The Black Keys' singer/guitarist Dan Auerbach debuted solo with Keep It Hid (Nonesuch, 2009), possibly a better album than the duo ever recorded together. His simple, primitive jamming works best when he avoids the cliches of the Black Keys, as in the poignant gospel ode Trouble Weighs a Ton, in the Van Morrison-esque serenade When the Night Comes (mostly rhythm-less, with only acoustic guitar and a distant keyboard hum), in the martial soul ballad Whispered Words, in the catchy country singalong Real Desire (reminiscent of the Band). The method fails when Auerbach tries a bit too hard to reach a mainstream audience with the blue-collar anthem My Last Mistake, a hybrid of Creedence Clearwater Revival and Bruce Springsteen. The Black Keys' influence cannot be shaken away from the melodic Caribbean-infected blues I Want Some More, the vaudeville-esque parable of Mean Monsoon, the Bo Diddley-like boogie Street Walkin' and the post-Rolling Stones shuffle for fibrillating vibrato guitar Heartbroken in Disrepair, two of the most brilliant takes on the blues in ages. While the talent is undeniable, and the honesty palpable, and the melodies mostly memorable, the album feels a bit under-produced and under-performed, evoking the naive side of the 1960s even when it was probably meant to be thoughtful; but then maybe that was precisely the point. However, the last six songs of the collection are vastly inferior to the first half. Goin' Home
Blakroc (2009) was an uninspired collaboration between the Black Keys and a number of rappers.
Black Keys' drummer Patrick Carney formed Drummer with musicians who were drummers in other bands. They debuted with Feel Good Together (2009).
The much tamed Brothers (Nonesuch, 2010) turned them into stars thanks to lighter fare such as the Prince-ly falsetto soul-pop of Everlasting Light and especially Too Afraid To Love You, a sort of agonizing gospel hymn paced by a baroque harpsichord. I'm Not The One even features a Moody Blues-esque mellotron. There are moments of sheer class, like when a western-movie guitar and a gospel organ cross path in Tighten Up (another collaboration with Danger Mouse). And there are occasional bursts of violence: the incandescent riffs of old-school British hard-rock (Free and the likes) echo in Next Girl and She's Long Gone. However, the album indulges too often in languid litanies that detract from the show. The stereotypical bluesy riff of Howlin' For You is too little to restore their garage-rock credentials.
This album is a schizophrenic tour of the pair's musical background that can't choose between wilderness and civilization. In the end, it's too albums in one, and neither makes strides. Meanwhile, the rhythm section bestows voodoo bleakness on most of the songs, and that's the only reassuring factor.
The Black Keys' singer/guitarist Dan Auerbach debuted solo with Keep It Hid (Nonesuch, 2009), possibly a better album than the duo ever recorded together. His simple, primitive jamming works best when he avoids the cliches of the Black Keys, as in the poignant gospel ode Trouble Weighs a Ton, in the Van Morrison-esque serenade When the Night Comes (mostly rhythm-less, with only acoustic guitar and a distant keyboard hum), in the martial soul ballad Whispered Words, in the catchy country singalong Real Desire (reminiscent of the Band). The method fails when Auerbach tries a bit too hard to reach a mainstream audience with the blue-collar anthem My Last Mistake, a hybrid of Creedence Clearwater Revival and Bruce Springsteen. The Black Keys' influence cannot be shaken away from the melodic Caribbean-infected blues I Want Some More, the vaudeville-esque parable of Mean Monsoon, the Bo Diddley-like boogie Street Walkin' and the post-Rolling Stones shuffle for fibrillating vibrato guitar Heartbroken in Disrepair, two of the most brilliant takes on the blues in ages. While the talent is undeniable, and the honesty palpable, and the melodies mostly memorable, the album feels a bit under-produced and under-performed, evoking the naive side of the 1960s even when it was probably meant to be thoughtful; but then maybe that was precisely the point. However, the last six songs of the collection are vastly inferior to the first half. Goin' Home
Blakroc (2009) was an uninspired collaboration between the Black Keys and a number of rappers.
Advance Album Streams from the Black Keys, Down, Swans and More Radio on the TV: Performances from the Black Keys, Ray LaMontagne, the Both, and More New Releases Roundup: April 29. Which albums are best for getting into the Black Keys? I usually look at the best-rated albums on the Allmusic.com discography, but for the Black Keys they've all got fantastic ratings. Which are the classic albums that are best for someone to get into the Black Keys and figure out what their sound is like? Attack and Release. After making the austere, shrug-inducing Magic Potion in 2006, it looked like the Black Keys’ well was running dry. All it took to refill it was the producer from Gnarls.
Black Keys' drummer Patrick Carney formed Drummer with musicians who were drummers in other bands. They debuted with Feel Good Together (2009).
The Black Keys Best Album
The much tamed Brothers (Nonesuch, 2010) turned them into stars thanks to lighter fare such as the Prince-ly falsetto soul-pop of Everlasting Light and especially Too Afraid To Love You, a sort of agonizing gospel hymn paced by a baroque harpsichord. I'm Not The One even features a Moody Blues-esque mellotron. There are moments of sheer class, like when a western-movie guitar and a gospel organ cross path in Tighten Up (another collaboration with Danger Mouse). And there are occasional bursts of violence: the incandescent riffs of old-school British hard-rock (Free and the likes) echo in Next Girl and She's Long Gone. However, the album indulges too often in languid litanies that detract from the show. The stereotypical bluesy riff of Howlin' For You is too little to restore their garage-rock credentials.
This album is a schizophrenic tour of the pair's musical background that can't choose between wilderness and civilization. In the end, it's too albums in one, and neither makes strides. Meanwhile, the rhythm section bestows voodoo bleakness on most of the songs, and that's the only reassuring factor.