Five Songs From...The Black Keys

If Brothers was their breakout album in 2009, then the Black Key's seventh album El Camino, released last December and debuting at number 2 on the Billboard 200, was certainly their most widely heard, appreciated, Googled, etc.  It only took seven albums for everyone to realize how talented and widely appealing they could be.  Even in their earliest days as two college drop outs playing music in a small town in Ohio, their sound, performance style and energy all pointed towards something great.  Nonetheless, they sat patiently without a care for fame and produced a stellar array of rock n' roll worth revisiting.

Formed back in 2001 and consisting of singer/guitarist Dan Auerbach and drummer Patrick Carney, the Black Keys were formed at a time when rock 'n roll had slowly seceded its monopoly hold of American ears in favor of the fast emerging hip-hop and R & B scenes.  Rock still had its big hitters in Pearl Jam, The Foo Fighters and Green Day, but at the time, it seemed no one could outsell Eminem, 'N sync or The Backstreet Boys.  As a result, the Black Keys came along during a time where rock formed itself on "revival" acts.  Post-punk revival was headed by acts like The Strokes and Interpol, while garage revival came back with The White Stripes and The Black Keys.  The revival of the latter genre meant a return to the raw sound and sheer simplicity formed by early blues rock 'n roll.  Recorded in Carney's basement, their debut album The Big Come Up did just that.  Stripped down guitars, drums and that's basically it.  

Met with some small, initial success, Auerbach and Carney remained a relatively unknown and mainly an "underground" act until the release of 2010's Brothers which earned them three Grammys including Best Alternative Music Album.  With this and the release of their latest album El Camino, the Black Keys have established themselves as something far greater than just two guys "reviving" old tunes.  Selling out their first stadium concert late last year, it's obvious they've done just that.  

Useless Clatter...New Category For '"Review"'

In my experience, when an artist of my liking comes out with a new album I always seek it out, regardless of what critics say.  Whether Pitchfork or Rolling Stone give it a 9 or a 3 doesn’t matter because in most cases, my previous attachment to the band gives me reason to accepting the new material regardless of public opinion. 

      That being said, I am introducing a new category on TUNEclatter titled “Review.”  It’s important that the word contain those quotations because as I previously stated, I don’t stand by reviews of music as much as I do for movies.  What I will begin to attempt with this new category is not to give the album a rating as much as I would like to comment on the new material in terms of its sound comparison with the artist’s previously released album. 

      On my other blog, FILMclatter, I have a category titled ‘Why See This’ in which I state the reasons why I believe a particular movie is worth seeing.  In other words, I would rather just promote the movies and music I love as opposed to giving a mark of criticism to everything I can.  There are plenty of people out there doing the same thing, so I see any effort of my own to be rather trivial. 

      Above all though, I have always found myself interested in looking at the particular change in style a band encompasses over the years and therefore feel that comparing albums in that matter is a much more noteworthy thing for me to write about as opposed to shelling out the 100^th review of an album months after its release. 

+ The first albums that will be “reviewed” then will be from the San Francisco indie band, Girls. Their two albums being Father, Son, Holy Ghost from last September and their debut feature, Album, from 2010.

Useless Clatter..."Lonely Boy" vs. "Gold On The Ceiling"

      For all that really mattered, Dan Auerbach and Patrick Carney could have named their band "The Black Sheep."  Besides being relatively close to their actual name, The Black Keys, the band has always seemed to be the weird sibling in the family of modern rock 'n roll.  Not distinctly alternative rock that's heard on the radio or what used to be the antithesis of radio rock, indie rock- no The Black Keys are more intractable than that.  Along with Jack White's White Stripes, The Black Keys emerged as one of the top outputs of the 90s generation.  Their music was of the simpler sound, bent on catchy riffs and basic drum taps, echoing the early days of blues rock.  Both seemed to get by on the bare bones of rock 'n roll.

      And with the recent break up of The White Stripes, and Jack White constantly managing a handful of other projects, The Black Keys appear to be the front runner of this modern off-beat rock, until recently.   The Black Keys remained primarily under the radar through their first five albums but found recent mainstream success in 2010's Brothers and their latest album El Camino which recently held the #2 spot on the Billboard 200.  While The Black Key's made their name on raw blues-like rhythms, their latest efforts, especially El Camino, seem to be merging their old selves with styles reminiscent of  some of today's pop music.

      The two songs I had in mind were actually the album's two singles, "Lonely Boy" and "Gold on the Ceiling," and I can see why they were selected. If pop artists like Lady Gaga can have successful, catchy songs, why can't rock bands have the same?These two songs are faster, more up beat tracks that have you tapping your foot along in rhythm before you realize it.  To add, the lyrics seem more frequent and casual where singing along is encouraged and with that going you have a hit.  In this case, The Black Keys have two, those of which I can't decide which I like better.  Which do you prefer?

"Lonely Boy"- A Black Keys album has never started off sounding like this.  For El Camino  "Lonely Boy" replaces the drawn out, woeful sounding riffs in exchange for a flashy, confident set of notes that seem only appropriate to dance to.  Melodic chants and catchy yet simple refrains made this song an instant radio hit and setting the bar high for the album's remaining tracks.

"Gold on the Ceiling"- "Lonely Boy" really met its match with this song.  Dan and Pat revert back to their traditional garage rock sounds with a little bit of flair. Synthesized guitars lead the way while an organ chimes out subtly behinds its chorus.  Just like "Lonely Boy," this song's distinct and powerful refrain has a sing-a-long feel to it that'll have your approval in no time.