Boys and Girls In America
Boys And Girls In America is more accessible than its predecessors, with Craig Finn employing vocal melodies on many of the tracks, while the band’s approach is less brutal and is reminiscent of the E-Street band in their prime. Some of Separation Sunday’s characters make return appearances (“Charlemagne pulls street corner scams/Gideon’s got a pipe made from a Pringles can/Holly’s insatiable/She still looks incredible”), while Finn’s still endlessly quotable (“We started recreational/It ended up all medical/It came on hot and soft and then/It tightened up its tentacles”).
Boys And Girls In America is one of the most instantly visceral rock records of its decade; ‘First Night’ is a pretty piano ballad for most of its duration, until it switches gears into a torrent of guitars and some of Finn’s most incisive lyrics. ‘Southtown Girls’ builds from a single a capella vocal into another tour de force, while ‘Citrus’ never raises its pulse above a simple acoustic lament (“Lost in fog and love and faithless fear/I’ve had kisses that make Judas seem sincere). Meanwhile, the trio of rockers that open the record are all incredible, with Nicolay fluidly filling the gaps between Kubler’s propulsive riffs.
In some ways Separation Sunday is the more interesting album, but when Boys And Girls In America hits full flight, it’s amazingly compelling.