The Black Keys – singer/guitarist Dan Auerbach and drummer Patrick Carney – have come roaring back (literally) with a new LP, Dropout Boogie, their third album in four years. Now, admittedly I’ve felt since 2019’s Let’s Rock album the Keys have started exuding this wonderful 70s vibe, but putting out 3 albums in 36 months is truly a 70s style pace… it was a time when artists put out an album almost every year. I think it’s time for me to admit something to all of you, including the Black Keys. Over the course of the last several albums they’ve rocked their way into being one of my all time favorite bands. I am really digging Dropout Boogie. In the past few weeks I’ve gone from the Black Crowes (1972) to the Black Keys… I can only assume a Black Sabbath binge is up next… if you’re into that whole alphabetic thing.
As I’ve said before, I got on this bandwagon when they put out Rubber Factory. Actually, more importantly, that’s when the Rock Chick jumped on their bandwagon. I liked the album but had sort of filed it away. She was the one who put it in high rotation. She went out and immediately bought their debut, The Big Come Up, an album I really dig. I loved that they covered the Beatles’ “She Said, She Said” on that album. Even though I was amongst the converted back then I was under the mistaken impression that the Black Keys were one of those bands where I’d jump back in every other album. I dug the debut, Thickfreakness not so much. Rubber Factory Hell yes, Magic Potion…meh. I don’t know why I was so slow to surrender to the punky, blues rock these guys were laying down.
All that changed when they put out Attack And Release in 2008. The Rock Chick snagged that album the day it came out. “Psychotic Girl” is a personal favorite from that LP. Since then we’ve picked up every album they’ve put out save for Turn Blue. That album seemed like a bummer to me but then my relationship with the Black Keys’ music back then was weird. Maybe I need to go back and listen again. I thought El Camino from 2011 was a masterpiece of a record. As mentioned we loved Let’s Rock here at B&V but were then surprised and delighted when after less than 2 years later they put out a wonderful album of Mississippi Hill Country blues covers, Delta Kream. That album celebrated the music of blues giants like Junior Kimbrough and R.L. Burnside. Of course, most of the classic rock n roll we like around here is based firmly on a foundation of blues. Now, less than year later the Black Keys have returned with another – and pardon the expression – kick ass record.
At this point, I have to pause to wonder why the Keys aren’t bigger and more popular than they are. Both Brothers and El Camino went double platinum. Despite all this great music their last LP to go gold was Turn Blue. If you were a fan and got away from these guys you need to check out these last three albums. I think of what Tom Petty said about why he and the Heartbreakers were “bigger” (although I would contend they were big). He said they were just so “consistently good” that people could forget about them. Like the Stones or say AC/DC the Keys found a sound and have mostly stuck to it. Although I realize that statement belies how much they’ve developed and how much more sophisticated and intricate their music has become since they first started. Auerbach and Carney have become extremely talented producers over the course of their careers. So my explanation for the Keys slight dip in terms of commerce, they’re simply so consistently kick ass they’ve been taken for granted.
Dropout Boogie is another self produced album. As I said, this is a great rock n roll album. This is the kind of album that should be blaring out of car windows and T-tops as teenagers cruise up and down Metcalf or whatever your main drag is. Alas, times have changed. This may be my go to summer LP this year. The album starts off with the lead single “Wild Child.” We really dig that track here at B&V but I’ve already posted about that. The second track is also the second single, “It Ain’t Over.” The passion Auerbach brings to the vocals is a whole thing in and of itself. Over handclaps and shakers he begs his baby not go go. I know I’ve been there. The guitar solo on this track is monstrous albeit economical.
“For The Love of Money” is a crunchy bluesy thing that would have been at home on Delta Kream. Auerbach employs a falsetto for parts of the song. It’s just the typical crunchy rocker these guys put out, and I mean that as a compliment. “Your Team Is Looking Good” is good fun arena rock. I could imagine this song being played at Chiefs’ games. Although these guys are from Arkon… I hope they’re not Bengals fans. Akron is too close to Cleveland for that but I’m getting off topic. I love the taunting nature of this track. The biggest surprise for me was “Good Love.” Even before I saw the “featuring Billy Gibbons” I thought this track sounded like ZZ Top. I was hearing an echo of “TV Dinners” or maybe “I Need You Tonight.” It’s got that Billy Gibbons’ bluesy guitar march as the underpinning of the song. Gibbons’ guitar just snarls at you. Then he flashes on the solo. It may be my favorite track on the album. With Gibbons and Auerbach in the studio, that’s a lot of guitar firepower in the studio.
“How Long” is a 70s-vibe ballad. This song makes me think of sitting in the back seat of my dad’s Ford with the windows down because my father didn’t want to turn on the air conditioner. Which is actually weird because if we were in the car with my father Sports Talk radio would have been on. “How Long” is just a 70s longing vibe to me. It’s the prettiest track on the album. “Burn The Damn Thing Down” is barn burner (I couldn’t resist) with raw guitar and a “Travelin’ Band” theme. The Black Keys are coming and they’re gonna burn it all down, baby. The track rocks. Again, this has that blues braggadocio thing that I dig. “Happiness” is a bluesy thing with an elastic, riffy guitar. It’s probably the track that hearkens back to their earlier records the most to my ear. “Baby I’m Coming Home” is a song I will heretofore blast every time I’m getting on an airplane to fly home after a business trip. Oh, yes, baby I’m comin’. It has my favorite guitar solo on the album. If you’re here for the guitar “Baby I’m Coming Home” will get you where you wanna go. The album ends with “Didn’t I Love You” another track that would have been at home on Delta Kream. I love that the blues cover LP they did has informed some of the vibe on this album, but then I love rockers who play the blues.
There isn’t a bad song on Dropout Boogie. These guys are making rock n roll that you just don’t hear that much any more – big guitar riffs and solid, heavy drums. This is an album everyone should hear and play very, very loud… perhaps with a tumbler full of something brown and murky… maybe a little taste of Four Roses…
Enjoy this one at maximum volume. Cheers!