Why there's no major concerts at Arizona State Fair: And what to expect in 2023 Why The Black Keys are still going strong And one of those was 'Good Love.' That was just all improvising." I think we came up with three or four song ideas. "Just turned the amp all the way up, poured him a glass of wine and we commenced to jamming for about an hour and a half. "I handed him a guitar and plugged it straight into an amp, no pedals, nothing," Auerbach recalls. Gibbons showed up with a bottle of wine and no guitar.
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Why don't you stop by if you get a free minute?' I didn't hear from him for hours, and then all of a sudden, I got a text. I said, 'Me and Pat are in the studio jamming. "I heard Billy was in town," Auerbach says. "I could hear what records Billy was copping on guitar and stuff like that, because I'd been obsessing over those blues records when I was young, and hearing their spin on that was really cool," Auerbach says. "I felt like we were definitely drinking from the same well."
He came away from that exposure feeling he'd discovered kindred spirits. "I didn't realize what an amazing drummer Frank Beard was, how great they were singing together, how catchy their songs were but how raw everything was. "And it just really blew my mind," he says. The Black Keys were already touring by the time they got turned on to early ZZ Top. And so I wasn't really aware of their first couple albums or first records. "I don't think either Pat or I really knew too much about ZZ Top, to be honest," Auerbach says. "I think we grew up knowing them as the guys from the music videos, 'Cheap Sunglasses' and stuff like that. Surprisingly, given his age, 46, and his love of the blues, Auerbach came late to ZZ Top. "Dropout Boogie" also features ZZ Top guitarist Billy Gibbons on a track called "Good Love." And he's also able to play very dancey." Then, Billy Gibbons showed up with a bottle of wine. He's also able to play super rock 'n' roll.
"Pat's just a crazy good drummer," Dan Auerbach says of fellow Black Key Patrick Carney. He's one of the best drummers I've ever played with." I think the older he gets, the more confident he gets in his drumming. "Pat's just a crazy good drummer," Auerbach says. It also doesn't hurt that Carney nails the groove while also allowing the record to breathe. That was really the difference maker."īeing open to outside perspectives is something they picked up from working with Danger Mouse on a string of hit albums, from their 2008 mainstream breakthrough, "Attack & Release" through "Brothers," "El Camino" and 2014's "Turn Blue." And we called in a couple friends to help us write. And the instrumental was just jumping out of the speakers. "As soon as we cut the instrumental, we knew it was special," Auerbach recalls. "Wild Child," the first single released from "Dropout Boogie," topped Billboard's Rock and Alternative Airplay charts in May. We also wanted to have some very raw improvisations. "We wanted to have some of those on the record.
"Some of the songs are a little more pop-minded, thinking about it in terms of, 'How do we make something catchy?'" he says. Other songs on their latest release required more finesse. And I think we were a little bit more comfortable to record extra raw and leave that gnarly first take on the record, which is what we did on 'Dropout Boogie.' Three or four songs are complete first takes."ĭuane Eddy interview: How his road to the Hall of Fame started in a Phoenix junkyard On 'Wild Child': 'We knew it was special' "It's music we'd obsessed over when we were younger," Auerbach says. They'd played those old familiar songs before, but not since they were starting out. We've never played with a percussionist. So it was all these new things." "It's just a completely raw improvisation. "We didn't touch it at all," the guitarist producer recalls. Then we just sat on it for a few months, didn't even listen to it."Ī year and a half later, they released the songs in all their ragged, unkempt glory. "So he came over and we cut the record in a day. "I knew that he would get a kick out of it," Auerbach recalls. Those are records he and Carney listened to "over and over again" while crisscrossing the country in a minivan. So he got Carney on the phone and asked if he was free the next day to record with Brown and Deaton. "And just hearing his playing reminded me of those records I loved so much like 'Too Bad Jim' by R.L. Burnside and 'Sad Days and Lonely Nights' by Junior Kimbrough." "It was the first time I had ever worked with Kenny," Auerbach says. He'd just finished producing an album in his Nashville studio, Easy Eye Sound, for Louisiana bluesman Robert Finley with bassist Kenny Brown and lead guitarist Eric Deaton. They didn't have much time to overthink the song selection, having tracked it in a single day on what Auerbach says was a whim.
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