"I think this song is an early example of me hearing something and realising that a song doesn't just have to be guitar and bass and drums - a song can just be whatever you want to make it. I actually first discovered Suicide through Bruce Springsteen; he spoke about how much they had been a big influence on his record Nebraska. The song ‘State Trooper ’is very similar to it and he said in an interview that he was trying to do what Suicide does. This was a reference because of its sonic palette. In the back half of my song ‘Savannah’ there's this spoken word moment that happens in this underlying low bass tone that I'm talking over and it was definitely influenced by this song. It has a tremolo on it and the song’s shaking in this way that ‘Ghost Rider’ does."

"Tom Waits really brings a lot of showbiz into his records. It’s in there in the actual songwriting. He knows how to strip things down and get to some skeletal place that’s really strong. He’s trying to be true to his Jazz and his Blues. That is to be admired. There’s a lot of the textures you don’t hear so much. All that vocabulary is really seductive. I think that he’s a good songwriter whatever record you talk about of his. It’s not because there’s some fucking guy playing a saw. It’s like the Bruce Springsteen thing. It’s stripped down, universal, folky bluesy stuff. He’s trying to say: “You guys think you can change things overnight. Forget the new thing. What about Django Reinhart? Son House?” It’s like the Grand Duchy thing. People get obsessed with our production like, “What’s the new story?” It’s admirable when people say: “What about 1949, man?!” At first, I heard a cool White Stripes record and thought: “Who do you think you are, Robert Johnson?” And I get jealous. Fucking A! man. It’s like primal Led Zeppelin or something. But at the end of the day, I always end up respecting Jack White. [Black does an impression of the 'Seven Nation Army' riff.] Jack White has some believability."

"Around this time I started heading out on tour and The Gaslight Anthem really started moving. It was just after The ’59 Sound came out. That was when I started learning about the music industry and how it all works, and how insincere it all is. People pick you up and spit you out. I was taking a drive one day and I heard The Promise by Bruce Springsteen come on the radio. But it wasn’t the album version; it was just him and a piano as it appears on an album called 18 Tracks.” This song opens with the lyrics: ‘Johnny works in a factory / Billy works downtown / Terry works in a rock and roll band / Looking for that million dollar sound.’ Then towards the end of the song he says: ‘The promise was broken, I was far away from home / Sleeping in the back seat of a borrowed car.’ I remember being on tour and sleeping in the back of a car that wasn’t mine, and I heard that line and I was like, ‘I don’t know about this whole thing. I don’t know if this is right. What do I do?’ As Springsteen sings: ‘The promise is broken, you go on living / It steals something from down in your soul.’ That’s when I realised that music wasn’t about the rock star dream. It’s about connecting with people, but that’s not enough for the industry. They see you as a product and they want you to make money, and I understand that, but it’s never enough for them. They’re never satiated and they’re never satisfied. It’s a beast with a belly that will never be filled. “I’d feel a sense of dissatisfaction after every tour and I’d come home and get in my van and just drive. I’d drive around habitually for one hour playing The Promise on repeat, just to clear my head. The song made me feel like I wasn’t alone, like someone understood me. It was a huge, huge song for my development, and it always put me back in a perspective that I wasn’t alone. And even though it’s a depressing song and there’s not a lot of advice in it, it makes sense to me. I still feel good when I listen to that song."

"I'm just realising as we're going through them - so many of these songs are about loss aren't they? ‘To the East’ isn’t just straight-up melancholy, it’s a song of hope as well; it might be completely redundant, impotent hope, but there is still hope in there. “She's singing to somebody to come back and that the East could be home, but the whole time you're listening to it you suspect the truth of the situation is that those words will never actually be said. Or maybe that's just the way I'm feeling it, I don't know. Again though, it's a very easy song to empathise with; I really believe the voice that's singing it to me. I don't know whether it's about a personal experience or if they're just imagined characters and to be honest, I don't care. I'm right there with them - I'm feeling it too. “I think either our first or second ever show outside of Britain - I can't remember which - was with Electrelane, in Barcelona at that club, Razzmatazz. It was quite the thrill, to be leaving the country to open up for this band we loved. I was really sad when they split up - again, another loss. I wish they were still performing. I think the last time I saw them was at Field Day in 2011 and they were still so great. They did a cover of 'I'm on Fire' by Bruce Springsteen and it was really something else. “They're one of those bands where you only need to hear a few seconds of any given song to know it's them, which means they've also got that trick of being able to make a cover sound like they wrote it themselves.”"