trivium, the Orlando based outfit who are out supporting their fifth-studio album, “In Waves.” This festival also sees Chelsea Grin from Salt Lake City, Michigan’s post-hardcore I See Stars, and Motionless in White from Scranton. Support at this festival also includes Attila, For the Fallen Dreams, Chunk! No Captain Chunk!, and Vanna. An early event with some of the youthful bands of the day.
Starts at 4 p.m. $27 advance/$30 day of show. - Jason Walsh
Sonar: 407 E. Saratoga St., Baltimore, MD; 410-783-7888;www.sonarbaltimore.com

RISE AGAINST COMES TO DC

Rise Against
by Jason Walsh

Last year was a busy year for the guys from Rise Against, having released their sixth studio album, Endgame, as well as touring relentlessly. Vocalist and guitarist Tim McIlrath was excited about traveling to some new places in 2011 and being involved in some big events.

“Getting down to South America for the first time, that was a lot of fun for the band,” McIlrath said. “We’ve been trying to get down there for years. Opening up for the Foo Fighters on the East Coast was a great time, actually a blast, and a lot of great European festivals where we hooked up with our old friends.”

Rise Against kicked off a headlining U.S. tour last month and winds their way to the Patriot Center at George Mason University on February 5. Having spent many years supporting bands on tour that influenced them, such as Sick of it All, Bad Religion, and Rancid, it felt good for McIlrath to return the favor for the upstarts in A Day to Remember.

“I thought this one was kind of sentimental, taking out a younger band out there and we wanted to sort of get up with them and put our fans in the same room and I guess we’ll see how it goes. I’m pretty excited about it. We’ve played a handful of shows with A Day to Remember in December and they’re a great fit. Our bands are different but bring a lot of people in a room.”

The guys from Chicago have been holding their own in a tough music industry for more than a decade now, maintaining their punk ethics and passionate melodic musicianship. They have enjoyed a great deal of success and last year’s Endgame was their highest charted record to date, debuting at No. 2 on the Billboard chart with 85,00 copies sold the first week. Rise Against just dropped their third single, “Satellite,” from the record and McIlrath says it’s a song that was an important component on Endgame.

“It was one of the first songs we wrote for this record and it was sort of a launching point, like a jumping off point for us,” he said. “It set the tone for the rest of the songs. When you’re a band and you’re doing records and touring, you take a little break and go away for a little while and when you kind of get back in the saddle, people are always wondering, ‘well, where are they now, where are their heads now, where are they musically?’ ‘Satellite’ is a kind of a rallying cry. We’re still the same band, we’re going to try and heat up on a lot of these issues that they’re talking about.”

More recently, Rise Against has participated in a huge project from Amnesty International. Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International is a new 5 CD release that features 75 tributes to the legendary folk hero and songwriter. On the roster of great musical talents is Pete Townshend, Elvis Costello, Dave Matthews Band, Bad Religion, and Flogging Molly, just to name a few. The ever-politically-charged McIlrath said Rise Against are strong supporters of the organization’s work

“First and foremost, we’ve always been behind the mission of Amnesty International,” he said. “They protect human rights around the world. They speak up for political prisoners, people who are held in prison simply for their ideology. It’s hard to believe that this still happens in 2012, but it still does and something like Amnesty International is a much needed force to bring awareness.”

And when the tribute was to Bob Dylan, their decision to participate was automatic. “This compilation came up and Bob Dylan is such an incredible songwriter, an incredible force that was satirical and political and always had something important to say. We wanted to jump on that immediately.”

However, choosing the right song that fit the band was not as easy a decision, but the “Ballad of Hollis Brown” struck a chord with the group. “That was something that took us a while to figure out, what song to do, because there’s so many great Dylan songs,” McIlrath said. “But this one, we were backstage somewhere and we were playing a lot of Bob Dylan stuff on shuffle, just kind of hearing the whole catalog, and that one came on and I remember me and our bass player Joe (Principe) just came up to each other and were like ‘I like this one.’ I kind of peeled back the layers, as much as the lyrics a little bit. It’s the story of a farmer who had fallen on hard times. I thought there were a lot of parallels to today’s economical climate.”

Living a life as a professional musician and songwriter was not something McIlrath would have expected. “Never in a million years,” he laughed. “I was far more of a realist. I got into it because I couldn’t not get into it. I picked up a guitar and all of it snowballed from there. I just kept playing because I couldn’t stop playing. I kept writing songs because I couldn’t stop writing songs. When we started up this band, punk rock wasn’t really as popular as it is now.”

And the praise, notoriety, and commercial success was just as much of a surprise. “I underestimated the audience out there I guess. I thought we’d always kind of be on the fringes of music and I’ve been pleasantly proven wrong. To find such a hungry audience out there who’s looking for music that reflects the questions they have about the world. It’s something that’s really inspiring, to see that…a lot of the people give a shit about what we do, and more importantly, just that people feel lost and are looking for direction and want to help and want to be part of fighting the good fight.”

A Day to Remember and The Menzingers will be opening for Rise Against on February 5.

Starts at 7 p.m. $29.50-39.50. - Jason Walsh
Patriot Center at George Mason University: 4500 Patriot Circle, Fairfax, VA; (703) 993-3000; www.patriotcenter.com

January show previews for ON TAP Magazine

FRIDAY, JANUARY 13
Bootsy Collins at the State Theatre
The ambassador of funk is bringing his flavorful cosmic bass lines to Falls Church this month. Bootsy Collins, most noted for his work with James Brown and Parliament Funkadelic, is taking his solo act on the road in support of his newest and thirteenth release, “The Funk Capital of the World.” This newest effort features and all-star cast of contributors, including Chuck D, Snoop Dogg, George Clinton, and Ice Cube, as well as the likes of Sheila E., Bela Fleck, and Buckethead. Collins knew it was time to hit the studio again with some old friends. “The secret that I learned is that you can not tell the Universe what to do,” Collins said. “When the Universe is ready, it will tell you, and then you got to be ready. And when the Universe told me it was time to record my new album, Lord, I was ready.” “Don’t Take My Funk” is the first single that spun from the new album and it features his brother, the late Catfish Collins, who passed while completing the record, as well as R&B legend Bobby Wommack. There are also appearances from celebrities like Samuel L. Jackson, Rev. Al Sharpton, and Dr. Cornell West. The track “Mirrors Tell Lies,” samples Jimi Hendrix’s song “Roomful of Mirrors,” and was a personal milestone for the Funk Master Collins. “To be able to share a stage or a song with Jimi was something I fantasized about as a young man listening to him on cassettes while I rode in James Brown’s bus between gigs,” Collins said. “And suddenly, just as I’m about to turn 59 years old, it happens.” Aside from this performance at the State Theatre, he will also be at the Baltimore Sound Stage on January 11. For a chance to see the talented stylings from a Rock and Roll Hall of Famer, get with Bootsy this month at the State Theatre.
Starts at 7 p.m. $40. - Jason Walsh
The State Theatre: 220 N. Washington St. Falls Church, VA; 703-237-0300; www.thestatetheatre.com

SATURDAY, JANUARY 14
In Flames, Trivium, Veil of Maya, and Kyng at Rams Head Live
Following their “Defenders of the Faith” tour of the United Kingdom, In Flames and Trivium return to North America for a run of shows over the next two months, with a stop at Rams Head Live in Baltimore. The melodic death metal thrash of Sweden’s In Flames has decimated festivals for almost two decades, with their eleventh album, “Sounds of a Playground Fading,” melting faces for the last year. Trivium from Orlando, Florida, has also taken the reigns as one of the most respected outfits in modern metal, having thrown down their fifthy record, “In Waves,” on Roadrunner Records. Balancing the bill is Veil of Maya from Illinois and Kyng from L.A. who are out supporting their current collection of new songs, “Trampled Sun.”
Starts at 6:30 p.m. $25 advance $28 day of. - Jason Walsh
Rams Head Live: 20 Market Pl. Baltimore, MD; 410-244-1131; www.ramsheadlive.com


MONDAY, JANUARY 16
Graveyard, Radio Moscow, and Daniel Davies at DC9
The 70s stoner rock grooves of Sweden’s Graveyard will be rocking the roof at DC9. Having just introduced the world to their second album, “Hisingen Blues,” Graveyard is back in the States for another run of dates. Their sound is a chaotic pulse of folky “mind-warping” blues, heavily influenced by the likes of Sabbath, Cream, and Blue Cheer. They have spent time in North America touring alongside Clutch, Witchcraft, and even CKY. Joining the ride is Iowa’s Radio Moscow promoting their third disc, “The Great Escape of Leslie Magnafuzz.” Opening is Daniel Davies, frontman of Year Long Disaster and son of Dave Davies of The Kinks, who has been working on a solo project which features Brad Davis of Fu Manchu on bass.
Starts at 9 p.m. $10. - Jason Walsh
DC9: 1940 9th St. N.W., DC; 202-483-5000; www.dcnine.com

THURSDAY, JANUARY 19
Ghost, Blood Ceremony, and Ancient VVisdom at the Rock N Roll Hotel
Ghost will finally be materializing in the States as their first North American Tour finally hits the shores this month. The melodic devil metallers from Sweden had planned to come over earlier but their tour was delayed because of visas and whatnot, but they arrive this January with Blood Ceremony and Ancient VVisdom. The thing about Ghost is that they have this stage presence, fronted by the vocalist, “Papa Emeritus,” donned in a Catholic Cardinal uniform with a red skull mask, while the five remaining mysterious members of the band, known as the “Nameless Ghouls,” perform in dark hooded robes. The secret identities of the group is unknown, and after they arrived in this world in 2008, they released their first album, “Opus Eponymous,” in 2010. “Ghost is the name of a devil worshipping ministry,” preaches Papa Emeritus. “That, in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends.” The “doom-drenched” throwback metal is epic and evil, assuring us all that the apocalypse is coming soon. This is what happens when some of Dethklok’s Klokateers rent a rehearsal space. Joining the Ghouls from Ghost is Blood Ceremony from Toronto, who have blended “witch rock” in a Sabbath-meets-Jethro Tull vein. The flute-driven Canadian satyrs released their second album this year, “Living with the Ancients.” Rounding out the evening of occult metal retribution is Ancient Vvisdom from Austin, featuring former members of Integrity and Iron Age doing dark acoustic pagan folk songs. Last year, Ancient Vvisdom did a split EP called “Inner Earth Inferno” with none other than Charles Manson, who contributed previously unreleased material.
Starts at 8:30 p.m. $15. - Jason Walsh
Rock N Roll Hotel: 1353 H St. NE, D.C.; 202-388-ROCK; www.rockandrollhoteldc.com

SUNDAY, JANUARY 29
Anvil at Jammin’ Java
It was the 2008 documentary “Anvil: The Story of Anvil” that brought the 80s Canadian metal trio back into the minds of fans, after they spent the previous three decades cursed in the shadows of the unknown. After touring the world alongside Bon Jovi, Whitesnake, and the Scorpions in 1984, they were poised to be one of the planet’s biggest metal bands, ready to sell billions of records, and it just didn’t happen. The rest of the bands went on to make millions of dollars, countless world tours, platinum albums, women, wine, and mansions, but Anvil just faded into the void. The documentary, the directorial debut by “The Terminal” screenwriter Sacha Gervasi, who was a one-time Anvil roadie, was widely viewed, praised, and applauded. “Broken us wide out into the general mainstream, you know,” founding guitarist and vocalist Steve “Lips” Kudlow said. “From obscurity to a household name. A thirty year overnight sensation.” During shooting, Anvil worked on their album, “This is Thirteen,” named so because, well, it was their thirteenth record. They reemerged in the metal scene since, gaining opening slots with AC-DC and Saxon as well as many of the big European and North American festivals, and a couple headlining runs here and abroad. They recorded the follow up this past year at Dave Grohl’s studio with producer Bob Marlette, dubbed “Juggernaut of Justice.” Anvil will be mounting the “Monument of Metal” tour, which finds itself at the Jammin’ Java in Vienna. “Lips” says they may have not gotten the fame and fortune they feel all the decades of hard work should have earned, but the band still has a true passion for the music and belief in what they do. “That’s what it’s all about, and I don’t really plan to change my ways,” Kudlow said. “All that’s happened is that I’m getting sort of famous for sticking to my guns and having that kind of philosophy, so I’m certainly not going to change. I don’t want to.”
Starts at 8 p.m. $15. - Jason Walsh
Jammin Java: 227 Maple Ave. East, Vienna, VA; 703-255-1566; www.jamminjava.com

SUNDAY, JANUARY 29
Dark Funeral, Abigail Williams, Inquisition, and Gigan at Jaxx
The evil black metal lords roll through Jaxx once again. Led by Sweden’s Dark Funeral and their founding guitar incinerating duo of Blackmoon and Lord Ahriman, the night of demonic power chords includes a return visit from Phoenix’s Abigail Williams, who passed through Jaxx twice over the last couple months with the legendary Mayhem from Norway. Taking their name from the Salem witch accuser in Arthur Miller’s “The Crucible,“ Abigail Williams have completed their second studio epic, “Becoming,” which is scheduled to release this month on Candlelight Records. Rounding out the bill is Inquistion who comes all the way from the nation of Columbia, a thrash outfit who have gone to the dark side of black metal. Opening the all-ages show is grind core assassins from Tampa, Gigan, who released their third album this year, “Quasi-Hallucinogenic Sonic Landscapes.”
Starts at 6 p.m. $23 advance/$25 day of show. - Jason Walsh
Jaxx: 6355 Rolling Rd. Springfield, VA; 703-569-5940; www.jaxxroxx.com