Brian Fallon Quotes
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It's amazing to me: when people start their career, you write about maybe a couple of topics, and you find that as you grow older, a lot of those topics never resolve, because I think your job as a writer is to pose questions as you see them. I don't know if we're supposed to give answers to people, because I don't know if we have any.
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When I first started fingerpicking, the first thing I learned was 'Don't Think Twice It's Alright' from Bob Dylan.
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People don't remember that during the Fifties and Sixties there was a Cold War, and kids were getting under their desks during school because they thought they were going to get bombed. So it wasn't really that ideal at all.
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I think I lose myself in interviews sometimes.
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I don't really hate a lot of songs, but I think Weezer has put out some songs I really hate because they've also put out a lot of songs I really like.
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I do find that I tend to write about big questions. Why are we here? What are we doing? How do we relate to each other?
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I'm one of those people who, even if I'm invited somewhere, I still kinda feel like I'm not supposed to be there.
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I like movies and radios and Bruce Springsteen and New Jersey. That's what I like, and if people don't like that, well, literally you can go on iTunes, and there's hundreds of other bands you can listen to.
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Too many bands record an album and feel, 'Well, this is okay,' but after a time, they grow to not like it.
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With 'Get Hurt,' we wanted to see where else we could go with the band. We thought it was time to change things up a bit. The song itself is similar to the feeling of a wreck you see coming, but long past the point you can avoid it.
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I can't really see myself writing about politics because I'm not really into it, and one of the worst things you can do is write about things you're not into.
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When you write a lot of songs, sometimes you don't have a place for them, and you need an outlet for them.
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I don't go to rock bars. Why would I go to rock bars? I can do that every night; it's boring.
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We come from that school where we don't believe we're different from you, and it's insulting to me on some kind of weird level that musicians are put on a pedestal.
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Everyone always says, 'We don't want to be pigeonholed.' But sometimes, your pigeonhole is a great place to be.
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When you set out to carry on a tradition as deep rooted as folk music is, you've got to have your story together. You've got to study and have a foundation. Jeffrey Foucault has that foundation, and you can hear it in his voice, and feel it in his music. He's got an understanding that you don't hear that often.
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It's all about knowing your audience. When I buy a record by a band and it sounds completely different, I'm just like, 'Why didn't you change your band name?'
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You pay your bills and you take care of your family, or you're not a man.
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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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When 'American Slang' came out, everyone was like, 'This is the next big band in the world, and this is blah blah blah Bruce Springsteen Junior and blah blah blah,' and I was just like, 'I don't know what that means. I don't know. We'll see.'
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Everyone should see 'A Nightmare Before Christmas,' hear 'London Calling,' and read 'Great Expectations.'
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I was never a fan of open tunings, because some people will do that and fumble around. But that's not my jam.
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I'll probably continue to write about heartbreak forever. That stuff doesn't go away as you get older.
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It's a beautiful thing, to start over.