Tag Archives: gaslight anthem

Nostalgia

25 Oct

Music is very effective at conjuring up memories; however some songs go further and deliberately evoke nostalgia. It is a powerful emotion than only becomes stronger the older you grow.

An obvious classic is Don McLean’s American Pie. It doesn’t just hark back to better times but a specific day – The Day the Music Died when Buddy Holly and several other musicians were killed in a plane crash. Parts of the song are autobiographical, recounting how he heard about their deaths while delivering newspapers. Writing the song helped McLean come to terms with his grief. From the first line (“A long, long time ago… I can still remember how that music used to make me smile…”), the song is drenched in painful longing for things that have passed. Coincidentally (or not), it has become one of the most played funeral songs. Feel free to spend eight and a half minutes remembering what a great song it is.

Summer of 69 by Bryan Adams is another obvious choice. It may not have the lyrical depth of American Pie, but instead hits the listener with an emotional one-two about a summer of discovering music and adolescent romance. If you’ve ever had a childhood sweetheart, it will be hard not to picture them while listening to this song.

In a record all about looking back on growing up, Arcade Fire’s The Suburbs hits the nail right on the head. It begins with a childhood tale and then proceeds to hammer it home. Win Butler admits every time he thinks he has ‘moved past’ feelings for his childhood home, they catch him again. As if that wasn’t enough, the band worked with Google to create an interactive music video that makes it even more personal, meshing ‘We Used to Wait’ with photos of your childhood home. You can find it here. Prepare the tissues if you watch it.

Gaslight Anthem also trades heavily in nostalgia. All of their songs are told in past tense, telling stories of lost loves and better times. The whole of American Slang could be on this list. One that hits especially hard is their early song Navesink Banks. In it, the narrator walks down by the decaying New Jersey shipyards near his childhood home and says wishfully, “Ah Maria, if you’d have known me then…” In reply, Maria just says, ‘Listen baby, I know you know.’ It’s a powerful moment that says there’s a place for nostalgia, but you have to live in the moment.

Hip hop hasn’t been as quick to embrace nostalgia is it’s a younger genre. Nas’s Memory Lane is noted for its realistic depiction of life in the projects. In the first verse, Nas waxes lyrical about the good parts of growing up, yet after the chorus he is suddenly consumed by memories of lives that had been lost to drugs, prison and street fights. There are no rose tinted memories. His memory lane is gritty and unforgiving, yet he finds himself reminiscing about it anyway.

“There will always be a place for rock music!” – Carousels and Limousines Interview

19 Jul

Last week, we brought you Carousels and Limousines, a British rock band with an American heart. This week, their lead singer Sam Gotley tells you everything you ever wanted to know about the band.

 

You’re a British band with a very American sound. Was that a conscious decision?

No, not at all. We just write songs similar to music that we love which are bands like The Doors, Springsteen, Gaslight Anthem and the Rolling Stones. I guess when you listen to a lot of one type of music a bit of it rubs off on you!

 

What inspired your band to start making music together?

A mutual love of music and to be honest I think we were pretty bored in our early twenties. Finn moved in with me and Jay when we lived in Manchester and we started jamming and having a good laugh so we decided to start a band.

You say you’ve started writing songs for your next album; how will these be different from your songs on Home to Andy’s?

Well it’s early days yet, but we think our new stuff will be more characteristic of our live sound, and perhaps a little rowdier in places, also expect some big drum beats!

 

Are you more confident playing live shows know you have a whole album out?

Probably, we’ve played the songs enough times in the studio that we should be! But it’s also nice to know that fans have been listening to your album and know more of your songs when you turn up and play.

 

Looking at the Top 40, it is mostly filled with hip hop and boy bands; is there still a place for traditional rock band in today’s music scene?

There will always be a place for rock music. People blabber on about rock being dead and no good bands being around, but look at festival line-ups over summer and I guarantee 80% of the headline acts will be rock bands, because they’ve got the songs and the stamina to play long shows into the late evening. You ain’t gonna find Carly Rae Jepson or Bieber doing a 3 hour set to close out Glastonbury!

 

Finally, which song would you say you’re most proud of and why?

Probably ‘Greasy Hands’ because you really need to listen to the lyrics to work out what it’s about – it’s fun hearing people’s interpretation of it. And it’s also a bit of a challenge to play live.

If you want to know more about the band, you can find their website here or their Facebook page here. They will be playing a variety of gigs around London and Bristol this summer.

Carousels and Limousines

12 Jul

One of the big curses of British music is that home-grown bands too often ignore British [influences] and became infatuated by American sounds. It makes commercial sense in an entertainment world dominated by America, but the hybrid sound too often forgets what makes bands both sides of the Atlantic great, and ends up impressing no one. However, every so often a band comes along that embodies both the American influences and the British spirit. Carousels and Limousines are one of these bands.

Carousels and Limousines

Despite coming from Bath, they sound uncannily like classic New Jersey blue collar artists such as Bruce Springsteen and Gaslight Anthem. It’s in everything from the singer’s rough, world-weary voice to their weary optimism and gritty urban rock. They have the same talent for conjuring up a place, and every song feels like the story of a night on the town or a lost love.

‘One and Only’ displays the band’s hopeless romantic side, as the singer asks for a kiss from his true love. The band have described their transatlantic musical lovechild as garage pop, but when it’s this fun a label hardly matters. “How about a kiss for your one and only?” the infectious chorus goes, with more than a hint of Bruce Springsteen’s ‘Born to Run’. Some of the lyrics are a bit corny perhaps, but it’s so upbeat you won’t be able to resist the urge to dance with it. The sense of euphoria ties in perfectly with the cover artwork of a neon tornado tearing through a black and white carnival, suggesting there’s fun in this bleak world we live in if you only go and look for it.

‘17’s’ slows things a bit as the singer lusts after an unavailable girl, musing “Your hips that sway and your eyes that say things good girls never should.” It is classic 70’s rock and will struggle to believe it was recorded outside of the States. The band’s transformation since they performed as Grace has seen them create a much rougher, less polished sound, which makes this lovelorn anthem sound more believable.

There are no two songs that sound the same, as though the band is urgently trying their hand at every possible style in case they don’t get another chance; ballads, acoustic guitars and harmonicas are all utilised. However if this record is anything to go by, we will be hearing a lot more from them.

Read next week for an interview with the band.

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