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The Gaslight Anthem
Gotta give it to those Jersey boys - they are tight. The Gaslight Anthem, from New Brunswick, NJ, opened for fellow Jersey native Bruce Springsteen at '09's London's Hard Rock Calling festival. At the Glastonbury Festival, also in England, Springsteen joined the band onstage for "The '59 Sound." Frontman Brian Fallon returned the favor by singing "No Surrender" with Springsteen during the latter's set. Not bad having "The Boss" on your side.
Veterans of several Jersey Punk outfits, The Gaslight Anthem, released their debut, "Sink Or Swim," in '07. An EP landed ("Senor And The Queen") before the group's '08 sophomore set "The '59 Sound."
British music magazine Kerrang! took notice calling The Gaslight Anthem "The best new band you'll hear in 2008." They were also the first band to appear on the cover without the magazine having written about them prior. And just to be consistent, Kerrang! named the group the "Best International Newcomer" in '09.
Returning to the studio again with Ted Hutt, he produced "The '59 Sound," The Gaslight Anthem cut their '10 album "American Slang."
Springsteen is duly recognized for taking a troubadour turn every now and then. If he ever goes in the opposite direction, to Punk, it would probably sound like The Gaslight Anthem's "The '59 Sound." That, and the occasional reference to Elvis and Dylan, covers it. "Old White Lincoln" and "Meet Me By The River's Edge" are sprawling story songs not far removed from Springsteen's core - the drive and fierceness never wavers. The praise the album received was all warranted.
"Sink Or Swim" and "Senor And The Queen" lean more Punk, with an occasional acoustic track. While compelling, The Gaslight Anthem does far better crossing The Clash with Springsteen.
Anytime there is talk of The Gaslight Anthem the conversation usually revolves around Fallon. Yeah, he's the frontman, songwriter and spokesperson. But the one who really drives "America Slang" is Rosamilia. His guitar lines are nothing short of brilliant and he propels the material - with backing by Levine and Horowitz - to impressive levels. "Boxer" stands as the best example of Rosamilia's flying yet tasteful work. Another gem is the title track which simply rips.
That's not to say Fallon is on the beach, it's that the band is more of a presence - which is a good thing. It also helps that the songs sound more complete and focused, including the change-of-pace track "The Diamond Church Street Choir," which is a cheery finger-poppin' song.