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

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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!

Review: The Black Keys’ LP of Blues Covers, ‘Delta Kream’ – Goin’ Down South To The Mississippi Hill Country

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Despite the heavy influence of the blues on just about every band I was into through college – the Stones, Zeppelin, Clapton, Aerosmith, etc – it wasn’t until after college when I was sent into corporate exile in the lonely state of Arkansas that I actually saw my first blues band in an actual blues club. Don’t be confused, it wasn’t in Arkansas that I saw my first blues band. Every week I spent in Arkansas I was usually figuring out how to get out of Arkansas by the weekend. Early in my southern desolation a group of friends of mine were convening in Chicago for various, nefarious reasons. It was my sainted mother who said to me, in regards to actually flying to Chicago to join them which I was hesitating on, “Buy the ticket son, enjoy your life.” On the appointed weekend I drove from Ft. Smith to Tulsa, the closest functioning airport, and flew to Chicago. It was like getting a three day furlough.

By the time the wheels touched down in Chicago and I made it to my friend’s waiting car, someone had thrust a beer into my hand. I knew this was indeed going to be a great weekend. Before I knew it, I was down on Halsted standing in front of the legendary Kingston Mines. I seem to recall not being able to get in and so we went across the street to the B.L.U.E.S. bar… It was there that I saw Magic Slim and the Teardrops, my first blues band. After that performance, my musical universe made a lot more sense. I spent a lot of time after returning to KC hanging in blues clubs like the Grand Emporium, alas now defunct. One of my first dates with the Rock Chick I took her to B.B.’s Lawnside BBQ, an old school roadhouse. I can still remember watching her swaying to the blues music on her barstool with a half-eaten rib in her hand. I was…mesmerized. 

Despite my love of the blues I had no idea when I posted my rockers playing the blues playlist a few weeks ago what a huge part of 2021 the blues were going to be. That post grew out of another post I’d done about old school cassette mix tapes not any preternatural sense the blues were going to be a big part of spring. But before I knew it Mick Fleetwood released the soundtrack to his blues jam in honor of Peter Green. And now, the Black Keys have released an entire album of blues covers. A blues album from those guys totally make sense. Like the White Stripes they’ve always had that bluesy sound to go along with the garage rock swagger. It’s often that you hear a band do a cover song, but an entire cover album isn’t as common as you think…but that’s another post. 

I got into the Black Keys on their third LP, Rubber Factory. For some reason that LP just didn’t click with me. Months later though, the Rock Chick discovered it and it went into high rotation for her. After hearing it a few times I realized I’d missed something on my initial listens. She not only picked up Attack & Release she went all the way back to their debut LP, The Big Come Up. Since then I’ve had an odd relationship with the Keys. I seem to like every other LP they put out. Rubber Factory, yes. Magic Potion, no (although in their defense I’m not sure I gave that one a thorough enough listen), Attack & Release, yes. It wasn’t until this week, in anticipation of the new blues LP, Delta Kream that I picked up Brothers. They had quite a run there with Attack & Release, Brothers, and El Camino. They’ve branched out from their early garage-rock bluesy roots but they always return to them eventually and that’s the stuff I like the best. 

Delta Kream is not the first time the Black Keys have done a strictly blues thing. They did an EP in honor legendary Mississippi bluesman Junior Kimbrough, Chulahoma. The Keys also covered Kimbrough’s “Do The Rump” on their debut. The influence is definitely ingrained in their music. They’ve stated that Delta Kream is an album to honor Hill Country Blues and the musicians who played it – Junior Kimbrough, R.L. Burnside, Missippi Fred McDowell, to name but a few. Hill Country blues generally refers to a type/style of blues played in the northern part of Mississippi near the Tennessee border. It has a “strong emphasis on the rhythm and percussion and a heavy emphasis on groove.” I just love that description from Wikipedia…I had to quote it verbatim. Hill Country blues has also been described as “hypnotic boogie.” It’s like cool bluesy trance music. With Patrick Carney on drums, he’s tailor-made for Hill Country Blues. 

The Keys convened shortly after their tour for their last LP, the superb “Let’s Rock.” The chemistry between singer/guitarist Dan Auerbach and drummer Patrick Carney is so strong that they entered the studio and recorded this album in 2 days… approximately 10 hours. There was apparently no plan or rehearsal, they just set up and eyeball to eyeball played the blues. They’re like me and my friend Drew, it can be 10 years since we last spoke but when we see each other it’s like it was just yesterday… I think we all have friends like that. To augment their rootsy two-piece sound they rounded out their sound on this LP by bringing in Eric Deaton who was R.L. Burnside’s bassist and Junior Kimbrough’s sideman Kenny Brown on exquisite slide guitar. You can’t get more authentic blues sound than bringing those guys in. To emphasize the percussion, so important in the Hill Country blues they also added Sam Bacco on percussion. Brown was a critical add as his and Auerbach’s guitar snake around each other like Clapton and Duane Allman did on Layla And Other Assorted Love Songs. 

Knowing my proclivity for the blues, it’s no secret that I love this LP. I listened to it all day yesterday and last night on the headphones after the Rock Chick was asleep. This is the kind of music that just seeps into your pores. I can feel dirt on my hands when I hear this stuff. The first track on the LP which was coincidentally the first single is “Crawling King Snake” which I first heard the Doors do on L.A. Woman. It’s a track they played early on but Morrison couldn’t convince the band to include it on their debut. It was previously made famous by none other than the legendary John Lee Hooker. I love what the Keys do here with it – they cleave pretty tightly to the Junior Kimbrough version of the song – it’s swampy. “Louise” a Mississippi Fred McDowell tune is next up and I’ll just quote the Rock Chick when she first heard it last night, “That’s a great tune.” Indeed. 

“Poor Boy A Long Way From Home” is another favorite… it’s been done by several artists but I really dig this version. It’ll put a hitch in your giddy-up as a friend of mine used to say. These guys make these tunes sound fresh and new and somehow ancient at the same time. I feel like I’m getting wisdom when I listen to old blues tunes. “Stay All Night” which I seem to remember asking the Rock Chick after seeing her eat ribs and groove to the blues, is a slow burner of a tune. When you think about the blues, this is the type of music  you think of. “Going Down South,” which helped me name this post is a bit of a twist as Auerbach sings in a high falsetto. It’s a nice change of pace. “Coal Black Mattie” a Ranie Burnette track is another stand out. It just jumps up and grabs you with a thick riff, insistent drumming and stabs of slide guitar. I like to imagine I’m in a roadhouse down at the crossroads, washing down the dirt from a hard day working with a cold, affordable beer when I hear this stuff. 

There are so many great tunes here – and most of these blues tunes are ones I hadn’t heard before, which was a surprise. “Sad, Lonely Nights,” and “Walk With Me” are tracks I’d never heard covered. I used to think there were maybe twelve blues tunes and artists just passed those around. Obviously, that was wrong. There are some who will probably criticize the Keys for being too reverent and clinging too closely to the original versions of these songs, although I think in most cases they make these tunes their own. I remember Clapton’s great blues LP From The Cradle being criticized for not taking enough creative license with the songs. I feel like that’s hollow criticism. If you’ve got the chops to get up and make me feel something, I’m good with that. In the case of the Black Keys they’re exposing me to blues music and artists I would have otherwise not known and that is the greatest support you can show other artists, especially bluesmen. I know I immediately turned to Junior Kimbrough’s catalog to check that cat out. I will likely continue spelunking into Hill Country blues having heard this LP. 

I highly recommend Delta Kream. This is a swampy, bluesy treat of an album. When the Black Keys are on their rootsy game they can literally compete with any band on the planet. It’s just so fantastic to hear this kind of blues music still being recorded in 2021. I’ve always feared it’s going to be like what Elwood Blues once said, “some day the music known as the blues will only be available in the classical music section of your local library.” With albums like this one, that day looks like it’s been pushed a little further down the road. Thank God. 

Cheers! 

LP Review: The Black Keys Return With “Let’s Rock” – Yes, Indeed!

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I have finally found the rock and roll album for the Summer of ’19. ‘Let’s Rock’ by the Black Keys! Hell yes! Baby, let’s rock!

I was beginning to wonder if we’d get any more rock and roll this year… it’s been thin for those of us who like to hear squalling guitar and big drums. I was also beginning to wonder if the Black Keys were even still a band. It’s been five years since their last album, Turn Blue. I went back recently and listened to that album in the hopes it would break my liking-every-other-album cycle with the Black Keys, but alas I found the album, well, kind of a bummer. And I like sad music, just see my Neil Young collection. The good news about my not liking Turn Blue is it boded well for the new album. I had absolutely loved El Camino, the predecessor to Turn Blue. I don’t know what it is about these guys, they zig and I zag… but we always meet on the next album.

In the interim, lead singer/guitarist/bassist/keyboardist Dan Auerbach released a solo album, Waiting On A Song that was a really strong, “summery” record in its own right, LP Review: Dan Auerbach (of the Black Keys) Solo, Poppy ‘Waiting On A Song’. He also produced a host of other artists. I know drummer Patrick Carney also did some producing. And I just read in Rolling Stone magazine, Carney somehow made peace with Jack White who had been reported as hating the Black Keys “for ripping the White Stripes off.” Jack said that Carney came over to his house in Nashville while White was recording with the Raconteurs and loaned him a microphone. Nothing like reaching out with the olive branch microphone. Peace was made. We can’t have rock bands feuding… this isn’t hip hop and there are far too few rock bands left.

I also read on Wikipedia that Auerbach said he prefers creating the music (writing/producing/recording) and had grown weary of touring, which he described as “necessary” after you’ve released an album. He was jamming with Joe Walsh – and let me tell you, I’d love to have been a fly on the wall for that – and Auerbach started to get the itch to play with Carney again… And let me just say as an aside, if Auerbach is producing a Joe Walsh solo album, can I just be the first to say, YES PLEASE!! Carney and Auerbach hadn’t so much as spoken in quite some time… but apparently the chemistry they have ignited immediately. Joe Strummer said it best, “never underestimate the power of the chemistry of four guys in a room.” In this case it’s two guys, but you get my point. And I do mean two guys literally. For the first time in five or six albums, Danger Mouse didn’t produce this record. The Black Keys produced it themselves. The only other musicians on this album are two back up singers, Leisa Hans and Ashley Wilcoxson. I have to assume with that name, Ms. Wilcoxson was teased in high school, but I’ll leave that alone. I should also mention that for the first time in a few records, there are no keyboards on this album… I mean, that’s all you gotta know.

When I saw the album was titled, “Let’s Rock” I assumed there was some epic story where the two guys in the band reunited after the long separation – sort of like when Joliet Jake gets out of jail in the movie The Blues Brothers and is reunited with Elwood while “She Caught the Katy” plays in the background… and one of them looked at the other and said, “Let’s rock,” and they immediately lock into a groove that ended up being “Lo/Hi.” That would have made for a great story. Unfortunately it’s a different story. Apparently the state of Tennessee executed a guy in the electric chair (hence the cover art) for the first time in 14 years. When asked if he had anything to say, the guy just said, “Let’s rock.” Not the story I’d hoped for but in these dark times, perhaps it’s the story we deserve… but I digress.

I liked this album immediately upon first listen, something that doesn’t always happen these days. I will admit, it’s a tad more polished than their earlier work and it sort of glided by on that first listen, almost too quickly. But after hearing it, damn, if the melodies didn’t stick in my head. The rocking “Lo/Hi” and perhaps my favorite track, “Tell Me Lies” would be running through my head when I woke up in the morning. The Rock Chick liked the album as well, but in the interest of full disclosure, she’s always liked the earlier, more raw albums. She really digs the debut, The Big Come Up. I’m beginning to think the Rock Chick may be, unbeknownst to her, like the heroin of the Ramones’ tune, “Sheena Is a Punk Rocker.” The Keys early records sound like they were recorded in a basement with the vocals distorted, almost like they’re running them through the harmonica microphone. Auerbach sang like he had a small dollop of Howlin Wolf in there. It sounds like they taped a microphone to a Marshall amp and turned it up to 11… Believe me I get it, I dig that early stuff too. This may be more polished, but the guitar sound still grabs me.

This album is a predominately a guitar forward upbeat record. It starts off with three great tracks, “Shine A Little Light” (which could have been on Auerbach’s last solo disc), “Eagle Birds” which has a crazy good guitar solo and the first single, “Lo/Hi” (The Black Keys: Fabulous, Dirty Rock New Single, “Lo/Hi”). They take a bit of a left turn with an almost psychedelic ballad on “Walk Across the Water,” followed by “Tell Me Lies” which starts with a slow groove and then builds, drops back to the groove… rinse repeat. I love that track. While the music is rocking and up beat, the lyrics belie a darker, heavier feel. It’s like the narrator of the song is rocking his blues away. “Get Yourself Together” and “Sit Around Missing You” certainly are examples of what I’m talking about. What was it Tom Waits said…”I like beautiful melodies telling me terrible things.”

This is far from a monochromatic record… don’t think it’s all upbeat rock songs. Most of them are but there are quieter moments. “Breaking Down” starts with a sitar-like sounding little guitar figure. It’s more mid tempo but it chugs along thanks to Carney’s propulsive drumming. “Sit Around And Miss You” is built on an acoustic, strumming guitar. The only track that threw me bit was “Fire Walk With Me.” It’s another great rock song, but the title… are these guys Twin Peaks fans?

I recommend this album as strongly as I can. It’s just a great rock and roll record and perfect for the summer. And… spoiler alert… this is a definite candidate for the B&V best albums of the year. Turn this one up loud and enjoy!

Cheers!

 

 

 

 

The Black Keys: Fabulous, Dirty Rock New Single, “Lo/Hi”

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Just when I thought rock and roll was going to be in trouble in 2019, the Black Keys pop up with a brand new, mind blowing single, “Lo/Hi.” Thank God.

I’ve always had an odd relationship with the Black Keys. Not the Jack White, “they ripped me off” kind of relationship. I get it Jack, White Stripes/Black Keys. I could see where that would make Mr. White a little uncomfortable. It’s all a little too close. Anyway, like the Stripes, the Keys are just two folks, Dan Auerbach on guitar/vocals/bass/keyboards and Patrick Carney on drums. They are the same ilk of bluesy, garage rock that the White Stripes play and that I absolutely love. For some reason, however, I seem to bounce in and out of their orbit.

I pulled up their discography on Allmusic.com the other day and it hit me. I literally like every other album they put out. I loved the debut, The Big Come Up. Who else would have the balls to cover the Beatles, “She Said, She Said?” Thickfreakness, the follow up, left me cold. The album that really pulled me and the Rock Chick in was the third record, Rubber Factory from 2004. For us here at B&V, it’s the gold standard by which we judge all other Black Keys’ records… and by “us” here at B&V, I mean the Rock Chick and me. To illustrate this point, I have to share, when she walked into the music lab yesterday and I played “Lo/Hi” for her, the first words out of the Rock Chick’s mouth were, and I quote, “Awesome, they’re getting back to that Rubber Factory sound.” You can take the girl out of the Rubber Factory, but you can’t take the Rubber Factory out of the girl, I suppose.

Since that album, the Rock Chick and I have purchased every other album they’ve put out. We skipped Magic Potion, only to get back on the bandwagon for Attack & Release. While there were some great tracks on Brothers, specifically “Howlin’ For You,” “Everlasting Light,” and the oft overlooked “Sinister Kid,” the rest of the album didn’t grab me. El Camino for me, was another career highlight. It almost edges out Rubber Factory, but please, for my own safety, don’t tell the Rock Chick I said that. Rock and Roll blasphemy carries a heavy penalty around this place, especially during winter. I was so used to this pattern of one album on, one album off that I didn’t even check out their 2014 effort Turn Blue until recently. It’s like when I was a kid. My brother and I were polar opposites. If he liked a dish my mom made, I’d skip it… Sadly, I used that same logic for Turn Blue. It’s a solid album, and they’re certainly opening up their sound pallet. It might be the album this breaks the cycle for me… I also dug Dan Auerbach’s second album, Waiting On A Song, reviewed on these very pages, LP Review: Dan Auerbach (of the Black Keys) Solo, Poppy ‘Waiting On A Song’.

I do have to admit though, I’m like the Rock Chick when it comes to the Black Keys, I like them with a little less polish, a little more raw, if you will. I will admit, it was with a slight bit of apprehension that I hit “play” on the new track, “Lo/Hi.” Was I going to hear a polished attempt at pop or was I going to hear some garage-rock Black Keys? You just never know. My fears were eliminated immediately! “Lo/Hi” comes chugging out of the speakers from the jump. The guitar riff is a giant, greasy slab of rock. It bores into your brain. Carney’s drumming drives the track forward like a galloping thoroughbred whose escaped his trainers. “Run Forrest, run!” I love the first couplet, “Out on a limb in the wind of a hurricane/Down at the bar like a star in the howling rain.” Fuck yes, it’s like “Gimme Shelter.” There’s some nice female back up vocals on the chorus which contributes to the “River Deep – Mountain High” vibe of the song. The guitar solo at the end should come with a warning, “Could Melt Your Face Off.”

The Keys haven’t indicated if they’re putting out an album or if this is a one-off single. It seems all we do these days down at B&V is spread the word on new singles, whilst we wait for new albums to drop. All I can say, a new Black Keys album would be a great addition to a rocking spring… if spring ever comes. This is a must hear, must have single. I love that the Black Keys are keeping the rock and roll flame alive!

LP Review: Dan Auerbach (of the Black Keys) Solo, Poppy ‘Waiting On A Song’

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It’s always a curious thing when a member of a well-known band decides to step out of the band and do a solo album. There are several reasons to do so. Sometimes, like Pete Townshend, the performer feels the songs are too personal to record with the band and so decides to do it alone. Sometimes the members of the band just need a break from each other. That was the onus of Freddie Mercury’s ‘Mr. Bad Guy,’ an album I still feel was a bad idea, despite the adoration of critics. The cover art could be considered Freddie’s declaration that he was gay, not that there’s anything wrong with that…it’s just that we never suspected, but that’s another story. Getting out on his own helped recharge Freddie and the resulting music he made with Queen seemed reinvigorated. And let me be clear, I’m a huge Freddie Mercury and Queen fan.

There was a time when audiences weren’t sophisticated enough to understand a “solo” career coinciding with a band they loved. The thought of a Beatle stepping out on his own surely meant the end of the band. Well, OK, that one might have been true. Rod Stewart was the first artist who really seemed to pull off the parallel solo/band thing. He’d release a solo album and a Faces album every year. Although to be truthful, the solo stuff and the success he saw there overshadowed the Faces stuff and eventually tanked that band. And, in truth, Rod had already signed a solo contract before joining the Faces so he really didn’t have a choice in the matter. Other early notable solo careers outside of a band would include Phil Collins at the height of Genesis’ popularity. Some might say Collins’ solo career helped fuel the success of Genesis… but Phil Collins, really? Even I feel like that’s a reach for this blog.

Nowadays, solo careers are pretty much the standard. Yes, they still sometimes mean the end of a band you love (I’m talking to you Gwen Stefani of No Doubt). Most of the time it’s just a chance for an artist to step outside the strictures of working with the same people, and maybe expand their musical palette. Having spent the last week or so listening to ‘Waiting On A Song,’ I can definitely say that is what Dan Auerbach has done. Of course, I’ve had to select my moments when I can put this album on… The Rock Chick is not a fan… I can only listen when she’s not around… and I’m supposedly “the head of the household…” but I digress.

Both the Rock Chick and I are what I would describe as “casual” fans of the Black Keys. I liked their early blues-punk stuff. I’ve always thought of the Black Keys’ early stuff as somewhat monochromatic, which isn’t a bad thing. Consider Picasso during his “blue period.” I thought the high point during that part of their career was the LP ‘Rubber Factory,’ an album both the Rock Chick and I both enjoy. I will say, in subsequent albums the Black Keys did open up their sound quite a bit. ‘Attack And Release,’ a favorite of the Rock Chick, incorporated a number of new sounds and directions. That’s one of the things I’ve really liked about the Black Keys, they keep expanding sonically. I think all of that came to beautiful fruition on their best album, ‘El Camino.’ I will admit, ‘Turn Blue’ left me decidedly cold. I did not like anything on that record. I seem to like every other Black Keys album.

I was aware that Auerbach had already released a solo album previously, but I’d mostly ignored that. Even if I’d listened to ‘Keep It Hid,’ I don’t think that or anything would have prepared me for how different ‘Waiting On A Song’ was than Auerbach’s day job. This is a shimmery, summery, light, upbeat 70s style record that in places borders on soul music or R&B. I heard the first single “Shine On Me,” reviewed here on B&V, and really liked it. It’s what the kids call, “my summer jam.” It’s all acoustic strumming with electric guitar accents. I still just love that tune.

With the Black Keys, it now appears to me, that the caveman, Meg White-like drumming of Patrick Carney drives the sound. Which, I know the Black Keys used to be considered a poor man’s White Stripes, and likely I risk Jack White punching me in the face with the Carney/Meg comparison, but oh, well, there it is. Auerbach couldn’t sound further removed from the Black Keys sound than he does here. There is a diversity of sound, and a difference that astounds me. With Carney behind the kit, Auerbach has to play a more aggressive, loud guitar as counterpoint.

With ‘Waiting On A Song,’ where to begin…. “Malibu Man” sounds like something from a 70s Bobby Darin album. It’s a great tune, all shimmery pop. “Livin’ In Sin,” a phrase I haven’t heard since my father forbid my uncle from sharing our guest room with his live-in girlfriend, now my aunt, is a great song. But even that phrasing, “Livin’ In Sin” has a 70s feel to it. This whole album feels like an homage to shiny, happy 70s rock and roll. “Never In My Wildest Dreams” is a beautiful little song, which starts out sounding like Jack Johnson. I never thought the guy behind the Black Keys would sound like Jack fucking Johnson, but it works.

The last track, “Stand By My Girl,” may even outpace “Shine On Me” for my favorite. He sings, “I’m gonna stand by my girl, because if I don’t she may kill me…” Which could be my theme song here at the house. “King of A One Horse Town” starts off like a funky, porn-movie riff, and then turns into a longing, sweetly sung chorus. It reminds me of my time living in Ft Smith, Arkansas… talk about your one horse towns…

I know Auerbach has worked with a wide selection of different artists. He’s clearly brought all that back with him into the studio for ‘Waiting On A Song.’ The title track is all about creating new music, which this guy does in spades here. I really like this record but be forewarned, this is nothing like the Black Keys. This is light and more pop-oriented. Frankly it’s a perfect album for summer and laying out by the pool with a cold beer in your hand, watching tanned bodies stroll by. Which frankly, doesn’t sound like a bad idea….Turn it up loud and be sure to use your sunscreen.

Cheers!

Dan Auerbach (of The Black Keys): “Shine On Me,” The First Single From His New Solo LP

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Last week while I was checking out the new single from the upcoming Lindsay Buckingham/Christine McVie album, I happened to notice that Dan Auerbach has a new solo album coming out, his second one. I also noticed the first single, “Shine On Me” had been released. I couldn’t help but think, as the bourbon drinking cynic in me popped out, “just what the world needs, another Dan Auerbach solo album….” Despite my initial reservations, as your intrepid musical spelunker, I felt compelled to check this new tune out.

I’ve always run a little hot and cold on the Black Keys. I really dug ‘Rubber Factory,’ but then ‘Magic Potion’ left me cold. ‘Attack and Release’ grabbed me, and I probably like that record more than ‘Rubber Factory.’ Early on I would have said the Rock Chick was more into ‘Attack and Release’ but now I think the tide has turned and she’s more into ‘Rubber Factory.’ I will admit, I would probably say ‘El Camino’ was my favorite Black Keys’ album. But yet again, the follow up, ‘Turn Blue’ did absolutely nothing for me. At the end of the day, I guess I just have to admit I’m more of a White Stripes guy than a Black Keys guy. Not that I’m trying to get in on that feud. This doesn’t have to be a Stones vs Beatles thing… you can dig both. There’s no Superman vs Batman thing going down here at BourbonAndVinyl… we’re lovers not fighters.

I picked up this Dan Auerbach song, “Shine On Me,” and damn if it’s not catchy. This is nothing like the sludgy, bluesy stuff I’ve come to expect from the Black Keys, his day job. This song is as close as you can get to capturing sunshine in a recording studio. It immediately hit me on the lower brain stem. With its ringing acoustic guitars and insistent electric guitar counterpoint, I have to admit, it sounded more like “Go Your Own Way” era Fleetwood Mac than Lindsay Buckingham’s new song. I know one thing for sure, it’ll get your foot tapping and possibly get you up out of your chair, moving around. If this isn’t the rock song of the summer, I don’t know what a summer rock song sounds like any  more.

I think Auerbach is a very talented guitar player, but his vocals in the Black Keys are usually a little obscured or blurred. Not so on “Shine On Me,” he’s full out singing and it sounds like he’s overdubbed himself on the vocals. He sounds better on this song than almost anything I’ve heard him do in the band. The chorus is enormous. It explodes from the speakers. This song may be a little saccharine for the usual BourbonAndVinyl musical tastes, but when I hear a great song, I just have to tell somebody about it.

Uncover the pool, sweep out the leaves, crack some Mexican beer and turn this one up loud. I have no idea how the rest of the album is going to be and I’m not even sure I’ll check it out but everybody should have this single on their summer playlist. Well everybody except those Goth folks… they don’t like to get in the sun anyway.

“Shine On Me” definite purchase! Cheers!