The Gaslight Anthem — The ’59 Sound
A classic from my youth, The ’59 Sound holds up, but is it on its own merits?’
Formed in 2006 in New Jersey, The Gaslight Anthem consists of Brian Fallon, Alex Levine, Alex Rosamilia, and Benny Horowitz. Best described as “roots rock” the band can be likened to acts such as Bruce Springsteen and Bob Seger. They formed when frontman Fallon’s band: This Charming Man, shed their current guitarist in favor of Rosamilia, at this point they renamed themselves The Gaslight Anthem. The band released their debut album Sink or Swim in 2007 to favorable reviews, while amassing a strong following on the eastern seaboard. Following extensive touring for the better part of 2007 the band re-entered the studio in 2008 to create The ’59 Sound. The record was recorded over five weeks in Los Angeles, a far cry from the one week they had in Jersey for their debut. The album produced singles for “Great Expectations” & the title track among others, none of which charted. However, the album would peak at no. 12 on the Billboard chart after Bruce Springsteen played with the band at festivals in the UK, this caused the sales to double. The album has since been certified gold.
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A common critique of The Gaslight Anthem is an over reliance on referential material and on emulating their idols. While they have an album which is in fact guilty of this… The ’59 Sound is a much more innovative fare. Opening with “Great Expectations” Fallon and co. begin the album with the familiar crackle of vinyl, accompanied by a repetitive skipping. This opening is genius. In these first ten seconds we know everything we need to about this record: they harken back to a more analog age, they feel or felt stuck in a rut, but with the rest of the song/album comes their breakthrough. The song references Dickens’ novel of the same name which tells the tale of a young orphan who goes from rags to riches back to rags. Fallon looks to draw the comparison of himself with the title character of Pip. Both are seeking their great fortunes, but also foresee darkness and loss in their future. This track contains the most overt Bob Seger reference of any of their work, but does not rely on it for the overall structure of the song. The title track of the album again does the legwork of explaining motifs for the remainder of the album. In this song Fallon opines on which music we hear when we die. In this case, he wonders which song his friend heard when he died in a car crash while he was touring. Death, ambition, music, and cars are all present throughout the entire album. The bass driven “Old White Lincoln” treads well worn ground at this point. The song is undeniable in its catchiness, but does little in the field of differentiation. “High Lonesome” features the band’s first overt Springsteen reference during it’s bridge which also features a Tom Petty nod. “Film Noir” is the first track which takes more of a downbeat and a key change. This track is still catchy as hell even with its dark subject matter and frame of reference. The closer on Side A is “Miles Davis & The Cool.” This track again shows the band’s inspirations, but in this case relates the music of Davis to the feeling of young love, rather than turning into a full jazz arrangement. Side B begins with “The Patient Ferris Wheel” & “Casanova, Baby!” These songs continue the album’s penchant for being reliable in its catchiness, but don’t stand out otherwise. “Even Cowgirls Get the Blues” is the most southern rock driven track on the album. This song stands out for the wrong reasons to me. Fallon’s vocal range does not support some of the drawn out notes this calls for, and it comes across as pitchy in parts. The album returns to form (and how) with “Meet Me By the River’s Edge.” Besides referencing the Springsteen song “Bobby Jean” this song is the ultimate Boss song he never made. Naming girls, leaving town, no surrender, it’s all there and yet it’s unique. It is one of the more “driven” songs on the album with the clash of cymbals crashing over your ears and the guitar strumming in furious time, this song is pure rock n roll. “Here’s Looking At You, Kid” is a fine slow song but not one I dwell on. The album ends with a final vehicular reference. “The Backseat” sums up the entire album and perhaps not on a hopeful note. Fallon refuses to give any closure or answers to the themes throughout the album. At the end the band is still in the backseat, with no control as their lives drive forward.
Must Listen To: Meet Me By the River’s Edge
No retreat, no regrets
