The Horrible Crowes – Elsie

The Gaslight Anthem came out of nowhere with their debut Sink or Swim that provided the perfect blend of Bruce Springsteen’s hard luck tales and The Clash’s punk rock energy. They followed that up with a great EP and the soulful classic The 59 Sound. They exceeded all expectations and quickly rose to the forefront of the modern underground music movement. They made songs that soccer moms, blue collar dads and leather jacket wearing teenagers could all get into. Few bands can make such a bold claim. Then they released American Slang and the whole illusion fell apart. Fans became divided over the album, claiming it was either their masterpiece or a mainstream piece of mediocrity. When frontman Brian Fallon announced his soul influenced side project anticipation over the release grew at exponential rates. What would it sound like? Would it be a return to The 59 Sound? Would it sound like James Brown? Would Fallon quit self proclaiming himself as the next Springsteen?

When they released a stream of Behold the Hurricane a while back, it gave listeners the first glimpse into the world of the Horrible Crowes. It sounded a lot like classic Gaslight, with a heavy poppy sing along tying it together. But from the first track of Elsie, Last Rites, one can see that it was a conscious decision to release Behold before the album. For the most part, the album is a more muted affair than Fallon’s full time band. If American Slang was his Born in the USA, then Elsie would be his Nebraska.

What that means for this album is that while it will likely be received less warmly by the mainstream, it is Fallon’s most legitimate artistic statement to date. I Witnessed A Crime has a confident swagger unmatched by anything he has released previously. The organ provides a catchy backbone to the walking beat of the drums. Ladykiller may the most reminiscent of a Gaslight ballad. Mary Ann is a fuzzy blues surprise that showcases Fallon’s James Brown wail.

As the last chord of the album plays, the listener realizes that Fallon has successfully achieved what he set out to do. This album outshines American Slang at every turn. Oddly enough, the best song from that album, She Loves You, would fit comfortably here. Even with his distinctive voice, he has managed to create an album that is worthy of being called Horrible Crowes, not merely a Gaslight side project.