A Quote by Brian Fallon

The Gaslight Anthem is very streamlined. We don't usually use organs and strings and things like that. — © Brian Fallon
The Gaslight Anthem is very streamlined. We don't usually use organs and strings and things like that.
As I've gotten older, I've realized the element that sounds like The Gaslight Anthem that's mine is always going to be me. The other three-fourths of it is going to be the other guys. I can't stop doing what I do naturally, whether I'm in The Gaslight Anthem or my own thing.
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.
Gaslight Anthem's thing is its power. It's just like boom and explosions and loud, and play with everything you got.
I never got a chance to do Tom Waits or PJ Harvey kind of stuff in the Gaslight Anthem.
The lute I use has 10 courses and 19 strings, which is quite a lot of strings and a quite different fingerboard width from a classical guitar. I use a combination of flesh and nail when plucking the strings.
If you asked me to make a Gaslight Anthem album on my own, I would say, 'No way, that's crazy.' I would never have been able to do that.
I don't care how inventive you are; once you introduce strings into the ensemble for a horror film, you're entering into a world where a tradition has been thoroughly established. So it's repeated use over the years is like, 'Oh God, another film with strings, another spooky movie with strings.'
I had so much backlash because, before in NXT, I used to come out with the Bulgarian national anthem. And people were like, 'Oh, why are you embarrassing the anthem?' How am I embarrassing the anthem? I'm from the freaking country.
Our biggest thing is, any player who's protesting will tell you that the only reason we use the anthem is because it's a platform like no other. We use it to draw attention to other issues. We've heard from many people, 'Use a different venue. Use a different platform.' Quite frankly, this is the most effective one.
We've been doing work outside of the anthem since the beginning. Before the anthem even started, players were involved in these types of social justice issues. The anthem protests or demonstrations just brought eyes and attention to it.
Comedy is very disarming. It's a way to talk about things and still be light-hearted. And when it's done really well, you never see the strings, whereas when you watch an infomercial or a politician speaking, a lot of times you can see the strings, you can see what agenda they're trying to push.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
Strings have been a part of my career and my albums since the very first day. 'Snowbird' had beautiful strings.
I loved all the wardrobe choices that were made on 'Gotham.' I feel like I always looked fantastic, very streamlined.
... The Anarchists' [national] anthem is an international anthem that consists of 365 raspberries blown in very quick succession to the tune of Camptown Races. Nobody has to stand up for it, nobody has to listen to it, and, even better, nobody has to play it.
I started playing the guitar when I was 14. I'm not superstitious about guitars, but I do need strings to be old because that's part of my sound, and I don't like steel strings.
This site uses cookies to ensure you get the best experience. More info...
Got it!