Soundbites: Album reviews

By Josh Eiserike

Published: September 4, 2008

» The Gaslight Anthem, "The '59 Sound"

Homaging Bruce Springsteen is a dicey proposition. For every success (The Hold Steady), there's failures (The Killers, Bright Eyes). Good news, then, for The Gaslight Anthem. "The '59 Sound" is pretty much a perfect synthesis of two of Jersey's biggest giants. On one hand, there's Springsteen's deep, passionate vocals, weav-ing a working-class narrative. On the other hand, there's the long tradition of Jersey punk, from The Misfits to Taking Back Sunday. It's a delicate balance, but damn if The Gaslight Anthem, also from Jersey, doesn't pull it off on one of the better albums in recent memory. The band is clever enough to put its influnces front and center while writing songs that sound new and familiar at the same time. Bruce kicked off "Born to Run" with a girl named Mary's dress waving while she dances to the radio. Listen closely to the abrupt start to lead off track—The Gaslight Anthem lead singer Brian Fallon is singing "Mary the station is playing every sad song." Or, take "High Lonesome," which quotes the Boss and cribs its chorus from the Counting Crows' "Round Here." This time, when "Maria came from Nashville with a suitcase in her hand," Fallon wishes he looked like Elvis. Even if you don't know Maria from Mary, it's hard not to get lost in these de-tailed stories of taillights, Ferris wheels and Audrey Hepburn pearls.

» The Walkmen, "You & Me"

After more than a few missteps on 2006's "A Hundred Miles Off," New York City (by way of Washington, D.C.)-based The Walkmen are back on track. "You & Me" is really the album that lives up to the promise from 2004 breakout, "Bows & Arrows." Yeah, there's nothing as immediately catchy (and rocking) as "The Rat" or "Little House of Savages," but that's not the point. "You & Me" is more than just a couple solid songs; it's a solid album. "Canadian Girl" is a long way off from the band's biggest numbers, but it's just as effec-tive, and tuneful, a restrained breakup number highlighting both the band's penchant for vintage instruments and Hamilton Leithauser's vocals. Leithauster's range (both emotionally and spectrum of notes he can hit) is really the biggest revelation on the album. He's good, but who knew he could be great? Sure, he still sounds like he's singing along with a drunken carousel organ, but everything about this album is a step up—the musician-ship, the songwriting, the instrumentation. First single "In The New Year" captures all of that, but "I Lost You" really hammers the point home—sometimes, with The Walkmen, less really is more.