THE BLACK KEYS-TURN BLUE

dereksmusicblog ♦ May 14, 2014 ♦ Leave a comment

THE BLACK KEYS-TURN BLUE.

The Black Keys have come a long way since they formed back in 2001. Since then, The Black Keys have released eight albums. Their latest album is Turn Blue, which was released on Nonesuch on 12th May 2014. Turn Blue is the followup to El Camino, which was certified platinum in the US and UK. El Camino was the most successful album of The Black Keys career, which began back in 2001.

It was back in 2001, when guitarist and vocalist Dan Auerbach and drummer Patrick Carney formed The Black Keys. The duo from Akron, Ohio dropped out of college to see if they could make a career out of music. Since then, Dan and Patrick have been living the rock ’n’ roll dream. Back in the early days, it was very different 

When The Black Keys formed, they rehearsed and recorded in basements and garages. Dan and Patrick produced their early recordings, which were a fusion of garage, blues and rock. As The Black Keys honed and refined their sound, it was described as blues rock. That’s what featured on their debut album The Big Come Up.

May 2002 saw The Black Keys released their debut album, The Big Come Up. Produced by Patrick Carney, it was released on Los Angeles’ based Alive Records. Released to critical acclaim and hailed as one of the best album of recent years. Despite this, The Big Come Up failed to chart. However, a breakthrough wasn’t far away for The Black Keys.

Just eleven months after the release of The Big Come Up, The Black Keys released their sophomore album, Thickfreakness. It was released on Australian label Fat Possum Records in April 2003. The Black Keys raw, blues-tinged garage rock won friends and influenced people. Especially critics and music lovers in the UK and Australia. Thickfreakness reached number 182 and in the UK number ninety in Australia.  Soon, however, The Black Keys’ popularity would spread much further afield.

That’s no surprise. The Black Keys were an old school band. They embarked on extensive and gruelling tours. That was their way of building a fan-base. It worked. Rubber Factory, which was released on Fat Possum Records in September 2004. Rubber Factory was hailed as The Black Keys’ finest album. It was also their most successful album, reaching number 131 in the US Billboard 200, number sixty-two in the UK, number eighteen in Australia and number 123 in France. Not bad for an album recorded in a disused factory in Akron, Ohio and like their previous album, produced by Dan and Patrick. The Black Keys were on their way. 

So, it’s no surprise that they signed to a subsidiary of a major label. This was Nonesuch, a subsidiary of Warner Bros. Magic Potion was The Black Keys’ Nonesuch debut. Released in September 2006, Magic Potion was the first Black Keys’ album to feature only original material. Recording took place at The Audio Eagle Nest, Akron, Ohio. This was a studio in the basement of Patrick Carney’s house. It’s where the band’s first two albums were recorded. Both Patrick and Dan like the sound that could room produce. So did critics and record buyers. 

Magic Potion was released to widespread critical acclaim. It was their most successful album, reaching number ninety-five in the US Billboard 200, number seventy-nine in the UK, number twenty-seven in Australia and number 109 in France. Belgian music fans discovered The Black Keys and Magic Potion reached number ninety-nine. With every album, The Black Keys’ success was growing.

For their fifth album Attack and Release, The Black Keys changed tact. They turned their back on recording in Patrick’s basement. Instead, they headed to Suma Recording Studio, Painesville, Ohio. Another change was that an outside producer was brought in. This was Grammy Award winning producer, Danger Mouse. He seemed an unlikely choice for The Black Keys, given his musical CV. Danger Mouse had worked with everything from ambient and hip hop acts through to folk, psychedelic and alternative rock groups. However, the combination of The Black Keys and Dangermouse was a huge success.

Attack and Release was released on April Fool’s Day in 2008. Critics hailed the partnership between The Black Keys and Dangermouse a masterstroke. This translated into sales. The album reached number fourteen in the US R&B Charts, number thirty-four in the UK and number twelve in Australia. Attack and Release charted across Europe, in Belgium, Denmark, France and Holland. However, it was in Canada that The Black Keys received their first gold disc. This marked the start of the most successful period in The Black Keys’ career.

Brothers was the album that transformed The Black Keys. It was recorded in studios in Muscle Shoals, Alabama, Portland and San Diego. Producing Brothers were The Black Keys, Mark Neill and Dangermouse who produced just one track, the lead single Tighten Up. It spent ten weeks at number one on the US Alternative charts and was The Black Keys first album to chart in the US Billboard 100 charts. Although peaked at number eighty-seven in the US Billboard 100 charts, it was certified gold. So was Howlin’ For You, another single released from Brothers. This was just a taste of the commercial success that was about to come The Black Keys’ way.

When Brothers was released in May 2010, it reached number three in the US Billboard 200 and twenty-nine in the UK. This resulted in Brothers being certified platinum in the US and silver in the UK. In Canada, Brothers was certified platinum. Brothers was a huge success across Europe, including Belgium, Denmark, France, Holland and Sweden. The latest country to be won over by The Black Keys was New Zealand. That wasn’t the end of the commercial success. No. in 2011, Brothers won three Grammy Awards, including The Grammy Award for Best Alternative Music Album. After six albums, it seemed, The Black Keys were a musical phenomenon.

The followup to Brothers was El Camino. This marked a return to the partnership between The Black Keys and Dangermouse. Recording of El Camino took place in Easy Eye Sound studio in Nashville. The result was an album inspired by the music released between the fifties and seventies. Everything from blues, glam, rock ’n’ roll, soul, rockabilly and surf influenced El Camino, which was released in December 2011. What followed, surpassed everything that had gone before.

El Camino was released to critical acclaim. There were no dissenters. Everyone was in agreement that El Camino was The Black Keys’ finest album. It certainly was a worthy successor to Brothers. On it release in December 2011, El Camino reached number two in the US Billboard 200 charts and number six in the UK. Across the world, El Camino reached the top ten. It was certified platinum in the US and UK and double platinum in Australia, Canada and New Zealand. Then there’s the singles released from Camino. They ensured the success continued.

Lonely Boy was the lead single from El Camino. Released in 2011, Lonely Boy reached number one in the US and Canadian Alternative and Rock Charts. This resulted in Lonely Boy being certified platinum in the US and Canada, and triple platinum. Gold On The Ceiling then was certified gold in the US, Canada and Australia. The final single released from El Camino was Little Black Submarine. It added to the haul of gold discs, when it was certified gold in Australia. El Camino was, by far, the most successful album of The Black Keys’ career. Surpassing its success won’t be easy. 

It’s too soon to tell if Turn Blue will surpass the success of El Camino. It was only released yesterday. However, Turn Blue, has been released to widespread critical acclaim. Hook-laden, melodic and irresistible describes the music on Turn Blue. It consists of  eleven tracks penned by Dan Auerbach and Patrick Carney. These tracks were recorded between January 2013 and February 2014. 

Recording of Turn Blue was recorded at three studios. The sessions started at Key Club Recording, in Benton Harbour, Michigan. The Black Keys were on a break from their El Camino tour. For twelve days straight, The Black Keys never left the studio. During this period, they recorded three songs. Then in July 2013, The Black Keys headed to Sunset Sound in Hollywood. They stayed at Hollywood Sound until August 2013. The final sessions took place in during In Easy Eye Sound, Nashville February 2014.

At these sessions, Dan Auerbach played guitar, bass, keyboards and sung lead vocals. Patrick Carney played drums, keyboards and percussion. Accompanying The Black Keys were Brian Burton on keyboards and piano. Regina, Ann, and Alfreda McCrary added backing vocals on Weight of Love, Turn Blue and 10 Lovers. Producing Turn Blue, which I’ll tell you about, were the tried and tested partnership of The Black Keys and Danger Mouse. Will Turn Blue be a fitting followup to The Black Keys’ career defining album El Camino?

Weight of Love, which opens Turn Blue, is reminiscent of an old Neil Young. It meanders lazily and dreamily into being. A guitar is strummed while percussion rings out. Then the pounding drums and blistering guitars take centre-stage, it’s reminiscent of Pink Floyd in their pomp. Ladies and gentlemen, The Black Keys are in the building. Having built the drama up, the arrangement settles down and Dan’s vocal enters. By now the arrangement reminds me of late period Beatles. That’s before The Black Keys sweep you away. Backing vocals, searing crystalline guitars and a powerhouse of a rhythm section. It’s an impressive sound. Later, Dan’s vocal is needy and soulful, before The Black Keys fuse hooks with blues, psychedelia and classic rock. This proves the perfect appetiser for the rest of Turn Blue.

Ethereal harmonies and deliberate stabs of piano open In Time. That’s before thunderous guitars and searing, soaring guitars glide above the arrangement. When the vampish vocal arrives, it’s sung in a faux falsetto. As it drops out, harmonies, the rhythm section and keyboards sweep in. They’re replaced by Dan’s scorching guitar. He unleashes another glistening solo. Then when he returns to vocal duties, he vamps his way through the lyrics, before unleashing another guitar masterclass. Meanwhile, horns growl and strings add a wistful twist on this delicious fusion of glam rock, blues and rock. My only criticism is the album is way too loud. 

A roll of drums and crystalline guitars Turn Blue. A buzzing sound cascades across the arrangement. This adds a dubby twist to what’s a much more understated track. Dan’s vocal is whispery and tender. Cooing harmonies and a piano accompany him, while the bass and guitar help drive the arrangement along. An occasional burst of horns punctuate the arrangement as The Black Keys reinvent themselves. There’s no way they were going to make El Camino Mk. II, so went back to the drawing back and combined a groundbreaking fusion of perfect pop, electronica, soul and rock. The result is one of the highlights of Turn Blue.

As Fever unfolds, it’s hard to believe that you’re listening to The Black Keys. They’re a band transformed. Long gone is their early bluesy sound. Instead, it’s as if they’ve gone through their record collection and drawn inspiration from everything from Kraftwerk, David Bowie, The Knack, Arcade Fire, Talking Heads, funk, post rock, psychedelia and jazz. There’s still the odd bluesy lick. It’s a compelling combination. Especially, the robotic, mechanical arrangement. Dan dramatically vamps his way through this genre-melting, experimental arrangement as The Black Keys are reborn.

There’s another change of direction on Year in Review. The pounding rhythm section set the backdrop for ethereal harmonies. They swirl above the arrangement, just like the strings that accompany Dan’s vocal. His punchy, frustrated vocal is filled with emotion. Harmonies coo, empathising with his worldview. Meanwhile, the rhythm section provide the heartbeat. Dan lays down what’s the best bass line on Turn Blue. Later, Dan unleashes a scorching guitar solo. They’re replaced by by strings and cooing harmonies as The Black Keys demonstrate their ability to write rock anthems.

Bullet in the Brain has a wistful, understated sound. Dan’s thoughtful vocal is joined by strummed guitars. As his vocal drops out, the arrangement takes on a spacey, psychedelic sound. Guitars reverberate, shimmer and quiver, while keyboards add subtle hooks. Soon, the rhythm section decide to up the tempo. Now, Dan’s vocal has taken on a late-sixties sound. Ambient, pop, classic rock, psychedelia and space rock are combined to create a dreamy, lysergic and psychedelic opus that’s trippy and rocky,

It’s Up to You Now sees The Black Keys return to the past for future. They combine everything from blues to classic rock, garage, psychedelia and stoner rock. Dan’s scathing, angry vocal is shrouded by filters as The Black Keys unleash some heavy rock licks. Thunderous drums and searing, screaming guitars combine. Sometimes, they return to the bluesy sound of The Black Keys’ early album. Other times, the track veers between muscular heavy rock and a lysergic sixties sound. This allows The Black Keys to shine like a glittering star.

Swathes of chiming guitars open Waiting on Words. They give way to a dreamy, heartfelt vocal. You hope this folk rock sound going to continue and that The Black Keys don’t kick out the jams. Guitars that sound as if they belong on a David Lynch reverberate into the distance. Then it’s all change. The arrangement fills out, and The Black Keys deliver a series of populist, poppy hooks. There’s still occasionally a rocky sound. It comes courtesy of the Hammond organ and pounding drums. However, from the folk rock of earlier in the track, a melodic and populist slice of pop unfolds. It’s melodic and full of hooks. Sadly, it’s not The Black Keys of their earlier album. Some would say, that The Black Keys seem to have sold out. Not me. It’s perfect pop par excellence.

10 Lovers sees the The Black Keys get a little funky. Keyboards add a poppy sound. So does Dan’s vocal. The populist pop of the previous track returns. As the rhythm section and keyboards drive the arrangement along, Dan vamps his way through the track. There’s even a guitar hero solo that closes the track. The result is a track that’s melodic, irresistibly catchy and full of poppy hooks. It’s also anthemic and ripe for a dance-floor friendly remix. However, good as this track is, it’s a long way from the blues rock of early albums.

In Our Prime is a Beatles-esque tracks. It sounds as if the jaunty, psychedelic and rocky arrangement has been inspired by Sgt. Pepper’s Lonely Hearts Club Band. A lone piano panned left opens the track. Drums play slowly and a guitar chimes, reverberates. Dan’s vocal sounds as if it has been inspired by John Lennon. Especially, when the arrangement becomes jaunty. It’s like climbing onboard the Magic Roundabout. Strings sweep, the bass drives the arrangement along and guitars quiver. Keyboards add to the psychedelic sound. Later, Dan unleashes one of his trademark scorching guitar solos. It sounds as if it belongs on either classic rock or sometimes, surf rock album. This combination of classic rock, surf and psychedelia is a compelling combination, and allows us to hear another side to The Black Keys and their music.

Gotta Get Away closes Turn Blue. it sees The Black Keys draw inspiration from the Rollings Stones and even glam rock. As the track unfolds, it could be Keith Richards unleashing some of his trademark licks. His guitar is double-tracked as the rhythm section and keyboards kick loose. Dan’s vocal is reminiscent of early seventies glam rock. Soon, The Black Keys pickup the baton from the New York Dolls and The Faces. They strut through this three minute rocker, leaving the audience wanting more of the same. It’s just a pity there wasn’t more songs like Gotta Get Away on Turn Blue.

For The Black Keys, trying to replicate the commercial success and critical acclaim of El Camino wasn’t going to be easy. It was, after all, the most successful album of their career. Recording the followup to El Camino was doubly difficult. The Black Keys were on a gruelling tour. So when they had downtime, they started recording Turn Blue. When they went into the studio, they were faced with a dilemma, what direction did they take?

Many bands would’ve been tempted to record El Camino Mk. II. Not The Black Keys. They’re one of the most groundbreaking bands in modern music.  The Black Keys are also ambitious. Their ambition is to continue to create innovative music. That’s what their c-producer Danger Mouse always strives to do. So, there was no doubt that Turn Blue, The Black Keys’ eight album was going to be a fitting followup to their career defining album El Camino.

Turn Blue is best described as magical, musical mystery tour of genres. During the eleven tracks, The Black Keys combine everything from alternative rock, ambient, blues, classic rock, electronica, folk, garage, glam rock, perfect pop, post rock, psychedelia, rock,  soul  and space rock. There’s a nod to everyone from Arcade Fire, David Bowie, Kraftwerk, Pink Floyd. The Beatles, The Faces,  The Knack, the New York Dolls and the Rolling Stones. Quite simply, Turn Blue is a captivating and compelling musical tour de force where The Black Keys reinvent themselves yet again. This is what we’ve come to expect from The Black Keys, who never stand still. Producer Danger Mouse wouldn’t let them. With Danger Mouse co-producing The Black Keys there’s no chance of that. 

That’s why Turn Blue is full of music that’s dramatic, dreamy, hook-laden, irresistibly catchy, lysergic, muscular, populist, psychedelic and rocky. Over Turn Blue’s eleven tracks, The Black Keys throw a series of curveballs. It’s album full of twists and turns, and subtleties and nuances. With every listen you hear something new. Layers of music unfold. The music on Turn Blue is akin to a musical tapestry, that’s best described as ambitious, bold and groundbreaking. Turn Blue is a genre-melting album where The Black Keys draw inspiration from the music of the last sixty years. It’s a fitting followup up to the critically acclaimed and commercially successful El Camino. However, I’ve one problem with Turn Blue.

The problem is Turn Blue is far too loud. So much so, that Turn Blue is one of the loudest albums I’ve heard recently. There’s literally no headroom. That’s a great shame. It takes the edge of The Black Keys and Danger Mouse’s production. They spent over a year recording Turn Blue. They then passed it to Grammy Award winning mixer Tchad Blake. He played a huge part in the album’s sound and success of Turn Blue. So it must be frustrating to hear an album as loud as Turn Blue. Having said that, Turn Blue which was recently released by Nonesuch is still a fitting followup to El Camino.

Turn Blue features The Black Keys at their genre-melting best. They take you on a magical musical mystery tour, where The Black Keys combine musical genres with poppy hooks. The result is a captivating and compelling musical tour de force, Turn Blue, where The Black Keys reinvent themselves yet again.

THE BLACK KEYS-TURN BLUE.