Rollin' and Tumblin' (new single - out now on iTunes)

StitchesOnTheRadio wrote:

pleasepassthesoup wrote:

Marlyn wrote:

45 and Handwritten didn't get them the breakthrough?
Might be different elsewhere, but here in Germany they're playing the bigger venues for sure.
Also they're featured at Red Bull and all of that, so I think it put them on the map to say the least.
Though I have to say I'm not informed as far as actual record sales go.
Also, Here Comes My Man had Elisha Cuthbert in the video, which qualifies as a breakthrough for me

I agree. 45 was a pretty big hit song. It got a lot of radio play here and it gets played plenty in bars and even at arenas and stadiums during sporting events. The band may not be a household name, but that song got a lot of attention.

  seriously? I still haven't heard it on the radio. They definitely grow with every album but I still don't consider Handwritten to have been their breakthrough. When they get a single in the top 40 and they are a household name, that's when you've made it in my opinion. But that's not to discredit where they have gotten.

And everyone gets their big break in Germany if they're halfway decent because you guys actually seek out good music! haha. When you make it through in the US (where the listeners don't care about actual talent) that's when you've made it, and possibly lost whatever made you good in the first place. It's not something to be proud of, but it's true.

Haha, that sounds like it hurts!
Airplay is another thing I guess. I just remember going to a couple of clubs when Handwritten came out and people were singing along, which put a smile on my face.
Do acts similar to TGA actually get into the Top 40 singles?
Sounds like pretty tough competition when you think of the same artists basically subscribing to a place up there with numerous singles, features etc.
I hope they sell out the big venues, although to me the music just feels different when you no longer have that intimacy of smaller stages. Not saying it's worse, just different. And you still have a selected few artists and bands who actually bridge that gap.

In all honesty the interview was awful on the presenter's part... seemed to know fuck all...

Steve70s wrote:

In all honesty the interview was awful on the presenter's part... seemed to know fuck all...

Not the regular host, unfortunatley.

I will say I'm much happier I heard the song "HD" first through itunes than a radio stream...

Debonair wrote:

I will say I'm much happier to hear the song "HD" first through itunes than a radio stream...

Yes. A better quality download definitely helped. Didn't really enthrall me over a stream.

Well that was the worst interview I've ever heard. Wow. And did they take the word cocaine out of the song or did I just miss it?

The Last Jukebox Romeo wrote:

Well that was the worst interview I've ever heard. Wow. And did they take the word cocaine out of the song or did I just miss it?

You missed it.

bradleyjp wrote:

The Last Jukebox Romeo wrote:

Well that was the worst interview I've ever heard. Wow. And did they take the word cocaine out of the song or did I just miss it?

You missed it.

Thank god.

I recorded it all - do I need to cut the song out?

Marlyn wrote:

StitchesOnTheRadio wrote:

pleasepassthesoup wrote:

Marlyn wrote:

45 and Handwritten didn't get them the breakthrough?
Might be different elsewhere, but here in Germany they're playing the bigger venues for sure.
Also they're featured at Red Bull and all of that, so I think it put them on the map to say the least.
Though I have to say I'm not informed as far as actual record sales go.
Also, Here Comes My Man had Elisha Cuthbert in the video, which qualifies as a breakthrough for me

I agree. 45 was a pretty big hit song. It got a lot of radio play here and it gets played plenty in bars and even at arenas and stadiums during sporting events. The band may not be a household name, but that song got a lot of attention.

  seriously? I still haven't heard it on the radio. They definitely grow with every album but I still don't consider Handwritten to have been their breakthrough. When they get a single in the top 40 and they are a household name, that's when you've made it in my opinion. But that's not to discredit where they have gotten.

And everyone gets their big break in Germany if they're halfway decent because you guys actually seek out good music! haha. When you make it through in the US (where the listeners don't care about actual talent) that's when you've made it, and possibly lost whatever made you good in the first place. It's not something to be proud of, but it's true.

Haha, that sounds like it hurts!
Airplay is another thing I guess. I just remember going to a couple of clubs when Handwritten came out and people were singing along, which put a smile on my face.
Do acts similar to TGA actually get into the Top 40 singles?
Sounds like pretty tough competition when you think of the same artists basically subscribing to a place up there with numerous singles, features etc.
I hope they sell out the big venues, although to me the music just feels different when you no longer have that intimacy of smaller stages. Not saying it's worse, just different. And you still have a selected few artists and bands who actually bridge that gap.

Haha, wait what sounds like it hurts?

That's cool people were singing along. I think I'd spit out my drink and fall out of my chair if I saw that here!

It's not even tough competition really because it's not like you're up against more talented artists. It's more like, there are a few sounds out there right now that everyone seems to want to hear, and if you don't fit that, you don't get in the club. Bands like TGA really don't get on the radio, currently.

And then every once in awhile there's a fluke and someone gets through with actual talent. Usually because they've written a song that relates closely enough to the...lets call them guidelines...for a top 40 hit. There are no perfect rules but if you listen to everything on popular radio you can pretty much group it all into about 3 different categories. At least, in my listening experience.

I've said this before but, honestly, I don't want them to get any bigger (selfishly). But for their sake, if they want it, then I hope they get it.

Of course, I'm acting like I'm an authority on the subject. Feel free to counter my points, people!

big fan of tha lyrics. the music is very modern rock, reminds me of the Backspacer album by Pearl Jam, not much else

23Punk wrote:

I remember when Zane Lowe's radio show back in May 2012 premiered the single 45, the time that we were able to listen to it was about 4:00 pm. At least that's what I remember 2 years ago.

Yeah, I really like this song too

Negatives: That intro scared the hell out of my for the first few seconds. Seemed (and still seems) sort of out of place compared to the rest of the song. Also, I really don't like the "shimmy shimmy shake" line. Feels weird to me.

Positives: Aside from not being a fan of the "shimmy shimmy shake" line, I think this is very strong lyrically. Guitar sounds great and I love the drums throughout. Love love LOVE the chorus; I think it manages to be catchy as all hell while still smart.

Overall I like it quite a bit. Feels like a solid blend of everything they've done as a band to this point. Definitely different, but definitely still TGA.

I really really love the song. Music and words.

Can't wait for the album now?

Just had my first listen of rollin and tumblin. I personally think it sounds great. A great start to the new sound can't wait to hear the rest.

Thoughts?

StitchesOnTheRadio wrote:

Marlyn wrote:

StitchesOnTheRadio wrote:

pleasepassthesoup wrote:

Marlyn wrote:

45 and Handwritten didn't get them the breakthrough?
Might be different elsewhere, but here in Germany they're playing the bigger venues for sure.
Also they're featured at Red Bull and all of that, so I think it put them on the map to say the least.
Though I have to say I'm not informed as far as actual record sales go.
Also, Here Comes My Man had Elisha Cuthbert in the video, which qualifies as a breakthrough for me

I agree. 45 was a pretty big hit song. It got a lot of radio play here and it gets played plenty in bars and even at arenas and stadiums during sporting events. The band may not be a household name, but that song got a lot of attention.

  seriously? I still haven't heard it on the radio. They definitely grow with every album but I still don't consider Handwritten to have been their breakthrough. When they get a single in the top 40 and they are a household name, that's when you've made it in my opinion. But that's not to discredit where they have gotten.

And everyone gets their big break in Germany if they're halfway decent because you guys actually seek out good music! haha. When you make it through in the US (where the listeners don't care about actual talent) that's when you've made it, and possibly lost whatever made you good in the first place. It's not something to be proud of, but it's true.

Haha, that sounds like it hurts!
Airplay is another thing I guess. I just remember going to a couple of clubs when Handwritten came out and people were singing along, which put a smile on my face.
Do acts similar to TGA actually get into the Top 40 singles?
Sounds like pretty tough competition when you think of the same artists basically subscribing to a place up there with numerous singles, features etc.
I hope they sell out the big venues, although to me the music just feels different when you no longer have that intimacy of smaller stages. Not saying it's worse, just different. And you still have a selected few artists and bands who actually bridge that gap.

Haha, wait what sounds like it hurts?

That's cool people were singing along. I think I'd spit out my drink and fall out of my chair if I saw that here!

It's not even tough competition really because it's not like you're up against more talented artists. It's more like, there are a few sounds out there right now that everyone seems to want to hear, and if you don't fit that, you don't get in the club. Bands like TGA really don't get on the radio, currently.

And then every once in awhile there's a fluke and someone gets through with actual talent. Usually because they've written a song that relates closely enough to the...lets call them guidelines...for a top 40 hit. There are no perfect rules but if you listen to everything on popular radio you can pretty much group it all into about 3 different categories. At least, in my listening experience.

I've said this before but, honestly, I don't want them to get any bigger (selfishly). But for their sake, if they want it, then I hope they get it.

Of course, I'm acting like I'm an authority on the subject. Feel free to counter my points, people!

Sorry! Meh, ambiguity on my part.
'That' being...let's just call it... The brutal truth on how to make it in the American music industry by selling your soul. In about 99 percent of the cases.
I get what you're on about when it comes to popular music. And this complete lack of anything personal, emotional and authentic is what makes me grateful for the music that the likes of TGA put out there. That's why I'd be happy for them if they managed to go big. It's my personal assessment based on not really anything at all, but I'd trust those guys to continue to put out humble, honest music.

I just went over to a friend's house yesterday and we had a couple of drinks. From what I can remember from the earlly hours, we were listening to some playlist on Spotify. The whole thing was 52 hours long, and the first 3 hours of them had one Pitbull-guest appearance at least per song. So I sadly agree with you on the recipe to make a radio hit right now. And your opinion doesn't appear to be off the mark to me at all

But to turn the corner back onto the topic here, this sense of honesty and grittiness that I love about TGA is there in Rollin and Tumblin. Which is all I can ask for, really. These guys just know how to do it.

Marlyn wrote:

StitchesOnTheRadio wrote:

Marlyn wrote:

StitchesOnTheRadio wrote:

pleasepassthesoup wrote:

Marlyn wrote:

45 and Handwritten didn't get them the breakthrough?
Might be different elsewhere, but here in Germany they're playing the bigger venues for sure.
Also they're featured at Red Bull and all of that, so I think it put them on the map to say the least.
Though I have to say I'm not informed as far as actual record sales go.
Also, Here Comes My Man had Elisha Cuthbert in the video, which qualifies as a breakthrough for me

I agree. 45 was a pretty big hit song. It got a lot of radio play here and it gets played plenty in bars and even at arenas and stadiums during sporting events. The band may not be a household name, but that song got a lot of attention.

  seriously? I still haven't heard it on the radio. They definitely grow with every album but I still don't consider Handwritten to have been their breakthrough. When they get a single in the top 40 and they are a household name, that's when you've made it in my opinion. But that's not to discredit where they have gotten.

And everyone gets their big break in Germany if they're halfway decent because you guys actually seek out good music! haha. When you make it through in the US (where the listeners don't care about actual talent) that's when you've made it, and possibly lost whatever made you good in the first place. It's not something to be proud of, but it's true.

Haha, that sounds like it hurts!
Airplay is another thing I guess. I just remember going to a couple of clubs when Handwritten came out and people were singing along, which put a smile on my face.
Do acts similar to TGA actually get into the Top 40 singles?
Sounds like pretty tough competition when you think of the same artists basically subscribing to a place up there with numerous singles, features etc.
I hope they sell out the big venues, although to me the music just feels different when you no longer have that intimacy of smaller stages. Not saying it's worse, just different. And you still have a selected few artists and bands who actually bridge that gap.

Haha, wait what sounds like it hurts?

That's cool people were singing along. I think I'd spit out my drink and fall out of my chair if I saw that here!

It's not even tough competition really because it's not like you're up against more talented artists. It's more like, there are a few sounds out there right now that everyone seems to want to hear, and if you don't fit that, you don't get in the club. Bands like TGA really don't get on the radio, currently.

And then every once in awhile there's a fluke and someone gets through with actual talent. Usually because they've written a song that relates closely enough to the...lets call them guidelines...for a top 40 hit. There are no perfect rules but if you listen to everything on popular radio you can pretty much group it all into about 3 different categories. At least, in my listening experience.

I've said this before but, honestly, I don't want them to get any bigger (selfishly). But for their sake, if they want it, then I hope they get it.

Of course, I'm acting like I'm an authority on the subject. Feel free to counter my points, people!

Sorry! Meh, ambiguity on my part.
'That' being...let's just call it... The brutal truth on how to make it in the American music industry by selling your soul. In about 99 percent of the cases.
I get what you're on about when it comes to popular music. And this complete lack of anything personal, emotional and authentic is what makes me grateful for the music that the likes of TGA put out there. That's why I'd be happy for them if they managed to go big. It's my personal assessment based on not really anything at all, but I'd trust those guys to continue to put out humble, honest music.

I just went over to a friend's house yesterday and we had a couple of drinks. From what I can remember from the earlly hours, we were listening to some playlist on Spotify. The whole thing was 52 hours long, and the first 3 hours of them had one Pitbull-guest appearance at least per song. So I sadly agree with you on the recipe to make a radio hit right now. And your opinion doesn't appear to be off the mark to me at all

But to turn the corner back onto the topic here, this sense of honesty and grittiness that I love about TGA is there in Rollin and Tumblin. Which is all I can ask for, really. These guys just know how to do it.

Honestly, Gaslight has absolutely no place amongst popular radio music today. And that is a GOOD thing. What's the closest thing we have to a rock band on the radio today, Imagine Dragons? Even the other "popular rock bands" out there today (The Black Keys, Kings of Leon, Foo Fighters...etc) don't really get much radio play at all. No more than '45' got in my area (upstate NY). Plus Handwritten and 45 were able to get some arena play and some intro/outro spots for sporting events on TV. That's about as good as it gets for a rock band these days.

Do I wish popular music was good these days? Absolutely, but it simply isn't. Fortunately, we have the internet, we have iTunes and Spotify and YouTube and countless ways to access good music.

FOR MODERN ROCK BANDS, GETTING A TON OF RADIO PLAY IS NOT THE ONLY WAY TO BE SUCCESSFUL.

love it, love the grit

Marlyn wrote:

StitchesOnTheRadio wrote:

Marlyn wrote:

StitchesOnTheRadio wrote:

pleasepassthesoup wrote:

Marlyn wrote:

45 and Handwritten didn't get them the breakthrough?
Might be different elsewhere, but here in Germany they're playing the bigger venues for sure.
Also they're featured at Red Bull and all of that, so I think it put them on the map to say the least.
Though I have to say I'm not informed as far as actual record sales go.
Also, Here Comes My Man had Elisha Cuthbert in the video, which qualifies as a breakthrough for me

I agree. 45 was a pretty big hit song. It got a lot of radio play here and it gets played plenty in bars and even at arenas and stadiums during sporting events. The band may not be a household name, but that song got a lot of attention.

  seriously? I still haven't heard it on the radio. They definitely grow with every album but I still don't consider Handwritten to have been their breakthrough. When they get a single in the top 40 and they are a household name, that's when you've made it in my opinion. But that's not to discredit where they have gotten.

And everyone gets their big break in Germany if they're halfway decent because you guys actually seek out good music! haha. When you make it through in the US (where the listeners don't care about actual talent) that's when you've made it, and possibly lost whatever made you good in the first place. It's not something to be proud of, but it's true.

Haha, that sounds like it hurts!
Airplay is another thing I guess. I just remember going to a couple of clubs when Handwritten came out and people were singing along, which put a smile on my face.
Do acts similar to TGA actually get into the Top 40 singles?
Sounds like pretty tough competition when you think of the same artists basically subscribing to a place up there with numerous singles, features etc.
I hope they sell out the big venues, although to me the music just feels different when you no longer have that intimacy of smaller stages. Not saying it's worse, just different. And you still have a selected few artists and bands who actually bridge that gap.

Haha, wait what sounds like it hurts?

That's cool people were singing along. I think I'd spit out my drink and fall out of my chair if I saw that here!

It's not even tough competition really because it's not like you're up against more talented artists. It's more like, there are a few sounds out there right now that everyone seems to want to hear, and if you don't fit that, you don't get in the club. Bands like TGA really don't get on the radio, currently.

And then every once in awhile there's a fluke and someone gets through with actual talent. Usually because they've written a song that relates closely enough to the...lets call them guidelines...for a top 40 hit. There are no perfect rules but if you listen to everything on popular radio you can pretty much group it all into about 3 different categories. At least, in my listening experience.

I've said this before but, honestly, I don't want them to get any bigger (selfishly). But for their sake, if they want it, then I hope they get it.

Of course, I'm acting like I'm an authority on the subject. Feel free to counter my points, people!

Sorry! Meh, ambiguity on my part.
'That' being...let's just call it... The brutal truth on how to make it in the American music industry by selling your soul. In about 99 percent of the cases.
I get what you're on about when it comes to popular music. And this complete lack of anything personal, emotional and authentic is what makes me grateful for the music that the likes of TGA put out there. That's why I'd be happy for them if they managed to go big. It's my personal assessment based on not really anything at all, but I'd trust those guys to continue to put out humble, honest music.

I just went over to a friend's house yesterday and we had a couple of drinks. From what I can remember from the earlly hours, we were listening to some playlist on Spotify. The whole thing was 52 hours long, and the first 3 hours of them had one Pitbull-guest appearance at least per song. So I sadly agree with you on the recipe to make a radio hit right now. And your opinion doesn't appear to be off the mark to me at all

But to turn the corner back onto the topic here, this sense of honesty and grittiness that I love about TGA is there in Rollin and Tumblin. Which is all I can ask for, really. These guys just know how to do it.

Honestly, Gaslight has absolutely no place amongst popular radio music today. And that is a GOOD thing. What's the closest thing we have to a rock band on the radio today, Imagine Dragons? Even the other "popular rock bands" out there today (The Black Keys, Kings of Leon, Foo Fighters...etc) don't really get much radio play at all. No more than '45' got in my area (upstate NY). Plus Handwritten and 45 were able to get some arena play and some intro/outro spots for sporting events on TV. That's about as good as it gets for a rock band these days.

Do I wish popular music was good these days? Absolutely, but it simply isn't. Fortunately, we have the internet, we have iTunes and Spotify and YouTube and countless ways to access good music.

FOR MODERN ROCK BANDS, GETTING A TON OF RADIO PLAY IS NOT THE ONLY WAY TO BE SUCCESSFUL.

I have never once heard Gaslight on a local radio station, nor heard their name. The closest I've come to hearing them in public was at a small local record shop. Even then I had to ask the employee if I was hearing things. (He turned out to be a big fan.)
The only people around here that know the band are the people I've told. It's pretty sad.

Not in love with the song.

Honestly I'm just not into this straight forwards rock stuff anymore, unfortunately.

I hardly listen to old Gaslight, but still love Elsie and even more so can't get enough of MATZ.

Sad stuff.

Mike_Millburys_Shoe wrote:

Honestly, Gaslight has absolutely no place amongst popular radio music today. And that is a GOOD thing. What's the closest thing we have to a rock band on the radio today, Imagine Dragons? Even the other "popular rock bands" out there today (The Black Keys, Kings of Leon, Foo Fighters...etc) don't really get much radio play at all. No more than '45' got in my area (upstate NY). Plus Handwritten and 45 were able to get some arena play and some intro/outro spots for sporting events on TV. That's about as good as it gets for a rock band these days.

Do I wish popular music was good these days? Absolutely, but it simply isn't. Fortunately, we have the internet, we have iTunes and Spotify and YouTube and countless ways to access good music.

FOR MODERN ROCK BANDS, GETTING A TON OF RADIO PLAY IS NOT THE ONLY WAY TO BE SUCCESSFUL.

So, I kind of want to respond to everyone's posts but not quote 9000 words, so here is my experience with Gaslight as a "radio band" and rock radio, in general.

Generally speaking, there isn't a place for rock music on top 40 radio anymore. It's largely pure pop (think Katy Perry), dance/EDM stuff, rap/hip-hop, and that's it. Occasionally, a rock band or country band crosses over, but it's extremely rare. Imagine Dragons placed two songs in the Billboard Top 6 last year. Currently, the closest thing to a rock song is Paramore at 12. There's a handful of pop-ish country in that top 40 right now as well - Florida-Georgia Line, Luke Bryan, etc. It just doesn't happen.

But...that ignores the entire concept of rock radio and stations of that type, and those particular charts. I'm in the DC area and our rock station has never added a Gaslight song to their playlist, despite occasionally featuring them on their "new music" show, and despite them charting on the syndicated Nikki Sixx show they play. The Baltimore station did add '45' and I heard it a handful of times when I was in the area. The '59 Sound actually hit #35 on the Billboard Alternative chart, way back when. '45' hit #11 on that chart in 2012. Meanwhile, just as a comparison with an artist a lot of us also like, Frank Turner hit #16 on the Alternative chart with "Recovery" last year, and the DC station played it constantly - but I've never heard it on the Baltimore station. Unless you have a major breakthrough, crossover, or huge press buzz (and I mean like, the cover of Rolling Stone, not a half-page blurb) - you won't be ubiquitous, even across the format.

But some of those "big bands" you mentioned that "don't get radio play" may not on top 40, or maybe will be the token rock song they play, but they absolutely dominate the "format" charts and stations. The Foo Fighters have two top 20 hits on the pop charts their entire career ("Best of You" at #18 is the high) - but 20 top 10 hits on the Alternative chart, and you can't go more than an hour or two without hearing them. The Black Keys highest charting song hit #64 - but they've had six songs in the Alternative top 3 in the last four years. And so on. So, some of that may be not having a modern or active rock format around you - but those formats do exist, and exist in some big cities, and some of those bands you mentioned absolutely dominate. I'm hoping that, if they want it, Gaslight can make that particular leap.

jdc wrote:

So, I kind of want to respond to everyone's posts but not quote 9000 words, so here is my experience with Gaslight as a "radio band" and rock radio, in general.

Same here haha in response to what you said...wow. Downside of living 2.5 hours from NYC, 3+ from Boston: I didn't even know that type of radio station existed. Completely oblivious. In that case....damn. That's stunning that they haven't made it big on those formats. I hope for their sake that this album changes things.

Mike_Millburys_Shoe wrote:

Same here haha in response to what you said...wow. Downside of living 2.5 hours from NYC, 3+ from Boston: I didn't even know that type of radio station existed. Completely oblivious. In that case....damn. That's stunning that they haven't made it big on those formats. I hope for their sake that this album changes things.

Albany doesn't have that kind of station (I assume that's where you get most of your radio from, if you're in Clifton Park)?

FYI, the two stations I referenced were DC101 - http://www.dc101.com/music/playlist/ (I'm not sure how they go about putting together a "playlist" and adding new music in that sense, because some of those songs are 20+ years old) and Baltimore's 98 Rock - www.98online.com (they don't have the same type of "playlist" but they do have a last 10 songs feature at the top, which at the time of this post includes the Foo Fighters, Green Day, STP, the Clash, Avenged Sevenfold etc.)

kupe wrote:

I have! What song would you like to hear about?

I feel like we are sneaky underplaying the fact that someone here has apparently heard the album....