Something about New Jersey seems to foster intensely emotional alt-punk bands like no other area in the world. The Jersey-bred band The Gaslight Anthem is no exception to this rule. The alternative quartet released their sophomore album, The ’59 Sound, in August of 2008 and it packs a powerful punch. The band grew up idolizing heroes such as Bruce Springsteen and Tom Petty, and this influence is clearly heard throughout the album. Every song is an anthem filled with arena-rock riffs, sing-along choruses, and most perhaps most notably, deeply personal lyrics.
The driving force behind the success of The ’59 Sound is undoubtedly the universal significance of the lyrics. Singer/songwriter Brian Fallon essentially turns his personal journal into songs; each track begins and ends a story of his life. You feel what he feels and it’s impossible not to relate to each song in some way or another. Even in the opening song, “Great Expectations”, Fallon wears his heart on his sleeve, exclaiming “everybody leaves and I’d expect as much from you.” The words are delivered and empowered by Fallon’s classic alternative vocal style. His voice is remarkably similar to that of Brandon Flowers, of The Killers, crossed with Kurt Cobain. It is simultaneously edgy, mellow, and powerful. Fallon’s star quality gives him the ability to switch between screaming power-anthems and melodious ballads without missing a beat. His is certainly a timeless voice that will never go out of style.
The Gaslight Anthem have produced an instant classic with The ’59 Sound. In the same way that Don Henley’s classic song “The Boys of Summer” sounds distinctly like summer, Gaslight’s reminiscent “Old White Lincoln” and “The Patient Ferris Wheel” dig up memories of summers past. The melody in both is upbeat, even peppy, yet the lyrics are always tinged with a feeling of loss. It’s similar to The Ataris, in that both bands are able to convey a memory with extreme clarity and instead of bumming everyone out, it becomes a mega-hit. The instrumental composition on the album is a typical pop-punk format—power chords and a steady bass rhythm, such as in “High Lonesome” and “Miles Davis & the Cool”. In that sense, many of the songs sound similar, but the lyrics always take them from being mediocre background noise to exceptional works of musical art.
There are several tracks on the album that standout from the traditional punk sound. “Film Noir” and “Even Cowgirls Get the Blues” both have an edgy-blues sound that makes you feel infinitely cooler just for knowing it. With lyrics like “there’s a party tonight, say it’s alright, tell your papa you’ll be home when the good feelin’ dies,” how can you not feel like a bit of a badass? Then there’s the jaunty, country-pickin’ “Casanova, Baby!” that beautifully blends the bouncy staccato of a steam engine train with the alternative drumbeat and bass rhythm. Is there any style The Gaslight Anthem can’t pull off? I’m going to have to say no, especially after hearing the album’s hauntingly potent ballad, “Here’s Looking at You, Kid”. A gentle, jazzy drumbeat is provided at times, while a subtle guitar picks a soft melody continuously, using only the good notes, of course. Singer Brian Fallon completely opens up, leaving no emotional scar hidden.
Between his overwhelmingly sad lyrics about lost love and his scratchy, emotional voice, Fallon creates the ultimate break-up song. I’m not ashamed to say I wept openly, multiple times while listening to this song. Yes, it’s that poignant. The album ends well with an upbeat, yet nostalgic anthem about that one summer we’ve all been through when you really figure out who you are. It’s the perfect ending to a perfect song line up.
The Gaslight Anthem have truly struck gold with the release of their album, The ’59 Sound. No memory is left hidden, no topic is too personal. Every song on the album sounds fresh, yet classic. The Tom Petty/Bruce Springsteen influence drives the music forward into timeless territory; I could keep this album on repeat for weeks and never tire of it. The lyrics are exceptional. It’s been a long time since I’ve come across words so private, yet universal. And to top it all off, Fallon’s voice is just tough enough to make all the lyrics seem genuine, not whiney and emo. The ’59 Sound is undoubtedly my album of the month, and for that, it deserves ...
- 9/10
www.gaslightanthem.com
JAMIE
THE GASLIGHT ALBUM is available from ROAD RECORDS