Artist biog

The Gaslight Anthem

The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as &ldquothree chords and the truth&rdquo. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair&hellip

On January 18, 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O&rsquoBrien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock &lsquon&rsquo roll in its most feral, pure, stripped-raw form.

Brian Fallon was thirteen years old when he discovered The Clash&rsquos self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn&rsquot wrong.
But there was a time, not so very long ago, when The Gaslight&rsquos Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock &ndash 2007&primes Sink Or Swim, 2008&primes The &rsquo59 Sound and 2010&primes American Slang &ndash Fallon needed a change of pace, a change of scenery. And so, in January 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band&rsquos acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energised, renewed and ready to make a full-tilt rock &lsquon&rsquo roll record again.
&ldquoAfter six weeks of that there&rsquos nothing you want to hear more than a Marshall stack turned all the way up,&rdquo he says with a laugh.

The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem&rsquos career to date. Introduced by muscular lead-off single 45, which received it&rsquos world premiere on BBC Radio 1 as Zane Lowe&rsquos Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting &rsquo60&primes soul, &rsquo70&primes stadium rock, &rsquo80s hardcore and &rsquo90&primes grunge into eleven white-knuckle, blue-collar everyman anthems. Brian Fallon likens its incandescent electrical storms to &ldquoTom Petty songs [being] played by Pearl Jam&rdquo. Put more simply, it&rsquos a supercharged American rock &lsquon&rsquo roll classic.

&ldquoWe&rsquove taken everything we do and gone to 10 with it,&rdquo says the singer. &ldquoThis is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again.&rdquo

&ldquoI think these songs are the closest thing to what we should have always sounded like,&rdquo adds guitarist Alex Rosamilia. &ldquoWe just hadn&rsquot figured out yet how to play it right.&rdquo
Fallon credits Brendan O&rsquoBrien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another&rsquos energy. The electricity in the recordings is tangible.

&ldquoBrendan taught us a ton about songwriting and recording as a band,&rdquo Fallon notes. &ldquoThe whole experience was amazing. That&rsquos the guy that recorded Pearl Jam, that&rsquos the guy that recorded Bruce Springsteen, that&rsquos the guy that did Rage Against The Machine; and that&rsquos the guy you want to say &lsquoIt&rsquos good&rsquo, because when he says it&rsquos good, that&rsquos when it&rsquos good.&rdquo
The purity of O&rsquoBrien&rsquos stark, unadorned recording process served to inspire Fallon&rsquos approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana &ndash all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticised vignettes of star-struck lovers disappearing into the great wide open &ndash
Handwritten is rooted in Fallon&rsquos own experiences, lending the record a more immediate, emotional edge. &ldquoNow I am no angel but I got nothing to hide,&rdquo the singer rasps on the brooding grunge-noir of Too Much Blood. &ldquoCan you say the same thing for yourself tonight?&rdquo

&ldquoIt&rsquos supposed to be a letter to whoever is listening,&rdquo says Fallon. &ldquoLike, this is what we got beat up by and maybe you did too. There&rsquos so many things that I just never wrote about, real personal stuff that I just wasn&rsquot ready to talk about yet. Now I think being an adult I have some reflection on it.&rdquo

&ldquoWe wanted to look back on the music that we first found when we were in high school. The truth is, if you&rsquore my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren&rsquot the biggest bands in the world by accident.&rdquo

And it&rsquos no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready&hellip

&ldquoI&rsquove always been ready for arenas,&rdquo Brian Fallon smiles. &ldquoI&rsquove just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that&rsquos on the cover of Time magazine, I&rsquoll take it. And I&rsquoll buy you a drink while I&rsquom at it&hellip



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