- THE BLACK KEYS KEEP YOUR HANDS OFF HER PLUS
- THE BLACK KEYS KEEP YOUR HANDS OFF HER SERIES
- THE BLACK KEYS KEEP YOUR HANDS OFF HER TV
THE BLACK KEYS KEEP YOUR HANDS OFF HER PLUS
And this is all there is – vocals, guitar, drums – plus a vast amount of talent.Īlthough it will probably be viewed by some as a stop gap between proper Black Keys albums 'Chulahoma' is far from this. Carney’s drums are equally fitting – never intruding too much into the tracks but never letting them lose their way either. 'Chulahoma' is what it is possible to imagine the first blues recordings would sound like if they were stripped of the fuzz and degradation of inferior recording equipment and long years.įrom ‘Keep Your Hands Off Her’ at the start to ‘My Mind Is Ramblin’’ at the end all these tracks showcase the strengths of Auerbach’s blues rasp and his languid yet threatening guitar moves. Keys’ vocalist Dan Auerbach cites Kimbrough as an early influence on his style and rather than trying to move the sound he worshipped forward he has instead become perhaps the foremost contemporary old-style bluesman, along with drummer Patrick Carney.Īlthough their normal material is obviously not cutting edge, these songs are perhaps even further back down the meandering path the blues has taken. But if you joined the Black Keys soul-rock party for the riffs, there's a chance you may not be prepared to stay for the noodles.Blues traditionalists the Black Keys here cement their place in the genre with a blistering set of six covers of songs from Junior Kimbrough. Turn Blue is a rather fine record, hugely engaging on the audiophile level, and one that humanises Auerbach. The Black Keys are not doing that here, but pleasing themselves, in the increasingly audible company of Danger Mouse. Ever since one shaman chanted more effective incantations than the witch doctor in the next cave, it has been de rigueur to berate the successful the ascent of these midwesterners has been accompanied by apparent accusations of copying (by White in a leaked email, denied by Carney), over-licensing and shamelessly playing to the crowd. More widely, though, it might be the Black Keys' detractors that deserve to rot – Jack White loyalists, at a guess, or people who like to sneer at the Black Keys' relative lack of pretension. Lyrically, Auerbach has always been something of a star-crossed lover, but you feel his pain more here.
Who should die? Well, just as El Camino was peaking, Dan Auerbach was getting divorced from the mother of his five-year-old, an ugly process that leaches into the words here (Bullet in the Brain). It means: die – making this roundabout Black Keys record startlingly direct.
THE BLACK KEYS KEEP YOUR HANDS OFF HER TV
It's a reference to an obscure Cleveland TV show – the catchphrase of its anchor, Ghoulardi.
The title of the album doesn't refer to some hazy passage into the ultramarine spectrum, though. It clocks in at more than seven minutes, and travels from Zeppelin pastorale through some serious guitar-shop soloing, into a shimmering nugget of a love-gone-wrong song. The opening track, among the best, is Weight of Love. The cover art of Turn Blue features a spinning psychedelic visual, a clue that this record is headed towards inner space, rather than the rafters. So long a guitar 'n' drums outfit, the Black Keys now, finally, live up to the instrument in their name.īy and large, though, Turn Blue is less immediate than its predecessor, more sprawling and – according to the band – designed to be savoured in headphones. Fever has an organ melody that you can't dislodge without queueing up in A&E, while In Time is a tune that feels like it has been around for ever, despite its preponderance of keyboards and an Auerbach falsetto that is actually, properly, seductive. Patrick Carney's drums, sometimes delicate, sometimes carnivorous, go their own way, rather than the way of the metronome. Two years in the making, the Black Keys' eighth album is not another road-hogging pile-driver like El Camino. Key-in-chief Auerbach has also enjoyed a parallel career producing artists like Dr John and Bombino his hands are on the desk of Lana Del Rey's long-awaited second album Ultraviolence.
After their breakout album, Brothers (2010), El Camino made the Black Keys into proper rock stars, on a par with their Nashville neighbours Kings of Leon, and outpacing their antic rival Jack White.
THE BLACK KEYS KEEP YOUR HANDS OFF HER SERIES
For El Camino, Dan Auerbach, Patrick Carney and longtime producer Brian "Danger Mouse" Burton reformulated the band's strengths into a series of muscular uppercuts – a punchiness that did not sacrifice their appeal to the hips. The Ohioan band had always been retro they had long had tunes – at the very least, since Attack & Release (2008) poured more R&B oil into the Black Keys' garage blues engine. P latinum-shiny, Grammy-snaffling, the Black Keys' last album, El Camino, effectively weaponised the duo's slinky blues rock.
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