@theblackkeys

The Black Keys Return With New LP – ‘Dropout Boogie’ – Consistently Awesome Music

~ kcorsini ~ 5 Comments

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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!

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Black Keys Release Rocking, Sleazy New Single “Wild Child” & It’s Put a Twisted Smile On My Face

~ kcorsini ~ 3 Comments

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“I’m just a stranger with a twisted smile…”

When I was in college, which believe it or not were the “heavy drinking” years, my friends and I used to all say when we weren’t studying or in school that we were social workers out doing “social” work trying to improve things for people. Which basically meant we were out doing crazy shit to help entertain other people whose lives might not be as interesting as they could or should be. Such is the hubris of youth… or of drunken youth. “We are the youth gone wild…” as the song goes. Or at least we were the youth gone wild. Anyway, as part of that whole boozy buffoonery, I remember saying to friends, “When I’m old I just want these memories to be a twisted smile on my face that no one understands but me… and perhaps people will wonder where it came from?” I guess I was powerfully channeling my inner David Lee Roth all the time. Remember how cool he was back in the 80s?

I took a friend to the doctor today. And while I was sitting in the waiting room – where I waited almost as long as I did at the DMV a few weeks ago, someone owes me a beer – I saw that the Black Keys had dropped a new single “Wild Child.” I may be a little late on this one as apparently it’s number 1 on some music chart… I don’t really pay attention to the “charts,” as I’ve mentioned before (12 Favorite Old School, Vinyl, Single- Album Greatest Hits LPs; The Struggle Was Real). I was just thrilled the Keys had a new song out. I had heard they had a new album coming out but didn’t have any other details… I do now, the album is called Dropout Boogie and it’ll be out May 13th. I can’t believe they’ve already got a new album coming out? It was just last year they put out the great blues cover LP Delta Kream. And only two years prior they’d released the fabulous Let’s Rock. To turn around and drop a new album already is 1970s level rock n roll output. Usually they take a break for guitarist/singer Dan Auerbach’s latest solo album… or he produces someone else’s music. To be fair, Pat Carney (drums) also does some outside producing as well. Good for them. Always nice to work with other people, get the juices flowing for the next band project.

I was delighted when I heard that first single and the opening lyric, “I’m just a stranger with a twisted smile…” It certainly took me back to sunny spring days a life time ago… Perhaps there’ll be a twisted smile on my headstone. “Wild Child” is another in a long line of great Black Keys songs. These guys are some of the most consistently wonderful rockers out there. The entire song is a “come on.” Boy meets girl and proceeds to attempt to woo said girl. The first 7 seconds are a funky, almost disco, little riff that wouldn’t be out of place in and old school porn movie… not that I know anything about that sort of thing. Then the song kicks in with one of those monster Auerbach riffs. “Your heart is in danger…” Oh, indeed it is. The guitars are fuzzy and sleazy which perfectly fits the track. Carney’s drums throb like a heartbeat. Between riffs you can hear Auerbach doing a wah-wah thing that gives this such a funky, fun underpinning. As usual there’s a great guitar solo – we’d expect nothing less from these guys. “Baby won’t you show me your wild child ways.” Yes, please. You can feel the lust and need dripping off this song… It’s the perfect Spring song – even if you live in Kansas City where Spring has basically been Winter 2.0.

Here is the link:

These guys have come such a long way since their early bluesy, punky rock n roll. I would really like to see these guys live. I actually saw them do 1 song with the Stones at their 50th Anniversary show in Newark… They certainly acquitted themselves well. This album is an automatic buy for me. It’s not that kind of Jack White, genius gone weird level stuff that I have to hear first (and hear a few times) before I’ll buy. There’s nothing wrong with being consistently kick ass. Tom Petty was consistently kick ass so that’s pretty fine company the Black Keys find themselves in. Petty was an American Treasure after all.

Cheers! And always…during these dark times, keep smiling even if it’s a little bit of a twisted smile!

B&V’s Best of 2021: Our Favorite New LPs & Vault/Live Releases

~ kcorsini ~ 6 Comments

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“Time is a jet plane, it moves too fast…” – Bob Dylan, “You’re A Big Girl Now”

This year, like many before it, seemed to both fly by and at the same time drag on. I looked up and suddenly realized it’s the end of the year… it snuck up on me again. Traditionally for me, this time of year, once we’ve cleared the big Christmas holiday, always seems to bring with it a time of reflection. With New Year’s Eve – a holiday I’ve always considered Amateur Night (and I’m a fan of St. Patrick’s Day, speaking of amateurs) – comes a sense that time is passing and in some cases, slipping away. At least the introspection has stopped me from all the Holiday gorging myself. I’ve been wandering around the house with two full cheeks of food like a chipmunk for about a week now, but I digress. What was it Jackson Browne sang, “I’ve been aware of the time going by, they say in the end it’s the wink of an eye.” Maybe it’s all like Siddhartha, the Herman Hesse book, and we’re all just sitting by the river, watching it flow…always changing but yet seemingly the same. It appears I may be a little too into the reflection this year.

There seems to be a pervasive attitude among a lot of people that 2021 was just “2020 Redux.” I would argue with that. This year I was able to return to seeing my beloved Chiefs play at Arrowhead. 2020 was the first year in quite a few that I attended zero home games. Unless we all pull together progress will remain slow… I was able to travel a little this year – some in the service of my corporate masters, which I was actually looking forward to as a traveling sales guy – and some of it personal, mostly to points west to see my daughter. Hopefully you guys all got to see loved ones this year as well and didn’t have to resort to “virtual” roadtrips. Most importantly I got to see a couple of concerts. The Rock Chick surprised me with tickets to see Joan Jett and Cheap Trick (what a double-bill!) and we went out to Colorado to see 311. I can’t tell you how healing it is to spend an evening with like-minded strangers, standing in the dark in front of a stage listening to rock n roll music.

I have to say, I thought 2021 was much, much better than 2020. Although it wasn’t without tragedy. We lost a legend this year in Rolling Stones’ drummer Charlie Watts. I’m still not over that one. The man played with such an effortlessness. He made what he did look easy and believe me it wasn’t. He was the heartbeat of the Rolling Stones and one has to wonder if they’ll get over that loss. Although they did tour this year and you’d have to think those guys are in that “high risk” demographic. When I think about 2021 in general, but especially in terms of music, I thought it was a good year but I expected a great year. I thought with everybody off the road in 2020 we’d see a lot more new music than we got this year. We didn’t get that new Guns N Roses LP, although we got a few “new” singles, “Absurd” and “Hard Skool.” We didn’t get a new Stones album.

Despite those complaints, what we did get this year in terms of new music was really strong. We had new stuff from young bands like Dirty Honey and Greta Van Fleet. We had a number of new albums from veteran artists that epitomize why we founded B&V in the first place. The archives were opened up in 2021. It was a great year for live stuff and box sets. This year was a big anniversary year for many albums, especially those from 1971. As usual, I decided to end 2021 on a high note by listing out our favorite or “best of” list of new albums and in conjunction our favorite live/archival/vault releases. We did something similar last year, and the years prior. Per usual, these are listed in chronological order so please don’t consider this a ranking from 1 to 10.

B&V 2021 Best New Albums

  1. Cheap Trick, In Another World – When this came out, much like 2021 itself, I was a little let down vs their prior LP, We’re All Alright! Expectations are a tricky thing. The more I listened to this album the more I dug it, much like Pearl Jam’s Gigaton last year. This is a solid, ass kicking rock album. I got to see these guys in concert and they played “The Summer Looks Good On You” and it inspired me to go back and start listening to this LP again. These guys have been delivering so consistently for so long it’s easy to overlook a great rocker like this one… “Stop Waking Me Up” should have been on my playlist ‘Songs About Sleeping.’
  2. Black Keys, Delta Kream – I’ve been on these guys bandwagon since Rubber Factory. I was completely taken by surprise that they put out an album of blues covers highlighting the Mississippi Hill Country blues made famous by Junior Kimbrough and R.L. Burnside. “Crawling Kingsnake” was the highlight but there are ton of great, bluesy tracks here.
  3. Billy F. Gibbons, Hardware – The longtime ZZTop front man released his third solo LP and it’s the most “ZZTop-y” album he’s delivered. He does what he does best whether its dirty riff rock like “My Lucky Card” or bluesy ballads like “Vagabond Man.” This may be his best solo LP yet. The final track, “Desert High” is one of the best things he’s done.
  4. Jackson Browne, Downhill From Everywhere – Jackson just keeps putting out great, late period albums. He’s still writing wonderful songs like “Still Searching For Something” or the great ballad, “A Little Too Soon To Tell,” with a dash of politics, “Until Justice Is Real.” He’s an important voice and this was a treat of an album.
  5. David Crosby, For Free – Crosby is in the midst of a great late career renaissance. I got on the bandwagon on Sky Trails, but For Free is another great record. He collaborates with Micheal McDonald on “River Rise” and Donald Fagan on “Rodriguez For The Night,” which is my favorite track… because we’d all “sell our soul to be Rodriguez for a night…”
  6. Lindsey Buckingham, Lindsey Buckingham – I was a little overwhelmed at work when this gem came out and didn’t write about it. This was the album that got Buckingham fired from Fleetwood Mac when he asked for more time to promote it vs go on tour with the band. There are some of Lindsey’s best solo tracks on this album, the best of which is “I Don’t Mind.” “On The Wrong Side,” “Blue Light,” and “Santa Rosa” are all great songs. My only complaint is Lindsey needs to invite some other musicians into the studio to make the sound a little fuller vs playing everything himself.
  7. Chrissie Hynde, Standing In The Doorway: Chrissie Hynde Sings Bob Dylan – I’m shocked at how many great cover albums came out this year. Hynde, known for her pugnacious rock n roll with the Pretenders, strips it down to acoustic guitar and piano here for an inspired set of covers, mostly from Dylan’s later career. Mesmerizing album.
  8. Robert Plant & Alison Krauss, Raise The Roof – It took over a decade but Plant/Krauss finally delivered this stunning sequel to Raising Sand, highlighting the beautiful alchemy created by their intertwined voices. Pure harmonic sorcery.
  9. Sting, The Bridge – It is so utterly satisfying to hear an artist who I had, sadly, left for dead come back to life. “If It’s Love” is the best pop song he’s done in ages. I keep listening to this LP, I can’t stop. A true late career gem from Sting.
  10. Neil Young & Crazy Horse, Barn – Neil Young reunites with Crazy Horse for the second LP in a row and really delivers on Barn. From hushed acoustic tracks (“Song of the Seasons”) to full on garage-rock tracks (“Human Race”), this is the best thing he’s done in a while and I loved the last LP, Colorado.

B&V 2021 Best Vault/Archive or Live Albums

  1. Neil Young, Archive Vol 2 – An amazing chronicle of Young’s career from 1972 to 1976, ‘The Ditch Trilogy’ years. A must have for any Young fan.
  2. Black Crowes, Shake Your Money Maker 30th Anniversary – This might be my favorite box set of the year. The bonus tracks are great, but the full concert included is worth the price of admission.
  3. Fleetwood Mac, Live – Deluxe – The original Fleetwood Mac Live album but with twice the music. I’ve always felt the original double-LP, live record was underrated.
  4. Mick Fleetwood & Friends, A Celebration of Peter Green – Speaking of Fleetwood Mac, drummer Mick Fleetwood put together a great tribute for Fleetwood Mac founder Peter Green that plays like a great blues jam at a hot blues club. Steven Tyler, Billy Gibbons and Kirk Hammett all show up… The only sad part is Green was a no show… and passed shortly afterward.
  5. Crosby, Stills, Nash & Young, Deja Vu 50th Anniversary – Revisiting the landmark 1971 album with a bunch of demo’s and the seeds of many of the tracks that ended up on their solo records. I was surprised how much I loved every bit of this.
  6. The White Stripes, White Blood Cells – Deluxe – The album that broke them far and wide… plus a concert from that tour which is icing on the cake.
  7. George Harrison, All Things Must Pass – 50th Anniversary – Another 50th anniversary… George’s magnum opus complete with great demo’s, both acoustic and fleshed out with the band. Truly a glimpse into the creative process that was ATMP. I really dig the acoustic demo’s where he lays out the mostly all fully realized tracks. He really was stifled in the Beatles.
  8. Bob Dylan, Springtime In New York – A box set from Dylan’s oft-overlooked early 80s during the recording of the LPs Shot Of Love, Infidels and Empire Burlesque which proves that this period needs another listen.
  9. The Beatles, Let It Be – Super Deluxe – A bunch of outtakes from one of my favorite Beatles’ albums. The Super Deluxe really fleshes the album out. A must for any Beatles fan. I can’t keep humming and air-guitaring to “Get Back.”
  10. The Rolling Stones, Tattoo You – 40th Anniversary – Tattoo You was assembled from outtakes from earlier recording sessions, so they returned to that formula to add 9 more bonus tracks. There’s a Super Deluxe edition that has a full concert from the tour. This was an iconic album for all of us who were too young and missed them in the 60s… This was a special box.
  11. Bruce Springsteen & The E Street Band, The Legendary 1979 No Nukes Concert – I thought I’d throw in a bonus album, this concert document that I didn’t have time to write about. Most of the E Street Band’s legendary 1978 concerts in support of Darkness On The Edge of Town were three hours long… This abbreviated set for the No Nukes show was only an hour and a half and it’s like the band, who had been in the studio laboring over The River, sound like they’ve been shot out of a cannon. It’s chalk full of hits. It’s perfect for a casual fan who can’t groove for three hours.

That’s our top of the pops for 2021. I hope you guys enjoyed this music as much as we did here in the B&V labs. I hope everybody has a safe and happy New Year’s. I’ll be doing what I do every year. We’ll head out to dinner with friends and home and asleep by probably 10. Like I said, it’s Amateur Night. Even when I was young and faced the hope of some fabulous, un-forseen New Year’s Eve liaison… it never panned out, but I digress. I, for one, am looking forward to 2022. I hope we’ll see you here at B&V next year! Thanks to all of you who have joined and contributed to our little musical dialogue!

Cheers and again, Happy New Year!