And if I recall, the last thing you said to me...
After the release of their full length in 2007 and their EP early in this year, The Gaslight Anthem were the coolest band you've never heard. Well, that should all change now... I really, really enjoyed their previous two releases. I pre-ordered this new record, half expecting to be disappointed because of my extreme anticipation.
You know, when you have two records under your belt that are relatively cohesive but still are a bit between genres, you have to make a choice. Do you go down the "Sink or Swim" road? Mix your Bruce Springsteen / gritty soulful sound with a Rise Against / Pennywise intensity? Or do you start to filter out the hardcore little by little and focus more on the bluesy vibe. Gaslight Anthem has found the perfect blend, they mellowed out a little but still maintain the swaggering bite of most punk rock bands. The previous releases have strung together the story of singer/songwriter Brian Fallon's life including girls named Maria, Virginia, Anna, a diner of significance and several other reoccurring themes, and The '59 Sound is no exception. This record is one of the first I have heard that simultaneously makes you feel nostalgic, and yet excited for this new music pounding into your ears.
From the opening track Great Expectations where a needle hits a record and a small guitar part skips once or twice and then Fallon and company explode into existence with a song about their old regular lives (which you will hear a lot about on this record) The opening track perfectly sets the mood for whats to come, including lines like "And they burned up the diner, where I always used to find her, licking young boys blood from her claws" and a fantastic chorus: " I saw tail lights last night in a dream about my first wife, everybody leaves and I'd expect as much from you" The song carries on and includes some sing along "ba-ba" and what sounds like Tubular Bells. (the instrument, not the scary song from the Exorcist) and a perfect 'outro' seals the deal on a solid opening track.
Next up is the title track, which begins with a slow folksy clean guitar strumming, which might fool you if it wasn't for the feedback and the sudden drum fill to bring us into the song proper. 2nd track and the 2nd example of how these guys are evolving. It is a bit of a subdued verse pondering "Which song they're gonna play when we go..." What really shines here is the guitar work on this song, with a great high pitch chorus and a tense staccato during the verse that acts as a counter to the low key vocals. The song is a story of young people leaving us too soon and includes the line "I was playing a show down the road when your spirit left your body" That's about as personal as songwriting can get. The chorus is a dedication of the highest order, the last line of which really drives home a spike: "Did They Play Your Favorite Song, One Last Time?"
Track 3 is Old White Lincoln, which continues with the slower themes. To be honest, I cannot pinpoint what the exact subject of this song is... but god damn is it fun to listen to. The chorus includes some awesome backing vocals, and after the last chorus there is a sweet guitar line that smoothly brings us out of another great track.
High Lonesome is next, and this one comes with a special kind of intensity. A thunderous opening leads into a softer (in volume only, the spirit is as hard as it comes) This is about a life misled. The protagonist is tricked into drug use, all in the name of fame. This is a great example of Mr. Fallon and his "Maria" The end of the track is a catchy sing along...just listening to it I can picture the line on countless t-shirts and bumper stickers. I can see a whole club full of people singing along: "When our boots they hit the ground, they made a high and lonesome sound" Songs like this bring you back to their previous records, for a minute... give it a closer listen and you can tell its not the same. The band is growing and learning their way around a song. An unmistakable achievement for the band, this song is a high point on the record. When you go in for that closer listen pay close attention to how much is going on at the end of this song...the apparent simplicity is very quickly betrayed by a fantastic layering of another great high pitched lead line, roaring drums, backing vocals, and some good old fashioned 'oozin ahhhs'.
Track 5, Film Noir, is another instant classic. It begins as a pseudo country song, with lines like "Broken bones Matilda left a note and a rose saying 'baby, honey child, see I love you so long, but you deserve much better than me" cue guitar. In a split second the song transforms into a riotous energy and spite filled epic. And we're only 40 seconds in. The verse comes back to tell a tale of the working mans blues, and a sentiment that everyone who's ever wanted to play music for a living has felt.
Rumbling into the station is "Miles Davis and The Cool" The song is a peaceful offering about young love. A tale told in the way only Fallon and co. can do it. A quiet, driving song (with a nod to Elvis Costello in the second verse) that slowly builds into a memorable chorus. I think if you look up in a songwriting book how to write and execute the bridge of a song, they will talk about this song. After the chorus there is a build up so infuriatingly tense that you damn near pass out waiting for them to come right back into a stellar chorus, bringing us to a hand clappin', tambourine slappin' end with " Don't wait to long to come home.My how the years and our youth pass on. Don't wait to long to come home, I will leave the front light on... as we go Down Down Down, from our youth to the ground"
The next two tracks "The Patient Ferris Wheel" and "Casanova, Baby" are more illustrations of why these guys are the real deal. "Ferris Wheel" actually took me a few times to really like. The chorus repeats a lot and at first I didn't care much for that. But now I can't even fathom the song any different. The star here though is the small guitar line that goes underneath the chorus. Brilliant. "Casanova" ingredients: 'Virginia' A high pitched lead guitar line, references to classic rock songs, epic background vocals...who could ask for any more?
"Even Cowgirls Get The Blues" is the B side for the pre-release 7". I loved it then, but I think I am even more of a fan now that I hear it in context with the rest of the record. This is a song that puts the band far and away from anyone else. This song has a timeless feel - like it could have been recorded in any decade since rock and roll's inception. The chorus: "Not me pretty baby, we still love Tom Petty songs and driving old me Crazy" is a great chorus, because even though we have no idea what the Tom Petty thing is about- we can make up a story in our head. Again on this track the guitar kind of takes the lead from the vocals and they dance into the last chorus "Tell your pappa you'll be coming home when the good feelin' dies...but not me, pretty baby." A stellar tune that acts as a lynch pin for the record...even being so late in the track order. Fallon's vocals are spot on and the drummer, Benny Horwitz, keeps his cool and manages to come up with a great beat, without which this would not be the song it is.
In continuation of the darker mood is "Meet Me By The River's Edge" This is the epic anthematic song every band wishes they could write. It has everything you ever want in a song, from the opening riff to the explosion of rock when the band kicks in, all they way to the sing along at the end. Bruce Springsteen could have a baby with Joe Strummer and I'm not sure it could write a song better than this. The whole song is a highlight, with the vivid storytelling from the non stop vocals. The song peaks at the end with the defiant "No retreat. No Regrets" Which summarizes the song and even the entire record - in one line.
Their previous full length had a few slower songs but "Here's Looking at You, Kid" is the only one on this record. A tale of all of his old girlfriends and telling him that he has made it as a rock and roller. Each girl gets a different story To "Gail if she calls, Im famous now for all these rock and roll songs" "Tell Jane if she writes, Im drunk off all these stars and all these crazy hollywood nights" and theres a message for Anne, etc... Each girl's message though, comes with a depressing confession that he's not famous, or rich. The reason I really like this song is the conversational approach. Sure, there is some soft drumming, some soft guitar work...but it could be just you and Brian Fallon sitting at a bar or at a diner and he's telling you this story of lost love and his dreams slipping away before his eyes. The song is crushing, especially the last line "And though its hard to tell you this: heres looking at you, kid" Well I think perhaps after writing a record like this maybe all of your lies will come true Mr. Fallon.
As quiet and soft as "...Kid" ends, closing track "The Backseat" crashes into port and knocks your head against the wall. Drummer, Benny, again leads the driving pack with a perfect, complex beat for what could have been an easy cop out. The titular Backseat is a not so subtle metaphor. I can't quite find the best description for this song. Its a ball of energy that doesn't stop rockin for a single note. The end included a last example of what I will call a "Gaslight Build-up" This one, though, comes complete with harmonies, backing vocals, and one of the most exciting ends to a song you'll hear all year...maybe your whole life.
Bands like this don't come around every day. The Gaslight Anthem has a heartfelt approach and a no holds barred attack. Their songs roll out of the songwriters head and into yours directly. I think what attracts me to these guys is their cool, stylistic method of playing. Sure maybe at their heart they are a Punk band, but I would call them more of a soul band. Put them in a class with Flogging Molly, The Loved Ones, and The Bouncing Souls. You don't have to write songs about hating the president or bringing our troops home. Punk rock is about saying what you feel and having the freedom to express it. Its not about how much money you make or what label you are on. For what its worth I think that is why The Gaslight Anthem and their new album can take on the world. A timeless, brilliant record that deserves any award it can get. The boys have been working for a few years on perfecting the recipe, and they hit the nail on the god damn head. A sure fire pick for a top spot on our end of year list. I command you to buy several copies of this record and give one to every person you know. The music will appeal to anyone. I listened to it with headphones for hours trying to figure out what star rating to give this record. A standing ovation is in order, as the band gets our first 5 star review of the year. Bravo.
