We ran through it, and in like 25 minutes, it was done. The third time we played it, it would have been recognizable to you. The song gave us the vibe of the record, the title of the record, all of it right then and there. I just reached out and grabbed it. I think I was waiting for it. I was waiting for it for a very long time. And I just caught it sitting on the floor that one time.
Levine: We did a tour opening for the Loved Ones on our way out [to L. Me and Brian were huge fans of that first Loved Ones record. We wanted to play music like that. When they took us out, it was a cool thing. They were a little wet behind the ears, but I could tell there were some really great things about the band. Brian was sitting in the back of the van with a tape recorder and he was working on tunes. It was kind of that mode. And I thought that was cool. Hause: The Loved Ones were doing well, but we were partying like crazy, doing a lot of drugs and drinking a lot.
But [Brian] was focused. That show was so shitty. Brian apparently went out to the van and was working on [a song] as we drank ourselves through the minor embarrassment. I showed [the song] to Brian, and he came back to me a couple days later with some stuff and we worked on a bit more. I figured out what chords were following the riff. That is just what this guy does. Brian plays guitar, writes songs, performs them, and writes more.
This is how he gets through life. This is his sustenance. I had to find my place. I wish we had a videographer with us. Horowitz: South by Southwest was our last show before going to L. It was an amazing bill, and we were so stoked to be on it. Andy Diamond had a very good friend named Julie in Austin, and she had this nice house, and a pool.
She was always down for people to stay there. It was the best place to stay on tour. I had homemade cookies and beer, and everyone was over here doing laundry. Horowitz: My ex-girlfriend actually came out to see me [in Austin]. From even two days before, she was kind of on a rampage. I was anxious before I got to town. Then she got there, and things were really bad. We played the show, and maybe about 20 minutes afterward, we broke up on a curb behind the [venue].
Lack: You bet your sweet ass it was a nightmare. While they were playing their big South By gig, she put all their shit in the front yard. Diamond: Guitar cases, backpacks.
Horowitz: Instead of going back home to that [situation], I was going to L. It was an incredible head space to be in, truly. Diamond: [Levine] was so broke. Just to save money. Times were tough back then. Levine: I pulled into Hollywood with zero, zero, zero dollars. The night before, I spent the rest of my money on alcohol. Me and Brian always ate those. He was so sick that day. He was about five shades lighter than he normally was, and the kid is pale to begin with. He was dripping from his forehead.
Sick as a dog. And boom, they just shot off. Horowitz: When I imagine us going to L. Every physical memory sensor I have of it is super fucking California. It feels like a Beach Boys record. Horowitz: We were at the gas station after getting to L. I was driving, and this cab driver told us to roll down our window. You come here, make your money, and you get out. Horowitz: Not only did a very nice concierge-type person greet us: He had a British accent.
Rosamilia: It was a one-bedroom with two twin beds and a couch. I just slept on the floor the whole time. Remember, I was homeless. Now I had a refrigerator. I could buy food and leave it for an indeterminate amount of time.
I remember going to Ralphs for the original shopping trip. Rosamilia: We had got all the food we needed, and there was a little money left over. Levine: He forgot the mini-keg of Heineken, which was gone in a day. Hutt: We had a pretty tight schedule to get [the album] done. The preproduction part of it is very important to me, so we booked into a place in Eagle Rock and set up and starting going through the songs.
The goal was that after the day period we had in there, we could play the album from beginning to end. It was chaos. There was nowhere to go. There was nowhere to hide. It was insane to think you could work under those conditions. That seems impossible right now.
Hutt: It was a fairly quick assessment when we started working together, that he was super talented, and you could sense it.
This is what I want it to be, and this is what I want it to say. I was trying to make a point. I was writing an answer to that lyric that Adam [Duritz] wrote. Not literally Elvis, but someone better looking than me. Hutt: He would organically sample these songs. These specific songs formed the artist that he would become. I thought that was fantastic.
Fallon: I just threw all that stuff in there because I want to define us without letting other people define us. So I did it through other songs. Hutt: There was something very authentic, believable. And I got that from him. Springsteen: It was this fascinating combination of elements. Punk music, elements of soul music, and some of the imagery had a kindred spirit that worked its way in there.
It was this incredibly fresh music that had the slightest spark of some of the things we did, and it was really quite wonderful. You never know where some of your influences are going to go. You do it so you can pass it on, and to see it come back around in a beautiful way. You have to know that the joke is, a little bit, on you. It always will be. You have to allow yourself to be sincere. You need to repeat this. Fallon: We did not play well.
We were not grown-up musicians at the time. We were people banging on instruments. Ted turned us into the beginning of musicians. It sustains longer because the metal vibrates. Hutt: Left to his own devices, I think Alex could have lost himself in [that studio]. They had a Wurlitzer there.
At the time, vinyl was just starting to get cool again. Hutt: I had an old Dobro, and Alex picked out the [guitar] part on that. It sounded really cool, but we wanted to go a little further with it. We actually brought a turntable in, put the beginning of a record on it, and dropped the needle on it.
It actually is the sound of a record starting. It was a Ford Thunderbird. I love that sound anyway, but it seemed like the right thing to do with the vocals. Fallon: I remember the tape echo being a big thing. Have you never listened to the Clash, or Bruce Springsteen, or literally any band? But at the time I wondered if that was gonna bug anybody. He wanted constants. With a record, to establish a theme, you have to have constants.
Every band in the world was using Marshall stacks and turning them up with gain everywhere, and you could barely hear what the guitar player was doing. We decided to go the complete opposite way and recorded all my rhythm guitars with absolutely no distortion at all.
And the vocals would have echo because that would anchor the song in soul music. Hutt: It was a conscious decision to rehearse [the songs] in order. We wanted a record that felt like a story. We consciously decided when we worked through the songs to make that one flow into this one.
We wrote a board up and created a sequence. The goal was, by the end of the rehearsal sessions, to be able to play the record from top to bottom as if we were going to listen. You could listen to one side, and it felt like a complete thing. Fallon: I had the bookends because I always viewed it as an album.
The leaving Austin and going to California lines. That was the perfect climax and mash of notes that just feels right. We close with that song every night, and whenever we get into that outro, the hair on my arms stands up. This is fucking awesome. Armstrong: Brian really had a vision. He knew what he wanted to do. Some people go into the recording studio to build. He really went in knowing. Fallon: Joe was very shocked by that.
He was pretty established. I was 27, and this was my second record. Sib: All of a sudden the record gets done and sure enough, it was in the same order that he played it to me in the studio. This is a single. It was probably , people. Lisa Johnson photographer : There was nowhere I could stand without getting kicked in the head.
Levine: It felt like we were about to go on our journey. We went into California a completely different band than we came out. We were ready to go and do it when we left. All the questions that might have been asked before were answered. Armstrong: I remember the album got leaked a week or two before street date. It was a big deal with management. We had it up on one of those databases, and someone had hacked in and gotten it. Johnny Bouchard director of college marketing, SideOneDummy : People were freaking out over it, and part of why Bill and Joe think that the record did so well initially was because people got to hear it early and got excited about it and connected with it.
Eastabrooks: We put our presale up [in July], and it broke our store. It was really cool. That happened before the show started getting bigger, or the tours were getting better, or the record sales started really escalating. It came out and it got minor, minor press. Emma Van Duyts U. They were on the cover of Kerrang! Dreux: When they were in the U. That was kind of the standard: Bands would come do the Barfly to get themselves known. They just skipped that whole entry level.
Hause: In , we ended up at Reading Festival. We stuck around the next day for Gaslight. And there was such a religious level of anticipation for their show at like, noon. Whatever they had done with the press to elicit the fervor in England was phenomenal.
And this is the little band we took on tour like six months ago. Sib: The first [U. Diamond: These venues were big. Gaslight was playing in front of a lot of people, even though they were on first. They were blowing these bands out of the water. They knew they had something to prove. That was the turning point on a national level. This was no joke. They kind of realized later, he was half-joking and half-serious.
Sib: I remember [before Glastonbury in ] we went out with the people [in London] that were distributing the record over there and we were all celebrating because the record had done so well, and it was coming in for a landing. Springsteen: Evan, my son, picked up on the guys pretty early.
He turned me onto them. We just got talking. He was living in Red Bank, and he invited us over to his house for a barbecue one afternoon.
Bruce is going to the keg like an ordinary guy. Bruce is there. Diamond: This was a backyard. So they really bullshitted about whatever Bruce Springsteen and Brian Fallon talk about in private. Springsteen: We ended up being at [Glastonbury] the same year, and I went there early to see their show. Mouse over to Zoom - Click to enlarge.
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