![]() ![]() “Miles Davis & the Cool,” for example, plays like a note-for-note assemblage from Springsteen’s catalog (listen for the “Born to Run” breakdown and the “Rosalita” handclaps and call-and-response). What’s a little harder to dismiss is how much the band bites from the Boss. Luckily, the band can write some catchy hooks. Since every song is a stage-ready anthem about youth and escape-the title track is a sobering song about death (“Did you hear your favorite song one last time?”)-there’s little variation in sound and theme throughout. On the album opener “Great Expectations,” a confident rocker about abandonment and lost love, vocalist Brian Fallon laments his relationship with his first wife and informs a new love that “everybody leaves, so why wouldn’t you” in a half-growl/half-croon that’s as Springsteenian as a baseball cap tucked into the back pocket of a pair of blue jeans. ![]() Like the Hold Steady and the Constantines, the Gaslight Anthem makes music that utilizes the big-guitar melodies and sing-along choruses of classic rock, but rather than trying to sound like Fugazi (like the Constantines) or Thin Lizzy (like the Hold Steady), Gaslight Anthem are trying to bridge the gap between Born to Run and Start Today, and it can only sound better with a room full of kids singing along. Worshiping equally at the altars of Bruce Springsteen and Lifetime, the band’s sophomore effort, The ‘59 Sound, is a collection of fist-pumping songs about being young, getting out and finding love in the small towns that exist by the side of the highway. If there was ever a band that could be accurately described by their name it’s New Jersey’s the Gaslight Anthem.
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