The Gaslight Anthem: ‘Handwritten’ (2012)

In the end, all we needed to know about The Gaslight Anthem’s latest record we could’ve determined from the band’s two choices for cover songs. 

If you buy the deluxe edition of “Handwritten” (highly recommended) you’ll find what at first seem like two odd and disparate selections for covers at the end of the collection: “Sliver” by Nirvana, and “You Got Lucky” by Tom Petty. How did they arrive at these, specifically? I was a bit perplexed myself … until I actually heard the record. 

One of Gaslight’s core strengths is the band’s ability to put its own spin on their musical influences. Their fascination with Bruce Springsteen and soul music is well documented over the course of their first three albums, but “Handwritten” demonstrates their broader swath of input. Remember: these guys are all around age 30, so they grew up with “grunge,” an era that until now they’ve largely ignored in their songwriting. Now with “Handwritten” Gaslight Anthem moves beyond its pop/punk roots into modern-rock territory. This is easily the band’s heaviest, most traditional rock album, showcasing their affinity for bands like Soundgarden, Nirvana, and, most of all, Pearl Jam. To top it off, the album was produced by the godfather of grunge himself, Brendan O’Brien—and, it should be noted, a recent Springsteen collaborator. 

So with that frame of rerence, here is a track-by-track breakdown of “Handwritten”: 

‘45’

Writing a follow-up to a song as big as “The ’59 Sound” is never easy. Gaslight didn’t quite accomplish the feat on their last record, 2010’s “American Slang,” but they do here with lead track and single “45.” This high-octane piece captures the spirit of “’59” without being merely a knockoff.

“45” summarizes frontman Brian Fallon’s core songwriting motif: Acknowledge the pain, look for the positives, and move on. Thus the “turn the record over” chorus, which is just great to shout along to live (where this song really takes off). Fallon pushes his voice to the limits of his range here, but it works just fine (as opposed to some of his work in last year’s side project, The Horrible Crowes). 

This is a simple song, but sometimes simple works best. It comes off as an effortless hit, perfectly structured for maximum pop/rock/punk success. 

5 STARS

REMINDS ME OF: “The ’59 Sound” (Gaslight)

‘Handwritten’

I’m conflicted by this song. As the album’s title track it obviously means a lot to the band, yet it feels like they overworked it. The “whoa whoas” to open are unnecessary, and then the first verse and chorus are a bit melodramatic. Romantic notions certainly worked for the band in their earlier work, but they stand out a bit too much here (and occasionally in other songs); as Fallon’s shifted toward a more literal writing style, lines like “We only write by the moon” come off as a bit … much.

That being said, “Handwritten” is a musical powerhouse, with the band hitting on all cylinders. Big chords, big choruses, big … everything. The second half of the song redeems the first half, particularly this glorious section:

Here in the dark I cherish the moonlight

I’m in love with the way you’re in love with the night

And it travels from heart to limb to pen

3.5 STARS

REMINDS ME OF: “Meet Me by the River’s Edge” (Gaslight)

‘Here Comes My Man’

A nice change of pace here in the No. 3 slot, taking the pedal off the gas a bit for a midtempo rocker with some soul mixed in. “Here Comes My Man” marks the first of several Pearl Jam-inspired moments, as Fallon writes from a woman’s perspective a la Eddie Vedder. 

Musically this song reminds me of “Behold the Hurricane” from The Horrible Crowes, especially in its big swells into the chorus. I absolutely loved this song when I heard it for the first time at Gaslight’s “Live on Letterman” performance; the studio version is a touch tamer, but still builds to a great, rambunctious climax. 

4 STARS

REMINDS ME OF: “Behold the Hurricane” (The Horrible Crowes), “Countin’ on a Miracle” (Bruce Springsteen)

‘Mulholland Drive’

Easily my least favorite song on the album. The entire thing feels forced, right from the strained opening verse where Fallon’s nearly a capella. To me it seems like he fell in love with the unique way he delivers the “I’d just die if you ever took your love away” line and built a song around it. That phrase is repeated way too much and is another example of the lyrical melodrama that hampers this record and takes me out of the moment (see: “Handwritten,” “Desire”). 

Lead guitarist Alex Rosamila delivers a scorching solo that is definitely worth appreciating, and “Mulholland” is one of several instances on “Handwritten” where the band embraces its classic-rock influences. Though it finishes strong (in typical Gaslight fashion), I just don’t see this song holding up over time. Too repetitive, too forced, too melodramatic.

2 STARS

‘Keepsake’

So we go from my least favorite song on “Handwritten” to one of the best. Fallon’s shifted to more personal lyrics over the past couple records, and “Keepsake” is arguably the capstone. Here he addresses an absentee father in open-wound detail in a song that again evokes Pearl Jam lyrically (“Release”) and musically (“Smile”). 

Fallon’s writing on this track is so strong it’s hard to pick a snippet to highlight here. But the chorus is particularly striking: 

And at the bottom of this river

Is where I put you down to lay so I could live with it

And in my hard, hard heart there are these waters

Where I put you down to lay while I learned to live with it … until I’m free

Thankfully, my father is fantastic so I can’t relate to this song from my own life’s story. But I’ve known people very, very close to me who can, and thus “Keepsake” strikes a particularly strong chord. It perfectly describes the struggle of a man coming to grips with the pain and damage inflicted by his father, and the battle you have to fight to heal those scars. 

Add to all of this one of the strongest pieces of songwriting on the album and you have the makings of a great track. “Keepsake” is a slow-burning, hard-charging monster of a track with chugging verses and a soaring chorus, all backed with the hint of a harmonica, which we haven’t heard on a Gaslight track since their debut album in 2007. 

“Keepsake” represents a new facet to Gaslight’s sound, being the best example of their modern-rock influences on this record. Couple that with one of Fallon’s best efforts as a lyricist, and this is a burgeoning classic for the band.

5 STARS

REMINDS ME OF: “Smile” (Pearl Jam)

‘Too Much Blood’

So just as I praised Gaslight-gone-grunge in the last track, there is definitely a point where you can have too much of a good thing. “Too Much Blood” is yet another thick, midtempo stomper reminiscent perhaps of Soundgarden; it marks just one too many of these types of tracks on “Handwritten.” By this point in the record the band hasn’t changed speeds since the title track back in the second slot. “Too Much Blood” drags the entire middle section down.

I understand why it’s here, though. “Too Much Blood” is a complement to its predecessor, “Keepsake.” It’s no accident that after Fallon reveals his internal lifelong family struggle he’s wondering here what becomes of a man and his relationships if he pours all his emotions out in such public a way: “If I just tell the truth/Are there only lies left for you?” It’s a powerful sentiment, for sure, backed by an equally potent guitar squall in the heaviest Gaslight track yet written. But it just all seems a bit too much. I’d rather seen “Too Much Blood” as a b-side, or at least moved to another point in the record to break up the slow-flow monotony.

3 STARS

REMINDS ME OF: “Black Hole Sun” (Soundgarden)

‘Howl’
This is a frustrating listen. At just 2 minutes, 6 seconds long, “Howl” is tied for the shortest song in Gaslight’s catalog. If ever a track deserved an extra … something (even a repeated chorus!), it’s this one. Gaslight’s other short songs—“Senor and the Queen,” “Wooderson,” etc.—feel complete despite their brevity; “Howl” breezes by so quickly, I feel a little cheated when it ends so abruptly.

That being said, “Howl” is a breath of fresh air on this album and marks a change for the better in how the back half plays out. The chiming opening guitar is like an alarm clock, leading to one of my favorite verses on the album:

Hey wake it up! Hey shake it out!

Does anything still move you since you’re educated now

And all grown up and traveled so well?

Do you still hear the sound of thunder while you lie up by yourself?

To me this is a call to arms against becoming jaded, cynical, and too cool for our own good. We think we’re so smart and enlightened and so over being able to tap into something as elemental as a rock and roll song. “Howl,” indeed—many of us could use a good howl.

4 STARS

‘Biloxi Parish’

Here is the Tom Petty/classic-rock influence we haven’t heard quite so explicitly to this point in Gaslight’s career. Its crunchy riff and catchy chorus are straight out of the pop/rock mainstream with as catchy a hook as they’ve ever delivered. It works because Fallon delivers some of his best writing of the album. It’s a song of open-eyed commitment, where he tells his lover that he knows and understands her faults like no other, yet loves her anyway and is in for the long haul. “I’ll be with you through the dark/So you don’t go through the dark alone.” It’s a beautiful, mature sentiment that takes the typical love song to a deeper level. “Biloxi Parish” is one of the best tracks on the record.

5 STARS

‘Desire’

Once again Fallon offers us complementary pieces in back-to-back songs. If “Biloxi Parish” is a statement of commitment, then “Desire” wonders if he’s deserving of having that commitment returned. 

What makes a woman believe in a man such as me?

Unworthy to sit at your foot or your crown

I can only let you down

This song is darn near perfect lyrically, with levels of depth to sift through over multiple listens. About the only line I don’t like is the—again—overly dramatic “I would give anything for the touch of your skin” … it just feels a bit out of place on a song that is otherwise so frank and real. 

“Desire” is a breezy uptempo track the likes of which Gaslight seems to toss off with such ease. This one, in particular, reminds me of “The Spirit of Jazz” from “American Slang,” a song that I originally thought was just nice but grew on me steadily in the months since its initial release. “Desire” has had the same effect; it is more complex than it initially appears and shouldn’t be overlooked. 

4 STARS

REMINDS ME OF: “The Spirit of Jazz” (Gaslight)

‘Mae’

“Mae” is the most difficult track for me to write about on this entire record. On the surface it seems so simple … it’s subdued, it’s quiet, on first listen you might think it doesn’t really go anywhere. That’s because it’s one of Gaslight’s most subtle anthems, placed toward the back of an album chock-full of dramatic movements and statements. 

But listen more closely. Preferably late at night, ideally in a car, definitely with the windows down and the volume turned way up. There is so much going on in this song that can be missed if you’re not paying attention.

Let’s start with the fact it’s a welcome throwback to Fallon’s original writing style. Just the name alone, Mae, is a variation on his use of names like Mary, Maria, etc. There’s also the classic film reference—in this instance Bette Davis—and a refrain that mentions listening to the radio in a car. 

But it takes all those Gaslight hallmarks and moves them forward. Yeah, this is the closest Fallon gets to a Springsteen song on this record, but it’s more from the “Tunnel of Love” era than “classic” Boss. The characters in “Mae” may be heading out for a long-haul drive, but it’s not born in some hyper-romantic notion of escape; rather, these are two people who are beat down, tired, and just in need of some company. No huge promises, no great expectations, just the comfort of another person’s presence. Here’s the wonderful chorus: 

I wanna see you tonight

Would you come for a drive?

You can lean into me

If you ain’t been in love for awhile

The song’s music is subtle, too, adding small layers of intensity with each verse/chorus pair. Fallon’s voice gets stronger and more passionate as he goes along in perhaps his best performance on the album; he matches the hypnotic crescendo of Benny Horowitz’s drums. This song is also Horowitz’s best work on the album; his percussion is almost melodic, reminiscent of The National. It all builds to a cathartic final chorus and coda that is one of the best moments on the entire record. 

5 STARS

REMINDS ME OF: The National, new-millennium U2, “Tunnel of Love”-era Springsteen

‘National Anthem’

Fallon is not an overtly political person, so it’s fitting that the most political song he’s ever written is a non-partisan affair. I read “National Anthem” as a lament for the United States, a nation Fallon loves but fears may have left him—and one he hopes will return to him again. The second verse of this song stands as my favorite lines on the entire album, as Fallon—a Christian—cries out to his fellow man, in all of our arrogance, to rekindle our faith in a power higher than our self-obsessed selves:

Now everybody lately is living up in space

Flying through transmissions on invisible airwaves

With everything discovered just waiting to be known

What’s left for God to teach from his throne?

And who will forgive us when he’s gone?

“National Anthem” is the record’s final Vedder homage, rekindling his quieter acoustic work. It’s impossible for me not to compare this echo-y, orchestrated number to “The End,” which closed Pearl Jam’s last record (also produced by O’Brien) in similar fashion. “National Anthem” is just as effective and affecting.

4 STARS

REMINDS ME OF: “The End” (Pearl Jam)

BONUS TRACKS

‘Blue Dahlia’

I have no idea how this song didn’t make “Handwritten.” Not only is it my favorite track from this set, it already stands as one of my favorite Gaslight tracks of all time. If I had just one song to turn someone onto this band, “Blue Dahlia” would be a good candidate; it’s like they took all the best elements from all of their best songs and combined them into one glorious track. 

It has the charging tempo of “The ’59 Sound” or “I Coulda Been a Contender” and the sense of relentless momentum reminiscent of “Wherefore Art Thou, Elvis?”, while the bridge evokes the punch-to-the-gut wistfulness of “Blue Jeans and White T-Shirts.” And the lyrics … they’re like a Gaslight greatest-hits package stuffed into 4 minutes and 38 seconds, with references to the beach, steamy streets, suntanned girls, carnival rides, and good ol’ vinyl records. Even the song’s name evokes Gaslight’s affinity for the classics.

But more than that, it’s the message of “Blue Dhalia” that grips me. It is a summation of Fallon’s lyrical intent—the idea that we can acknowledge our pain and scars, find kindred spirits, and help one another bury those ghosts: “Mama always knew I’d meet a girl like you/But me, I never believed/Cause I’ve been so lonely I can’t imagine that kind of sympathy.” In his delivery, Fallon conveys the desperation of a desolate soul and then the disbelieving joy at finding someone to drag him back to the surface; the way he sings this song is so pure and honest and sincere, it’s almost too much to bear. 

The only reason I can figure this track was left off the album is they must have thought it was too similar to their prior work; Fallon’s expressed in interviews that he doesn’t want to fall back on past success. But to that I say: Sometimes you just gotta do what you do, baby. “Blue Dahlia” is a perfect Gaslight Anthem song in every possible way. 

5 STARS

REMINDS ME OF: Every great song this band’s ever written

‘Teenage Rebellion’

This breathy acoustic number feels more like a Fallon solo piece than a full Gaslight song, so it’s fitting as a b-side and didn’t deserve to be on the official album. That being said, it’s an evocative song, with its multi-tracked vocals and flits of piano. The lyrics are a bit more esoteric than Fallon typically employs, so “Teenage Rebellion” is better left to sift into your consciousness than over-analyze. Let it live in a bit of mystery, and you’ll enjoy it. 

3.5 STARS

REMINDS ME OF: “The Blues, Mary” (Fallon solo)

‘Sliver’

I always judge a band by their cover selections and how well they come across; Gaslight certainly lives up to that standard. You should hear the fandom, the respect, the love in the performance. This is one of the best Nirvana covers I’ve ever heard. Fallon, in particular, is downright spooky in the way he evokes Kurt Cobain’s ragged vocal style; it’s a comparison I never thought of before hearing this song, but now wonder how I didn’t put it together earlier. I just wish they’d picked a stronger track to cover.

3 STARS

‘You Got Lucky’

Again, of all the Petty tracks to choose from, how’d they arrive at this one? It’s not a bad song, but I’d say it’s in the middle range of Petty’s work—go check out their official cover of “Refugee” from last year if you want to hear them at their Heartbreaking best. Gaslight pull this one off well, though; it’s a testament to their talent and versatility that they can carry off two such different covers as this and “Sliver” with equal excellence. 

3.5 STARS

FINAL THOUGHTS

To say this is The Gaslight Anthem’s weakest album is true, yet unfair. This is my favorite band on the planet, and their work to this point in their young career has been exemplary. The faults I find with “Handwritten” are minor, but they are faults nonetheless and there are more here than on any of their previous albums; I would’ve preferred a different sequencing to improve the pacing, and I definitely would’ve found a way to get “Blue Dahlia” into the tracklist somehow—that glaring misstep is unavoidable. On the whole, though, it is yet another strong effort that showcases an entirely new side to the band and delivers a handful of songs that I believe will remain in constant rotation for years to come. 

GRADE: B+

‘Fall Is Coming Soon’: Bon Iver, Live at Merriweather, 9.15.12

Not since I saw Wilco back in 2006 have I been so transfixed by a live band as I was tonight by Bon Iver at Merriweather Post Pavilion. Bon Iver founder/frontman Justin Vernon seems to have picked up where Wilco left off long about “Kicking Television,” deconstructing traditional folk songs until they’re unrecognizable as such, then putting them back together as something both completely familiar and foreign—somehow at the same time.

Vernon is touring off the band’s eponymous CD from 2011, which won him two Grammys earlier this year. This fall tour feels like both a victory lap and a farewell tour, because I can’t see how this maelstrom of a band can keep this magic going for a sustained period of time. I missed out on their shows last year at the 9:30 Club, so I was determined to make sure I saw this performance, in person, before it went away, perhaps never to be heard from again. Vernon alluded to much the same notion tonight, saying they were going to “go away for awhile,” hole up in cabins, and “grow their body hair out.” It was a joke, sure, but it rang true in that this is a special group of musicians creating special music for a special, specific span of time; I don’t know how Vernon could possibly recapture this vibe again, but I hope he can.

From the plaintive opening strains of “Perth,” through the closing moments of “For Emma” 90 minutes later, Bon Iver put on a show that left me stunned in my seat. No, I didn’t stand up (much); no, I didn’t yell (much) and I didn’t clap (much). I just, sorta, … sat. Mesmerized. Hypnotized. 

Much of this has to do with the sheer number of musicians onstage, as Vernon is joined by nine players, several of whom play multiple instruments. At any given point in the show, there could’ve been two drum kits, at least one piano/synthesizer, a violinist, multiple guitars, and a full horn section; one guy even beatboxed during a cover of Bjork’s “Who Is It.” It’s a lot to take in, and can be overwhelming at times. 

I felt the same way tonight as I did with Wilco during the “Kicking Television” tour—the way I described it then was a “sense of pure, intense musical adventure and endeavor.” Because Vernon’s soundscapes are so complicated, these guys can’t simply go through the motions; they all have to be right at the peak of their powers, all night, every night or the whole thing would fall to pieces.

I came into the show fully expecting the songs from the latest album to be powerful—they were written as such and the players onstage were involved in their creation; “Perth” and “Beth/Rest,” in particular, wowed. However, it’s Vernon’s older material—when it was mainly him and a guitar—that really blew me away. He’s re-arranged several of these tracks into full-band versions that, when presented in this fashion, are almost entirely new songs. “Blood Bank,” in particular, was transcendent with its extended hard-rock instrumental outro that sounded like something Led Zeppelin forgot to write. 

Going from a thousand people inside the 9:30 Club to nearly filling Merriweather Post all the way to the top of the lawn is quite a jump for one band in one year, but Bon Iver has just seemingly grown with their burgeoning popularity, and that includes the stage presentation. The lights and projections were just right, not only complementing the music perfectly but also adding something to the overall aura of the evening. When the first fanfare in “Perth” crashed into existence, the strobe lights pulsing in time with the melody brought a rise from the crowd; this would happen often as each new lighting trick unveiled itself. 

That’s not to say Vernon couldn’t still command an audience with a simplified approach. “Re: Stacks” saw him alone with his acoustic guitar, and the audience was just as rapt. Beloved early cuts such as “Skinny Love” and “For Emma” offered comparatively little instrumentation from the band, and they were plenty effective. 

And that gets at the heart of what makes this Bon Iver lineup so special—they all know when to push and when to hold back. They understand there can be just as much power in a trombone solo as a thundering drum slap, and they use both swings of that pendulum perfectly. 

Bon Iver is a strange brew, and it certainly isn’t for everyone. I only catch about half of Vernon’s lyrics, and of those understand less than half. He’s a rather burly guy who wears a beard and a headband, drops f-bombs like it’s nothing, and yet sings most of his songs in a falsetto and sometimes through a vocoder mic. It shouldn’t work, but it so, so does. This band he’s assembled is just that good; they swept me away. I went in hoping for greatness and my expectations were far exceeded. 

So maybe it’s not too much to hope, then, that after this tour is over they can somehow find their way out of those cabins and back to one another. Because a band this great deserves more than just one victory lap. 

Bon Iver

9.15.12

Merriweather Post Pavilion

Columbia, MD

MAIN SET

Perth

Minnesota, WI

Towers

Creature Fear

Hinnom, TX

Wash.

Skinny Love

Holocene

Blood Bank

Re: Stacks

Who Is It (Bjork cover)

Calgary

Lisbon, OH

Beth/Rest

ENCORE

The Wolves (Act I & II)

For Emma

Show Time: 90 minutes

‘All the Way to the Ed Sullivan Theater’: The Gaslight Anthem, Live in NYC, 6.27.12

So when your favorite band on the planet offers you free tickets to see them play a show at the Ed Sullivan Theater in New York City, you go. So what if you got your ticket confirmation 48 hours before the concert and you live in Maryland? You go. So what if you have to take a Wednesday off in the middle of a wicked workweek and basically pull an all-nighter to make it back into the office Thursday? You go. So what if to get there you have to take four different buses, an Amtrak train, and ride in a T-top-rockin’ purple Camaro? You go. 

The Gaslight Anthem had a big night Wednesday. They played the Letterman show, and then afterward took over the world-famous Sullivan (you know, The Beatles and all …) for their own hour-long concert that was broadcast live online. As a reward to the initial members of the band’s brand-new fanclub, they gave me and a couple hundred of my new friends free tickets to the show, provided we could make it on such short notice. 

Gaslight is in a time of transition this summer. They’re about to release their fourth album, “Handwritten,” July 24, which marks their major-label debut. Here’s a sidenote to anyone crying “sellout!”: Opportunities like “Live on Letterman” are exactly why you sign with a major. This was a big deal, one of the band’s highest-profile gigs to date. A very, very special night. And they brought it. 

This is the tightest I’ve ever heard them play—either in person or on a bootleg. Typically it takes frontman Brian Fallon a couple songs to work the frog out of his throat, but he must’ve been warming up in the back because he was right on from the first lines of opener “Great Expecations.” The setlist selections from there were perfect, given the show was about half the length of their standard set. The diehards in attendance got deep cuts from the “Senor and the Queen” EP, while the mainstream audience watching at home heard all the hits from the past two albums. 

The standout for me came toward the end of the show when Fallon held the entire audience captive with the best version of “Blue Jeans & White T-Shirts” I’ve ever heard; the slow-burner (introduced with a smile as a song about suffering) was powerful in its minimalism and gripping in its change of pace within the otherwise blistering set. 

Another highpoint was the instrumental bridge between “Wherefore Art Thou, Elvis?” into “Wooderson.” Gaslight’s been playing around with these types of transitional fills for the past couple years, but never quite so effectively have they blended two songs together. To go for something this ambitious in such a high-pressure environment took real guts. 

But that was the great thing about Wednesday night: Despite all the cameras and the aura of the venue and the broadcast to the entire world, it still felt like the Gaslight show the superfans in attendance have come to know, love, and expect. Fallon behaved onstage like he always does, taking time out to tell a few funny stories (like Jersey people being overwhelmed the first time they visit New York), have some back and forth with the fans, and point out how excited he is about “Handwritten” and the new fanclub: “I guess the fanclub’s working … You guys got in here, that’s good. Step 1: Complete!” he said. “It’ll get better as it goes on. I’m sure there’ll be some hiccups but check it out—it got you all the way to the Ed Sullivan Theater.” 

During the first verse of “Blue Jeans,” Fallon cracked a huge smile; what you can’t hear on the recording is there were a bunch of girls who sang a background part at the exact moment it appears on the record, and that just seemed to make Brian’s night. The point being, if this is your first exposure to a Gaslight Anthem concert you couldn’t have asked for a better one.

And then there are the new songs. Just … wow. I haven’t heard the album yet, but I have a feeling the three tracks from “Handwritten” they played Wednesday night showcase the breadth of this new effort. First single “45” is a winner, a nice sequel to “The ’59 Sound” that they couldn’t quite find on the last record. “Biloxi Parish” is a step in a new direction, with a crunchy, classic-rock riff. Finally, “Here Comes My Man” made its live debut at this show and reminded me a little of Fallon’s work on last year’s side project, The Horrible Crowes; this one hints at the soul music these guys have in their collective repertoire and blends it so well with their modern punk rock foundation. I’m definitely excited for July 24.

I could go on and on because there were so many awesome moments (“Baba O’Riley” to close), but just go watch the thing already! This was my sixth Gaslight show; it’s been a different city every time, and each one’s felt unique. But I’ve never really been disappointed when I’ve traveled long distances to see bands I love. Not once. And I’ve done this a lot. For the better part of 15 years, actually. 

Because as great as the shows are (and this one was great), it’s about more than that. It’s about thinking you’re gonna get stuck way up in the balcony because your train was delayed by an hour and traffic was horrible and you had to walk 20 blocks to pick up the tickets and then … and THEN … you walk into the theater and some guy says “We need more people down front!” and you walk right down to the sixth row, dead center and the whole world can see the back of your head on camera for the next hour. It’s about remembering what it’s like to be 20 even when you’re past 30. 

And it’s about knowing the friend you call to go with you at the drop of a hat will say yes, even though you haven’t seen each other in two years. It’s about then spending 12 uninterrupted hours with that guy, rekindling a friendship that spans more great experiences than you can even remember right now. 

Add another one to the list. Thankfully, this one came with YouTube built right in.

The Gaslight Anthem

Ed Sullivan Theater

New York City

6.27.12

MAIN SET

Great Expecations

Biloxi Parish

Old White Lincoln

45

Film Noir

American Slang

Wherefore Art Thou, Elvis?

Wooderson

Here Comes My Man

The ’59 Sound

Blue Jeans & White T-shirts

The Backseat

ENCORE

Baba O’Riley

Show Time: 1 hour

The Music of 2011

ARTIST OF THE YEAR: Bon Iver

You could’ve given me 50 options for who I thought would be my favorite musician of 2011 and I would never have come close to guessing Justin Vernon, a.k.a. Bon Iver. The bearded wonder symbolizes everything I’ve come to loathe about indie music. Or so I thought. The story of Vernon’s first album, where he poured his heart out after a bad breakup while sequestered in a Wisconsin cabin, just seemed way too precious for my tastes. 

But Vernon has a tougher edge to him than I gave him credit for, despite the falsetto. This year I’ve bought just about every Bon Iver track ever released (which, admittedly, isn’t much), and the band’s dominated my year like no other. I have no idea what Vernon’s singing most of the time, and it really doesn’t matter. He has a way of evoking emotion just the way he delivers his music. It’s addictive, challenging, and, ultimately, rewarding work.

Honorable Mentions

The Avett Brothers

Brian Fallon

Florence + the Machine

Dave Hause

John Mark McMillan

My Morning Jacket

Radiohead

Chuck Ragan

ALBUM OF THE YEAR: “Bon Iver,” Bon Iver (2011)

I undervalued this album when I reviewed it earlier this year. I was probably just looking for an out so as not to seem like a sucker for giving yet another glowing review to one of the most acclaimed releases of the year. My main complaint—that the middle trio of songs drags the album down—has been eradicated. Instead, I hear in “Bon Iver” a kind rock symphony, where groups of songs hang together in distinct movements. The first four tracks offer a breadth and scope of sound that continue to reward repeated listens; the middle complements all that earlier bombast like a deep breath; and then the final trio blends together with cathartic fire and releases you into the night. 

Sometimes albums just grab you, and that’s what “Bon Iver” did for me in 2011. I didn’t expect it, and secretly didn’t even want it to happen. But I’ve returned to this disc over and over and over again this year. It works just as well on a breezy summer night as it does on a foggy, rainy, afternoon in November. Like The National’s Matt Berninger, Vernon provides snatches of imagery that stick with you, like “Christmas night, it clutched the light, the hallow bright.” “Bon Iver” is packed with moments like these.

Some of my all-time favorite artists released new albums this year, and each one I thought would replace “Bon Iver” as my favorite—or so I hoped. But none did. And so I’m left to admit that, much to my own annoyance, Bon Iver won a new convert this year.

Honorable Mentions

“Circuital,” My Morning Jacket

“Covering Ground,” Chuck Ragan

“Elsie,” The Horrible Crowes

“Going Out in Style,” Dropkick Murphys

“iTunes Session,” The Gaslight Anthem

“The Medicine,” John Mark McMillan (2010)

“Paper Airplane,” Alison Krauss & Union Station

“Resolutions,” Dave Hause

“Rome,” Danger Mouse & Daniele Luppi

“Ukulele Songs,” Eddie Vedder

SONG OF THE YEAR: “Perth,” Bon Iver (from 2011’s “Bon Iver”)

This was a tough year for me on a number of fronts, yet one I’m better for having lived through. “Perth” sums that feeling up perfectly. It opens with plaintive, barely audible guitar and then steadily adds more pieces—and more volume—until it absolutely explodes into a percussive extravaganza 2 minutes 32 seconds in. This is my single favorite moment of any song this year, and it is the sole reason why I bought “Bon Iver” in the first place.

Vernon’s lyrics are nearly indecipherable on the album, and reading them often leads to just more confusion about what this guy is actually trying to say. But the chorus (if you can call it that) in “Perth” embodies the mixed bag that was my 2011. “Still alive for you, love,” to me, is a statement of honest hope, which is what I’m always looking for. That line admits that there’s been pain to bear—otherwise why would you need such reassurance in the first place? But there’s a dogged determination to it, an intentional optimism. This, in essence, is how I try to live my life: I have no patience for people who live in a bubble, yet I also have no tolerance for those who refuse to try for something more, something better, something greater. 

That’s a lot to read into one line, I know, but favorite songs have a way of doing that for me. Here are some more …

“Art of Almost,” Wilco (from 2011’s “The Whole Love”)

This seven-minute epic opener to Wilco’s latest album summarizes everything I hope the band can be in its latter days. It finds the perfect balance between Wilco’s various shades, while pressing through to new ground at the same time. There are too many layers to unpack here, but this is a strong Song of the Year contender … just a brilliant piece of work that I love, love, love. From Nels Cline’s fiery solo to Glenn Kotche’s superb percussion to Jeff Tweedy’s recapturing of his sense of adventure and melody, it’s the type of track you hope a band still has the energy and vision and balls to create as they grow older. Too bad the rest of “The Whole Love” wasn’t nearly as good. 

“Baba O’Riley,” The Gaslight Anthem (from 2011’s iTunes Session)

My new favorite cover of this Who classic. Every band member is pitch-perfect here, but special shout out to Alex Levine for his sick bass work in the final minute. 

“Balthazar, Impresario,” Frank Turner (from 2011’s “England Keep My Bones”)

Tough call here picking a favorite from Turner’s excellent new album, but this acoustic bonus track paints such a beautiful picture of a musician making his last, unheralded stand, it wins out. 

“Barton Hollow,” The Civil Wars (from 2011’s “Barton Hollow”)

You know the music that plays during the commercials and credits for “Justified” (my favorite show on TV)? Yeah, this is like that, minus the rapping. Incredible song. Just wish there had been more of this and less mopey Swell Season ripoffs on the rest of the album.

“Behold the Hurricane,” The Horrible Crowes (from 2011’s “Elsie”)

OK, so Brian Fallon’s side project didn’t quite live up to my expectations. Nevertheless, he still delivered three outstanding tracks on that album that I find it impossible to choose one over the other, so I’m going with all three. This is the purest “Gaslight”-type track on the record, and it’ll leave you humming the melody long after the music stops.

“Biloxi Parish,” The Gaslight Anthem (unreleased track debuted live in 2011)

Yes, my favorite songwriter on the planet is gonna pop up a lot on this list. Deal with it. This new cut takes Gaslight in yet another new direction, with its crunchy riff providing the most classic-rock Anthem in the band’s young catalog. 

“Black Betty & the Moon,” The Horrible Crowes (from 2011’s “Elsie”)

When I first heard Brian Fallon was taking a break from Gaslight to make “nighttime music,” I had no idea what to expect. But somehow when I first heard this tremendous lounge-y number it was exactly what I wanted from the project, without knowing how to articulate it. Fallon is forceful but subtle, singing right in the sweet spot of his range about a tale of a woman who allowed the world to change who she is into what she thinks people want her to be. “Black Betty,” at just 3 minutes flat, is one of the best songs Fallon’s ever written.

“Carolina Tide,” John Mark McMillan (from 2010’s “The Medicine”)

If I could write a song, I’d hope it would come out something like John Mark McMillan, a Christian guy who sounds like he grew up listening to Pearl Jam, Led Zeppelin, and Tom Petty and found a way to infuse those influences with his own faith. I came across “The Medicine” a year later, but it instantly became one of my favorite albums of recent years. This is exactly what Christian musicians should aspire to be. There are any number of choice cuts from this album (which can’t be said, unfortunately, from his new record that came out this year), but “Carolina Tide” wins because I love the central image of going to the beach to try and rid yourself of guilt and come back a refreshed, reclaimed person.

“Cready Stomp,” Pearl Jam (from 2011’s “Vs./“Vitalogy” re-issue)

How did this incredible demo jam never become a full-fledged Pearl Jam track?!?! This is one of the hardest-rocking cuts the band’s ever written; so tough, in fact, it actually sounds more like Soundgarden than “classic” Pearl Jam. I’m mystified and annoyed that Eddie Vedder never put lyrics to this piece, because just imagining his voice soaring above this maelstrom gives me a little bit of the chills. Argh …

“Dirty Rain,” Ryan Adams (from 2011’s “Ashes & Fire”)

Adams’ first album in three years isn’t quite the comeback I was hoping for—a bit too much of the same droopiness throughout—but this album-opening track reminds me why I’ve followed this mercurial man for a decade through all his various shape shifts. This stripped-down country/blues is straight outta “Heartbreaker” awesomeness. It’s Adams at his very best.

“Discoverer,” R.E.M. (from 2011’s “Collapse Into Now”)

R.E.M. called it quits this year, but before they left the trio dropped one more classic on us. I’ve never been a big fan of the band, but this is certainly my favorite type of R.E.M. track. Soaring chorus, catchy melody, a tough edge but still poppy, and chiming guitars. Nice job here, boys. 

“Give It Up,” Gangstagrass (2011)

Did I mention “Justified” is my favorite show on TV? Yeah, any song associated with that series is likely gonna show up on this list. This one was used in the Season 2 promos.

“Houses of the Holy,” Led Zeppelin (from 1975’s “Physical Graffiti,” as performed live at Constitution Hall on 2.1.11 by Robert Plant and the Band of Joy)

This has never been one of my go-to Zep tracks, but Plant’s slowed-down, country-fied re-imagining turns it into a masterpiece. 

“Into the Mystic,” Van Morrison (from 1970’s “Moondance”)

Tony Kornheiser calls this the greatest single song ever written. After giving it a good many listens this year, I can’t say I exactly agree with him … but I definitely see where he’s coming from. Gorgeous stuff. 

“Ladykiller,” The Horrible Crowes (from 2011’s “Elsie”)

Fallon reached out to his full range of influences for this album, so it should come as no surprise that Springsteen pops up. Only this is the “Tunnel of Love” version, which is a surprise. This song is so smooth. It fits Fallon’s voice wonderfully. 

“Lay My Burden Down,” Alison Krauss & Union Station (from 2011’s “Paper Airplane”)

You know why Alison Krauss and Robert Plant were so great together? Because they’re both just great. Plant was the first to get an album out following the duo’s one-off Grammy-winning duet from 2007, but Krauss more than held her own with this outstanding effort back with her old mates from Union Station. Krauss has the voice of an angel, and nowhere on the new album is that quality more apparent than here.

“Lost in the World,” Kanye West (from 2010’s “My Beautiful Dark Twisted Fantasy”)

Kanye West’s latest solo album—like all of his work—is massively overrated. But sampling Bon Iver’s little-known “Woods” and spinning it into this big-beat manifesto was pure genius. 

“Meet You in the Middle,” Chuck Ragan (from 2011’s “Covering Ground”)

Ragan’s ode to life on the road is one of my favorite records of the year, offering innumerable choice tracks. This one gets the nod for prominently featuring—who else?—Brian Fallon. Do yourself a favor and go find this album. Ragan is so intense, you probably won’t even notice he’s playing punk rock on acoustic guitar and violin with no percussion. His Leonidas roar voice fills all the empty gaps.

“Murder in the City,” The Avett Brothers (from 2006’s “The Second Gleam,” as performed live on 2.18.11 at Constitution Hall)

There could’ve been no better way for the Avetts to open their first show after a game-changing performance at the Grammys than this tender track about the love only a family can provide. One of four brothers, the line about their father’s love sticks out to me, in particular. But moreover this was a statement by the Avetts that no matter how much success they experience, their core will remain the same. 

“No Weather,” Brian Fallon (from 2011’s Revival Tour compilation)

Fallon had himself quite a year for having no official Gaslight releases. This song was contributed to a comp heralding his tour of Europe with Chuck Ragan and Dave Hause, and the acoustic country stomper is a stirring reminder of the breadth of his musical range. 

“Peg O’ My Heart,” Dropkick Murphys (from 2011’s “Going Out in Style”)

This light-hearted rocker probably would’ve been on this list even without Springsteen’s guest spot. The Boss’ invigorating cameo just makes it that much easier to select from all the other excellent tracks on this record.

“Pray for Tuscon,” Dave Hause (from 2011’s “Resolutions”)

I first heard this song way back in January 2010 when Hause opened for Brian Fallon at the Black Cat, and I was absolutely blown away. It took another year for the Loved Ones frontman to officially release his first solo album, but it was well worth the wait. “Resolutions” came out just two weeks after the horrible shooting spree in Arizona, and “Pray for Tuscon” instantly took on a higher meaning. A Song of the Year contender, for sure.

“Saints and Sinners,” Flogging Molly (from 2011’s “Speed of Darkness”)

Flogging Molly haven’t released a truly great record in nearly a decade, but each time out they seem to manage one or two cuts that recall their former unhinged, unabashed glory. This is one. 

“Season’s Trees,” Danger Mouse and Daniele Luppi (from 2011’s “Rome”)

When I first heard Danger Mouse was working on a faux Spaghetti Western soundtrack with songs featuring Jack White, the mention of Norah Jones’ involvement in the project was merely an afterthought. Well, turns out she outshines White on the album, especially here in a song destined more for a Tarantino movie than a Western. 

“Shake It Off,” Florence + the Machine (from 2011’s “Cermonials”)

Flo’s hit HUGE in the two years since releasing her debut album, “Lungs,” and that may have gone to her head a bit. The new album is a much more somber affair than the charming kitchen-sink mentality of her first effort. “Shake It Off” is Florence at her bombastic best, though, rattling windows with her clarion call of a voice soaring over top of a nu-gospel sound. 

“Skinny Love,” Bon Iver (from 2008’s “For Emma, Forever Ago”)

So when I went down the rabbit hole this year on Bon Iver, this is one of several standout tracks I discovered (go find his “Blood Bank” EP on iTunes, btw). It’s harder and tougher than you’d think this guy could and should be, bringing in a bit of acoustic Zeppelin flair. It’s also one of the tracks where he doesn’t employ his trademark falsetto, and I wish he’d do that more often.

“Staircase,” Radiohead (from 2011’s “From the Basement” session)

It started with “15 Step” from “In Rainbows,” but “Staircase” is the song that finally made me, if not a Radiohead fan, then at least a secret admirer. I’ve never denied the band’s talent; it’s merely Thom Yorke’s dying-cow voice I haven’t been able to abide (and stlll cannot, for the most part). He tones that down here, though, making room for Radiohead’s incredible rhythm section—my favorite element of the band, here boosted by Robert Plant’s drummer on a second kit. “Staircase” is the kind of song U2 tries to write when they want to sound cool; Radiohead, on the other hand, seems able to toss off cuts like this effortlessly. 

“Victory Dance,” My Morning Jacket (from 2011’s “Circuital”)

For as seminal a band as Pink Floyd is, you don’t often hear them referenced as a benchmark for newer acts. That’s probably a testament to how unique Floyd truly was. But My Morning Jacket’s dark, swirling, ethereal opening track to their outstanding new album comes as close to evoking Floyd’s sound as any band I’ve heard in recent memory, albeit with a touch of The Grateful Dead thrown in for good measure. This song will haunt your dreams. 

“You’re True,” Eddie Vedder (from 2011’s “Ukulele Songs”)

You gotta hand it to Mr. Vedder for sticking with it. When I first heard he was releasing an album of only songs featuring the tiny instrument, I figured it would either suck or be totally great. Thankfully, perhaps surprisingly, the result is the latter. Vedder’s obsession with an instrument most people think of as a joke is just one more reason why I can’t help but love the guy. And he gets more out of it than probably anyone in history ever has.