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The Gaslight Anthem

Mercury Records

1. “45”

2. Handwritten

3. Here Comes My Man

4. Mulholland Drive

5. Keepsake

6. Too Much Blood

7. Howl

8. Biloxi Parish

9. Desire

10. Mae

11. National Anthem

BRIAN FALLON: guitars, vocals
ALEX ROSAMILIA: guitar, vocals
ALEX LEVINE: bass, vocals
BENNY HOROWITZ: drums, percussion, vocals

Ian Perkins: guitar, vocals
Brendan O'Brien: guitar, vocals, B-3, piano, percussion
Patrick Warren: string arrangement, keys on "National Anthem"


All songs written and performed by THE GASLIGHT ANTHEM
©2012 Little Eden Music (ASCAP)/ EMI April Music (ASCAP)

Produced & Mixed by Brendan O'Brien
Engineered by Nick DiDia
Recorded at Blackbird Studios, Nashville, TN
Mixed at Henson Studios, Hollywood, CA
Mastered by Bob Ludwig at Gateway Mastering Studios, Portland, Maine
Photography: Danny Clinch © 2012
Art Direction, Design, Layout: EI Jefe Design / www.eljefedesign.com

Management: Tom Sarig for Esther Creative Group
Legal: Rosemary Carroll
Business Management: Alice Lee & Jeff Schwartz at Tribeca Business Management

A&R: David Massey, Jason Iley, Paul Adam, and Tom Lee
North American Booking: Marsha Vlasic for ICM
Europe/UK Booking: Tebbe Lorentz for The Agency Group
US Press: Ken Weinstein for Big Hassle
UK Press: Emma van Duyts
Canada Press: Kerry Goulding

… everyword handwritten

THE GASLIGHT ANTHEM Thank you to Tom Sarig, and Shane Boyar and Esther Creative Group; Ian Perkins, David Massey, Steve Bartels, Barry Weiss, Tom Lee, Eric Wong, Sharon Timure, Christine Chiappetta, Kristen Yiengst, Brian Sutnick, Lauren Schneider, Laura Swanson, Jon Vanhala, Allison Schlueter, Jazmine Valencia, Jules Ferree, Russell Fink, Steven Rowen, Elizabeth Vago, Donna Fetchko, Doug Joswick, and everyone at Mercury Records/IDJ; Jason Iley, Paul Adam, Clive Cawley, Ben Karter, Lauren Hales, Helena McGeough, Duncan Scott, Jodie Cammidge, Rob Fleming, Chris Dwyer, Katerina Marka, Lizzie Dickson, Callum Cauflield, Jay Greenwood and everyone at Mercury Records UK; Rosemary Carroll, Elizabeth Paw, Marsha Vlasic at ICM Talent; Tobbe Lorentz, Silvester Deszi, Lisa Applegren, Emma Elstner at The Agency Group; Alice Lee, Jeff Schwartz and Rebecca Morgan at Tribeca Business Management; Rich Christina, Brian Monaco and everyone at EMI Music Publishing; Scotty, Joey, Tony, and Danny. Ken Weinstein and Tito Belis at Big Hassle. Emma van Duyts. Kerry Goulding. Joe and Bill and everyone at Side One Dummy Records, Matty and Wiggs at Dogwig, Dave and Wayne at Punkrockmusic.com. Kyle Roggendorf, Kate Hiltz, Tim Barry, Chuck and Jill Ragan, Hot Water Music, Fake Problems, The Bouncing Souls, Social Distortion, Rise Against, Twopointeight, Frank Turner, Dave Hause, Andy Diamond #1, Nick DiDia. Also thanks to John McBride, Lowell, and everyone at Blackbird Studios, Danny Clinch and Three on the Tree Productions, Jeffrey Everett at EI Jete DeSign, Kevin Slack, Kevin Custer. Thanks to Britton and Nash Guitars, David at Gibson, Nate at Fender Musical Instruments, Billy at Penn Amps, Brent at Dr. Z amplification.

Special Thanks to BRENDAN O'BRIEN for everything you helped us reach with this record, We had the best time, but why's he my boy?

Special Thanks to HOLLIE FALLON for all her years of dedication and blood, sweat, and tears while tour managing this band better than anyone else could ever do - we love you!

Thank you to the Lord Jesus Christ, Hollie, my band, my family, and all my dear friends, I love you, Also to Brendan, and everyone involved in making this record.

Thank you to my family and friends for sticking with me through all the ups and downs, Thanks to the Gaslight fans for all of your undying support. In honor of Evelyn Bergson, Debbie Weinberg-Brown and Ann Chivaroli I’ll miss you.

Thank you to God, my wife Lindsay for always supporting me, My mom, dad, Hollie, Dan, Gregg, and the rest of my entire family. All my great friends that have always been there. Tom and everyone at Esther Creative Group. Brendan, Nick, and lull and everyone at Blackbird Studios. Everyone at Mercury, thank you for giving us this opportunity, Also a special thanks to Gracie Lou!!! And thanks to Nash Guitars.

Thank you to my friends, and my family: without your support I would not be much. Thank you. To our crew, past and present: thanks for carrying my stuff … most specifically, my second family, Brian, Benny, Alex: thank you for everything else.

It would be stupid to try and tell you that the music you're listening to is like nothing you've ever heard before. The songs on the Gaslight Anthem's latest album are three or four minutes long, most of them, and they're played on loud electric guitars, and there are drums, and to be honest, if you haven't heard anything like this before, then you're probably listening to the wrong band anyway. What's great about the Gaslight Anthem is that there's an assumption you'll have heard something like this before - on the first Clash album, or on Born To Run, or the first Tom Petty and the Heartbreakers album, or maybe on a Little Richard record. That's what hooked me in. I've been listening to rock'n'roll for forty years, and so maybe I'm too old to be writing this stuff, but on the other hand, maybe I know what I'm talking about, too: believe me, I know a lot of stuff sounds tired and derivative, and makes you feel as though rock music is exhausted. It's hard to find new ways to tell stories and write songs; even clothes made out of meat won't do you much good if your music is 1980's dance-pop.  

So you have two choices. The first is this: you do something nobody's ever done before. You play the nose-flute underwater, put it through a computer backwards, and get a black Japanese guy to rap over the top. Or you write a novel using only consonants. Or you make a movie which nobody can see. And that's all cool, but nobody will want to read your second novel written using only consonants, so then you'll have to write one using only vowels. And the second is this: you think, write, play and sing as though you have a right to stand at the head of a long line of cool people - you recognise that the Clash and Little Richard got here first, but they're not around any more, so you're going to carry on the tradition, and you're going to do it in your own voice, and with as much conviction and authenticity and truth as you can muster. And if you can pull that off, you'll be amazed at how fresh you can sound.  

And the Gaslight Anthem sound fresh. Anyone who has ever been frustrated by anything - a girl, a boy, a job, a self (especially that) - can listen to this music and feel understood and energised. (And if I feel energised, Lord knows what they're going to do to you.) And I'm beginning to suspect that they, like, read books, too. 'Great Expectations' - now there's a great title for a song. And here, 'Howl' - there's another one. Rockers who read. Songwriters who are not scared to go head-to-head with everyone else in rock's great tradition. The Gaslight Anthem are my kind of people.  



(P)© 2012 The Island Def Jam Music Group., 1755 Broadway, New York, New York 10019
Distributed by Universal Music Distribution
FBI Anti-Piracy Warning: Unauthorized copying is punishable under federal law. All rights reserved.



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