Review: Mighty High - Drops a Deuce

Label: self-released

Released: October 12, 2009

True to the form they set with last year's full-length, In Drug City, Mighty High's new EP is nothing if not unabashedly fun. This 7" EP features two songs that waste nothing (except perhaps brain cells). "Cable TV Eye" is full-on stoner paranoia propelled by riffs they learned from hard rock leaning punk bands like Gang Green or the Circle Jerks in the mid-to-late 80s. It's thick and chunky and full of good things for your rock and roll appetite. "Hands Up!" is like a pep rally at a Texas high school if pot was the football team. It's recorded live and, to the band's credit, there is little distinction between this and the studio track. Their energy can't be contained no matter where it's being recorded. So, it's two sides, one studio, one live, and both rock uncontrollably. No pretensions, no cleverness, no tricks, no fakes, just rock and roll you can get high off of whether you smoke pot or not.

Top it all off with some fantastic R. Crumb-style artwork (seriously, it's almost as fun as the Cheap Thrills cover) and sweet baby blue marble vinyl and it's a package that can't be beat!

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 7/10
Aretha: 9/10
Overall: 8/10

Website

Myspace

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Review: Balance and Composure - Only Boundaries

Label: No Sleep Records

Released: August 11, 2009

I love when a record is really busy, but doesn't get lost in the busyness. On the four song Only Boundaries, Balance and Composure fully live up to their name, balancing intricacies with listenable sensibility and remaining composed while the music swirls. "I Can't Do This Alone" combines a tribal rhythm with echoey guitar and yearning vocals into a song that pleads its case with both calm and determination . "Show Your Face" is reminiscent of Peter Cortner-era Dag Nasty, coupling earnest honesty with a desire to push the music beyond traditional limits. They accomplish the latter with considerable success, not just on this song, but throughout the record. Only Boundaries meets the challenges of exploration while leaving enough that's familiar to embrace.

No Sleep Records pressed 500 of these on black vinyl and the first 100 have a silk-screened b-side. It's a nice cover worthy of all of its 12 inches. For convenience, they throw in a CD copy as well.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 7/10
Aretha: 8/10
Overall: 7/10

Myspace

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Review: Grant Hart - Hot Wax

Label:

Released: October 6, 2009

The progression of an artist from a seminal band to a solo career usually tells us more about the artist now that they're freed from the shackles of band unity (in whatever form it existed). What's interesting about Grant Hart's Hot Wax is that it tells us some things about him, but more of where he came from and how that fit into his own art, both in Hüsker Dü and on his own.

The album opens with "You're Not the Moon," perhaps the best psych garage piece I've ever heard. The mix of pop, psychelelia and proto-punk creates a wall of sound that prefigures Hüsker Dü's oh-so-listenable noise. The baroque pop of "Barbara," along with the strangely innocent darkness of the words, isolates a quality that he's incorporated into much of his music over the years. He dabbles in Bowie and Mott the Hoople-era glam ("School Buses are for Children" and "Narcissus, Narcissus") and fuzzy 60s pop ("Sailor Jack"). "California Zephyr" has the pop bombast of Neil Diamond without crossing the line into corny sentimentality. The understated cacophony and strong melodies of the soaring "My Regrets," a bit the inverse of Hüsker Dü, is not only a bold closer, but also a segue from this "prequel," so to speak, into what Hart has already done in his long career.

While Hot Wax is a view into Grant Hart's musical origins, it is not simply reliving the past, à la John Lennon's Rock N Roll. Hart employs the help of Godspeed You! Black Emperor and A Silver Mt Zion, two of rock's most forward thinking outfits. This isn't Hart replaying his younger days, but rather distilling his own music into its component parts. Not only does this illustrate where Hart's music came from, but also demonstrates both a love and deep understanding of his influences, such that he can make a record that returns to the past and pushes boldly into the future simultaneously.

Ratings
Satriani: 6/10
Zappa: 8/10
Dylan: 8/10
Aretha: 9/10
Overall: 9/10

Website

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Artists mentioned in the Clash's "White Man in Hammersmith Palais"

One of the Clash's finest moments was "White Man in Hammersmith Palais," a 1978 UK single that also appeared on the re-sequenced 1979 US issue of their self-titled debut. The beginning of the song was inspired by a reggae show Joe Strummer attended (and was disappointed in) and mentions three arists who performed. The song goes on to make serious, poetic social commentary, including the now common phrase, "Turning rebellion into money." While even a casual Clash fan (can there be sucha thing?) knows "White Man," most probably aren't familiar with the three artists whose names appear in the lyrics, so here they are along with this Clash classic.

The Clash:


Dillinger:


Leroy Smart:


Delroy Wilson:

Review: Girl in a Coma - Trio BC

Label: Blackheart Records

Released: June 2, 2009

Coming two years after their promising debut, Trio BC shows a young band that has done some significant maturing as musicians. The album maintains their early punkish edge, but expands the sound well beyond that. Nina Diaz elevates herself to a rough-around-the-edges Patsy Cline, particularly on the yearning, tender melancholy of "El Monte." They dabble a bit in T Rex's glammy boogie on "Slaughter Lane" before moving into more straightforward punk. "Joanie in the City" dips deep into the well of the Buzzcocks and the Jam so successfully that vocal help from Joan Jett herself doesn't overpower the band's sound. They even find interesting common ground between the Shangri-Las and the Smashing Pumpkins on "Trail". All of this is mixed with explorations of their own Mexican-American background that will surely draw comparisons to Los Lobos and the Plugz. But don't be fooled, because GIAC are paving their own road to the destinations previously visited by those bands.

The end result is a very good, comprehensive rock n roll album that draws from many things, but maintains a strong identity. It stems from growth in both songwriting and musicianship that doesn't compromise on the heart and soul that is the basis of the band. Girl in a Coma has adapted well to this musical growth, making Trio BC a sophomore album that's really good in the moment and also leaves open great possibilities for the future.

It's probably best to pick this one up on LP, because it'll be easier for the tattoo artist to copy it onto your body after you spend some time listening. Seriously though, the tattoo style artwork looks great on the 12" LP.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 8/10
Aretha: 8/10
Overall: 8/10

Website

Myspace

GIAC has also made two really cool videos from this album, so check 'em out:





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Review: The Slits - Trapped Animal

Label: Narnack Records

Released: October 20, 2009

Trapped Animal is the first studio album from the Slits since 1981 and comes 30 years after the seminal punk/reggae fusion of their debut, 1979's Cut. The passage of time and only returning with two-thirds of the band's core (Ari Up and Tessa Pollitt) certainly give reason to be skeptical of a new album in 2009.

Even going in with doubts, the new album quickly establishes a winning presence. It retains the Slits' natural mix of punk and reggae, but this time the former is a bit more angular and the latter closer to dub, giving things a tighter, more agitated energy. Occasional electro-pop and R&B infusions expand the album beyond the earlier albums' limitations, few as they seemed to be at the time, yet Trapped Animal is possibly their most cohesive record. Most importantly though, the Slits maintain the straightforward lyrical honesty that has always made their songs easy to hold onto.

Worst case scenario would surely have been to simply go through the motions of rehashing their past. Not much better would have been to completely overhaul their sound, producing something that, while new, had little connection to their own roots. What the Slits have produced, however, is an album that shows that they hadn't reached the end of the road when they broke up in 1982. In fact, Trapped Animal is very much on par with the now-acclaimed Cut and one of the best reunion albums I've heard.

Ratings
Satriani: 7/10
Zappa: 8/10
Dylan: 8/10
Aretha: 9/10
Overall: 9/10

Myspace

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Review: Government Issue - The Punk Remains the Same

Label: DC-Jam Records

Released: July 21, 2009

This five song EP, in classic punk fashion, clocks in at just under eight minutes, but we all know it's quality, not quantity, that counts. These tracks, culled from two different shows, reflect GI's hardcore heyday in 1982-83. The recordings are good for early hardcore live material and the band is clearly in fine form at both shows. While this is not a substitute for the old Mystic Records' Government Issue Live, it does feature a few unique moments that make it a worthy companion. "Notch to My Crotch" finds John Stabb waxing not-so-eloquent with some rather crass improvised additional lyrics. Along with the appearance of the rare "Snubbing," there's material here that you just won't get elsewhere, but the EP's best offering is the wild, cacophonous version of "Sheer Terror" that hints at the more experimental GI that was still a few years away at that point. The Punk Remains the Same is certainly an essential for serious GI fans, but also has a lot to offer anyone who wants to experience why GI is still considered a great punk band by those who know.

Ratings
Satriani: 6/10
Zappa: 8/10
Dylan: 7/10
Aretha: 8/10
Overall: 7/10

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Review: Flipper - Love

Label: MVD

Released: May 19, 2009

A reunion can be viewed in one of two ways. On one hand, it could be an attempt to cash in on the current popularity of the band's genre, something they may not have been able to do in their prime. On the other, it could be a way to expose the band to a new generation of fans as once great bands have a way of slipping into obscurity. Flipper's music is so anti-commercial that not even Kurt Cobain's endorsement brought their music to the mainstream, so it seems unlikely that former reason to reunite could be true. At the same time, they have remained the seminal art/noise punk outfit, so each generation has seemed to acquaint itself with their work. So, why reunite?

With Flipper, it's anyone's guess why they do anything and this is no exception. Perhaps their reunion for CBGB's sparked something, perhaps they enjoyed playing with Krist Novoselic, perhaps it just happened. After all, this band is no stranger to spontaneity. However it happened though, Love came to be. The album has the same heavy noisiness for which they've always been known, but there's something decidedly more deliberate this time. Though hardly accessible in any way, they have toned down the crazy into something a little more digestible. Love, which seems to be about a love that most people, myself included, don't quite get, still features that same half innocent, half debauched sweet sarcasm that underscores their art damaged existence. Overall, this new offering doesn't eclipse their catalog in any way, yet still provides a clear reason why this reunion is not just a one-and-done blip in their storied career.

Ratings
Satriani: 6/10
Zappa: 8/10
Dylan: 6/10
Aretha: 7/10

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Review: Brian Bond - Fire & Gold

Label: self-released

Released: March 10, 2009

Folk and punk has found some common ground over the years. From Billy Bragg's incendiary love and politics to Elliott Smith's dark beauty, the two genres have occasionally met in strange ways that have never been entirely one genre or the other, yet clearly rooted in both.

Brian Bond is a similar artist in a sense. Musically, he's clearly a folk artist. The songs are gentle and quiet. At times, you can hear Elliot Smith's heartfelt hooks, only with a warmer, more open, perhaps more innocent heart. In addition, these songs have had time to develop over the two years it took to write and record them. It's clear, because nothing is rushed or incomplete. By taking the time to get it right, Bond gains the benefits of well thought out songs that, at the same time, don't lose their sense of spontaneity.

But somewhere in the spirit of this album is a fierce independence and DIY ethic that is clearly punk. Some of that stems from the album's simplicity. These songs are essentially Bond and his guitar. Though most songs feature accompaniment, it is crafted so as to enhance, but never overshadow Bond's performance. Fire & Gold follows its own path, one that runs musically parallel to folk, but spiritually intersects with the strengths of punk and indie music. It is a quiet moment for punks and a shot in the arm for folk.

This isn't the folk-punk thing that you get from a Chuck Reagan or a Defiance, Ohio. It's fundamentally (and beautifully) folk with a punk heart underneath.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 7/10
Aretha: 8/10
Overall: 7/10

Website

Myspace

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Live: Good Old War, Pela and the Gaslight Anthem

May 7, 2009, Recher Theatre, Towson, Maryland



The Gaslight Anthem released one of 2008's best records, were a highlight of last summer's Vans Warped Tour, released an fantastic 10" on Record Store Day and are now on the verge of opening for perhaps their biggest influence, Bruce Springsteen. There really couldn't be much more of a positive vibe or greater expectations (yeah, pun intended) coming into a show than that. Since seeing them on the Warped Tour back in August (and being out of town for their Baltimore stop a few months back), there is no band on the planet I was more excited to see again, especially as a headliner. Would it be worth the wait? I had to check out two other bands first to find out.

  



Good Old War played a set of indie-folk tunes full of subtly amazing musicianship and beautiful harmonies. They're one of those bands who's playing is intricate and amazing if you pay attention, yet could easily be enjoyed directly for its sweet combination of hooks and harmony. They never overwhelmed the music with anything flashy, despite clearly having the chops to pour it on had they trusted their music less.

  



Pela, who two years ago were listed by Rolling Stone as an "artist to watch" (take that however you will), were up next. Artists like Tom Petty, the Who, the Clash and the Replacements all came to mind as they ran through their set of straight-forward rock songs. That begs the question: What do these artists (Pela included) have in common? In light of tonight's performance, the answer is that they cast aside self-importance, over-indulgence and pretensions, simply letting the songs speak for themselves. And that's what made the set so powerful. The songs were solid, but more importantly, the performance made a connection. That's why their cover of "Guns of Brixton" worked so well. In fact, that one rousing cover really says all that needs to be said about their set. Even the slightest hint of dishonesty would not just have killed the song, but their entire performance. It was bolder than maybe they even realized, but they nailed it.

  

  

  

Right now, the Gaslight Anthem may understand better than anyone else that there is one perfect formula for great rock and roll: Poor your heart out over a few chords and some colorful hooks and you can't go wrong. It's clear on the albums and it was clear tonight at the show. Though the two acts before them set a high bar, particularly in the way of just plain honesty, the Gaslight Anthem were still the evenings brightest light. Their honesty is, without compromise, a bit more creative and poetic than their peers. This night, they achieved an odd perfection that has nothing to do with note-for-note reproductions of the studio material. Instead, it is a perfect balance between songs, stories and a fantastic cover of "Left of the Dial." When they open for Springsteen, I hope he pays attention. He just might (re-)learn a thing or two.

New Flipper mp3

Flipper will release Love, their first album in 16 years, on May 19th. You never know what you're gonna get with a band like Flipper and over a decade and a half since they last recorded, it's even more up in the air. However, you can check out "Be Good Child" to get an early taste before the release.

Review: Landing Project

Label: self-released (available at the bands Myspace and at shows)

Released: January 31, 2009

In recent years, there have been a number of bands who have returned to punk's old loose hooks and gritty melodies. Against Me is at the top of that pile with bands like Gaslight Anthem quickly climbing up behind them. Many voices are screaming to be heard behind these front runners. Not all are worth hearing, but among those that are is Landing Project. Their "three chords and the truth" approach is attempted by many. The three chords part is easy. Rock and roll has a long tradition of simplicity and even turning simplicity into great hooks isn't terribly unusual, but it's the truth part that stumps so many.

Landing Project turns out to be everyman poets (or more appropriately every-misfit/misplaced/misunderstood-man poets) to whose truth anyone with a beating heart should be able to relate. The album opens with the words, "I remember how I felt in my teens..." Don't we all remember? But this song, as the title "Keep Going" suggests, looks forward. It's this combination of examination and expectation that gives these songs the roots with which to connect and the open future into which to fly. Without that, their three chords would just add up to a handful of catchy tunes. With this truth, this honesty, they're a handful of catchy tunes that mean something.



If that's not enough (though it should be plenty), check out the packaging. Rather than package the CD in a jewel case, digipak or cardboard sleeve, the guys in Landing Project made unique sleeves out of old 5 1/4 inch floppy disks. In an age when the CD is dying off in the face of digital releases, packaging is more important than ever and this is one band who found a great way to make the hardcopy worthwhile. It even steals a bit from the digital age for irony's sake (or was it a happy accident?). Get yours quick, because the "floppy disk sleeve" edition is limited to the number of old floppies they can dig up. Once the floppies are gone, so is this great package.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 8/10
Aretha: 9/10
Overall: 8/10

Myspace

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Review: The Eruptors - Microwave Massacre

Label: Fixing a Hole Records

Released: February 2009

Ken Decter, infamous leader of Florida fun punks F, once said of his band, "We don't have a message. If we had a message, we'd put out a newspaper. We're just a stupid band." That statement could be applied to any number of punk bands from the goofball antics of Adrenalin OD to B horror movie shenanigans of the Misfits. At a time when punk was freeing itself from its nonsensical nihilistic beginnings, it immediately found itself in danger of being too serious. But there were still bands out there warding off that threat by not taking it all too seriously and having fun. While a sense of seriousness may have saved punk on one hand, in a sense these are the bands that kept things honest. Amidst the sometimes overbearing weight of post-hardcore's musical challenges and of emo's over-dramatic emotion (not to mention NOFX's posturing as a political force), good time bands are as essential as ever and the Eruptors do a great job of reminding everyone to keep it fun.

Microwave Massacre's title alone shows its hand and with tunes like "Cannibal Holocaust" and "Whöregazm," there can be no question where things are going. However, just as a string of clichés about tenderness and longing don't make a great love song and posturing and received opinion aren't the ingredients of the theme to the revolution, fun is more than just the sum of a few silly titles. The Eruptors are a band that understand that. Their raw punk spontaneity meshes perfectly with their wild, offbeat humor to create classic punk rock silliness. Sure, the echoes of Cocksparrer on "One Minute Decision," an excellent holdover from the last record, and the strange psyche leanings of "Cannibal Reprise" play out a little more seriously, at least musically, but those pace changes help make the party, not hinder it.

Punk needs a laugh from time to time and right now, there are few bands as good as the Eruptors to deliver that comic relief.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 8/10
Overall: 7/10

Myspace

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Review: Guns on the Roof - "Shattered Feeling"

Label: Glory Glory

Released: March 2, 2009

Guns on the Roof have spent the last two years playing with the likes of Rancid, the Misfits, Stiff Little Fingers, UK Subs, the Briggs and others, all bands that mix their punk rock sneers with unbeatable hooks. Their touring company along with the band from who they lifted their moniker have all left a mark on Guns on the Roof, but none to the point that it makes these guys a knock off. Strong production gives a hard rock punch to "Shattered Feeling" that mixes nicely with all those infectious whoa-ohs.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

Website

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Review: Buried in Leather - We Are Gone

Label: Teenage Heart Records

Released: August 11, 2008

Perhaps nowhere did the earliest marriages of punk and metal produce better material than in Boston. The early 80s found the likes of Gang Green and the FUs infusing their street punk with more than just a hint of metal. A lot of this was forgotten later in the decade as thrash became the principal vehicle for the punk/metal crossover, but it's nice to see that the same spirit that produced these bands is still alive in Boston. Buried in Leather pour on an intense, yet fun attack of thrashy punk rock with just a little metal riffage for good measure. Even on mid-tempo tracks like the somewhat hard rock-influenced "More Dirty Places," they manage to amp things up to the max. On others, like the album closing "No Ninjas," they move from a lumbering start right into the breakneck energy for which punk has long been known. While We Are Gone may not exactly be a bold new future, it injects fantastic energy into a genre whose day was way too short the first time around. It feels just as fresh as This Is Boston Not LA did 25 years ago.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 8/10
Overall: 7/10

Myspace

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Review: Benard/Worn in Red - Split 7"

Label: Alaska Records/No Breaks

Released: July 2008

If one word could describe this 7", it would be visceral. Nothing seems calculated or planned. Benard blasts through two songs of dissonance, frantic rhythms and pure passion in just under five and a half minutes. In that short time, they leave everything out there, their hearts on their post-hardcore sleeves.

Saying that Worn in Red is less intense than Benard is kind of like saying the Hiroshima blast was less intense than the Bravo explosion. Both will obliterate you. Still, Worn in Red reins it in ever so slightly, resulting in something a bit more fluid, ebbing and flowing (and then hitting you over the head).

The result is a great split with two bands that are on the same page, but perhaps a different paragraph. Both have full-throttle energy with Benard hitting a bit harder and Worn in Red a bit more dynamically.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 6/10
Aretha: 8/10
Overall: 7/10

Benard:
Myspace

Worn In Red:
Myspace

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DVD: Vans Warped Tour '07

Label: Image Entertainment

Released: December 2, 2008

For years, the Warped Tour has managed to find a healthy balance between DIY punk ethics and corporate involvement. Granted, the corporate presence has increased quite a bit over the last decade, but Kevin Lyman and company still put on a great show while keeping tickets and merchandise cheap and leaving at least some of the barriers down between bands and fans.

This DVD from the 2007 tour also finds a happy medium between punk and professional. The sound quality and editing is anything but amateur. On the other hand, the camera angles have more of a by-the-seat-of-the-pants quality, with many shots from the crowd perspective and of the crowd itself. With everything from the old school punk of Bad Religion and Pennywise to the emo/screamo of Chiodos to the funk and reggae of Fishbone, the DVD contains performances that capture both the energy and eclecticism of the Warped Tour. The one big fault here is the absence of one of the coolest things about the Warped Tour, the smaller, little known bands. The interview portion is mildly insightful at best, but may be worth sifting through for a few words from some favorites.

For the most part, this is as good a representation of the Warped Tour as you can get without going. However, just a song from each band (and no summer sun) isn't enough to get the real feel. The Vans Warped Tour '07 DVD isn't for anyone who wouldn't typically attend the tour (obviously), but it's a decent artifact if the Warped Tour is up your alley.

Rating: 6/10

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Review: Mighty High - In Drug City

Label: self-released (available at amazon, CD Baby and Interpunk)

Released: March 11, 2008

My copy of In Drug City came with an interesting promo item - a combination lighter/bottle opener emblazoned with the Mighty High logo. There was a note from guitarist Woody High saying, "I know you're straightedge, but the bottle opener works for soda and the lighter for fireworks." That same sentiment applies to Mighty High's music.

Too punk for metal and too metal for punk, Mighty High revives the other late 80s punk/metal crossover scene than spawned the likes of Gang Green and SNFU and they also draw on the wild, inebriated humor of Adrenalin OD. Abandoning precision for raucousness and cleverness for insobriety, the band has a broader appeal than expected, because they're high on one drug everyone likes - fun. Not ones to be bogged down by politics or philosophy, Mighty High exudes a sense of good times that is easy to relate to even if their particular brand of fun isn't up your alley (and it is anything but up mine). Oddly enough, they spend a lot of time focusing on pot, but aside from a few more stoner rock-oriented tracks, their music more closely approximates what I suspect speed is like. It's frenetic and relentless and never stops to think.

I guess In Drug City just shows how music crosses barriers. The album is up to its ears in drug-addled silliness, yet drugs aren't needed to appreciate what makes it such a good time. Remember though kids, don't try this at home!

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

Website

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If you're curious about my rating categories, read the description.

Review: Various Artists - A Blackheart Christmas

Label: Blackheart Records

Released: November 18, 2008

Every year at Christmastime we're treated (or subjected) to another collection of rock artists' takes on our favorite holiday songs. These albums tend to be a mixed bag made up of songs that will appeal to fans of the particular artists at least as novelties and others that are real bombs. The best case scenario might even include one or two renditions that are truly special.

A Blackheart Christmas does not have any real misses, but most of the tracks don't really transcend happy novelties for fans of the bands appearing. The Vacancies take on "Father Christmas," perhaps the best rock Christmas tune ever, is a fine listen, but doesn't go anywhere special. The drunken swagger of the Cute Lepers' "Christmas is the Time to Say I Love You" is a fun option for a non-traditional holiday. The rough edges on Thommy Price and Nefertiti Jones' "Winter Wonderland" give it punk appeal without losing its "happy holiday" sentiment.

Unlike most holiday comps though, A Blackheart Christmas has a pair of really special tracks that, in a (less-than-perfect) perfect world, might become Christmas classics. The Dollyrots give "Santa Baby" a snotty punk treatment, in lieu of its traditional sexy swing, as if it was meant to be about a down-and-out misfit rather than a well-to-do diva. Better still, Girl in a Coma turn "I'll Be Home for Christmas" into something dark and foreboding rather than hopeful. These are the Christmas carols for the "other half" in a sense.

Will this album replace Bing's "Little Drummer Boy" or Nat's "O Holy Night?" Probably not, but there's always room for a few more Christmas classics, especially when the might reach out to listeners whose world may not be so idyllic.

Rating: 7/10

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The Gaslight Anthem set to perform on Late Night with Conan O'Brien on December 9, 2008

The Gaslight Anthem are currently on tour with Rise Against and Alkaline Trio in the Midwest and have just finalized their plans for the holiday season with an appearance on Late Night with Conan O'Brien on Dec.9th. The band will also be in Los Angeles at the Key Club on Dec.14th to play a full set at this year's third annual ROCK TO ROLL charity event spearheaded by SideOneDummy Co-Founder Joe Sib. The event will directly benefit the non-profit organization UCP WHEELS FOR HUMANITY. Singer Brian Fallon will also be performing a solo acoustic set of Gaslight Anthem songs at the Bowery Ballroom in New York on Dec.19 in support of Jesse Malin. Jesse will be donating a portion of the proceeds that night to UCP WHEELS FOR HUMANITY.

Dec. 9 - The Gaslight Anthem on Late Night with Conan O'Brien
Dec.14 - The Gaslight Anthem at The Key Club (Hollywood)
Dec.19 - Brian Fallon (TGA) at The Bowery Ballroom (NYC)