But I'm pretty sure they did: American Slang is very likely the best record we will hear in 2010. The band has stayed true to its core sound while growing in important ways, and while I'm not quite sure whether it tops Sink or Swim, I am sure it's worth buying and listening to over and over.

Gaslight has never really fit in with the current music scene. They lack both the hipster irony of their indie-rock peers and the bratty-teenager ethos of their fellow modern punk bands. In the past, their music has been best described as a mix of Bruce Springsteen–style vocals, The Cure–style guitars, and old-school punk energy.

All of that is still true on American Slang—this is still earnest, sincere rock 'n' roll with blue-collar themes and guitar melodies that could have been written by Robert Smith—but they've dropped the constant references to other artists they employed on The '59 Sound (short list of cited artists: Tom Petty, The Counting Crows, Meat Loaf, and, of course, The Boss), and most of the time they back off the tempo.

On the one hand, the slower songs can lack the piss and vinegar that made the more aggressive fare on Sink or Swim so overwhelming—the title track here isn't bad, but it seems to be missing a certain energy. (I think this would stand out less if they hadn't put it at the very beginning of the record.)

But on the other hand, this lets Gaslight explore some exciting new territory. For example, members of Gaslight have long said they're influenced by soul music, but not until "Diamond Street Church Choir" was that apparent to a listener who hadn't read the interviews. Then there's "The Queen of Lower Chelsea," which creates an entrancing effect with its prominent, lurking bass line, ominous guitars, and haunting vocals. Not to mention "Bring it On," a downtempo track with one of the most intense choruses the band has ever come up with.

And while the band's lyrics have often mentioned dancing, the music itself hasn't been that danceable—they came closest with "Casanova, Baby!" and "Old White Lincoln," both from '59. They resolve this paradox here with not only "Diamond Street," but also "Stay Lucky," whose peppy '50s drum beat and catchy vocals almost have me on my feet when I hear them. (I haven't danced since my wedding, and don't plan to ever again.)

Those songs are all on the record's first half. The second half is just as fun to listen to, but it's not as groundbreaking stylistically. "Boxer" and "The Spirit of Jazz" might be my favorite songs on the whole album, but the tempos are fast enough and the punk influences are up-front enough that they're basically typical Gaslight songs. "Orphans" and "Old Haunts" are far from filler, but you could drop them into the middle of '59 or maybe even Sink without noticing the difference.

The record concludes with "We Did It When We Were Young," a slow ballad, and to be honest, I haven't quite made up my mind about it. Singer Brian Fallon seems completely sincere belting out the lyrics, but I can't shake the impression that it sounds a little like an early-2000s Bon Jovi ballad—not bad, but a little contrived and a lot overwrought, more of a guilty pleasure than anything else.

Regardless, there's no reason whatsoever for a rock fan not to buy American Slang. The Gaslight Anthem has been on a one-band crusade to save rock 'n' roll for three years now, and they show no sign of letting up any time soon.

-- Robert VerBruggen is an associate editor of National Review. You can follow his writing at www.google.com/profiles/robertv4311or www.twitter.com/raverbruggen.