Brian Fallon Quotes
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The Clash will always be from London, and we will always be from New Jersey. But New Jersey doesn't create us.
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My friend Danny Clinch, who's a photographer, gave me a big, signed, numbered print of a photo he took of Eddie Vedder in Seattle. It's hung in my writing room where I have posters of writers that inspire me. They're all pointing at me. Tom Waits is like, 'Don't sell out!'
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I can't sit still for long and need creative outlets and think you should try different things. I mean, if you're a musician all of your life, you gotta try different things. I really believe you can have it all.
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I had a five-year plan to get to 500-seat venues and tour by ourselves and fill a room everywhere we go. I figured we could make a living off that. As long as you buy nothing stupid, you'll be OK.
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We didn't invent this - this rock n' roll thing.
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Every time I look at the Eiffel Tower, it completely blows my mind.
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At the end of the day, you can't reinvent yourself past a point, because you are you, and there are things that are inherently you that are always going to be there.
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There's never going to be a new Beatles because we don't consume things in that way anymore.
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You can learn a lot if you become a student of what's happening to you.
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I did the coffee house thing - we have coffee houses where people play, or we used to - and when I was 14, I started there. Just played all the time. Every weekend I had a show, or every Thursday. Open-mic nights, the whole thing.
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You can't shape it. You can't change it. Your life is what it is.
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I just like a good song, it doesn't matter. I mean, I am into girl groups and stuff like that. I listen to anything.
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I sure wish I'd written 'One' by U2.
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When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.
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That's how I would describe myself, persistent.
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I never got a chance to do Tom Waits or PJ Harvey kind of stuff in the Gaslight Anthem.
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I spend my money on cars. That's why I have a Challenger. It's a muscle car, like a Mustang. It's big and rumbly.
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We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.
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I think Green Day's 'American Idiot' is probably the best comeback or mid-career record that any band has done.
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When you're a musician, a lot of time people help you out; they take pity on you. Family members will kind of come around and are like, 'Listen, I bought you a bunch of groceries because I know that you're a screwup.'
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You get a realisation at some point in your career that whatever it is you do, you can no longer continue to do it. You just realise you can't put out the same records forever.
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When you're older, you realize a little bit more hard truths. You are who you are. And the people that like you, they like you for being you.
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The Gaslight Anthem is very streamlined. We don't usually use organs and strings and things like that.
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The piano is where everything starts and ends. Everything is based off of it. If you understand that, you wind up understanding a lot more in all other instruments. For me, it had always been something important to try and learn.