Music Reviews 2011 – The Black Keys
I am not proud of it…but I have to admit that I completely missed the Black Keys until this year. They’ve been around for over a decade, making killer music, and I had no idea. I’m an open-minded music fan and am always open to embracing new artists who make music that I enjoy. But, I had no clue what I was missing.
The Black Keys hit me like a ton of bricks this year for certain. Upon discovering that their music history dates back at least a decade, I had to ask myself, “where have I been?” and “how did I miss this?” When I saw them on Saturday Night Live (SNL) in January, I enjoyed both songs that they played, without knowing the names of them. They turned out to be, Howlin’ for You and Tighten Up (from the new Brothers CD). As I watched, I made a note to poke around i-Tunes and see what I might find. A few days later, I bought the Brothers CD. Upon discovering that I liked virtually all of it, I decided to work back through their library.
Within a week, I owned the bulk of their discography. The Black Keys are SO in my musical (proverbial) “wheelhouse.” Blues, riff’n guitars, pounding drums. They are a force in modern music–creating more sound than you’d think two people could generate–celebrating and evolving that, made in the “garage” sound.
As an SNL fan from the very beginning, I’ve heard dozens of artists for the first time on the show. On a few rare occasions, I’ve bought albums as a result of seeing and hearing something I liked. But, the Black Keys were the first group that inspired me to buy 5 CDs in 4 days. Each album was a treat.
The Black Keys are Dan Auerbach, as vocalist and guitarist, and Patrick Carney, as drummer and producer. They hail from Akron, Ohio. And they’ve been around the music scene for awhile. Their music has accompanied some very popular TV shows and movies recently. It has reached the point of ubiquity, with their music prominently placed in shows and movies from Sons of Anarchy, Eastbound and Down, to School of Rock and the Twilight Series Movies. And I still missed them.
That’s ok though, since it only made it sweeter to discover them in totality. Their overall body of work is terrific. They’ve grown over the years, but they’ve also remained true to that which makes them unique. They rock, they jam, they groove, and they sound way bigger than two people should. Their sound calls to attention my Zeppelin memories, some occasional Hendrix, some Rolling Stones, and even some classic Jethro Tull, among many other noteworthy influences.
The new Brothers CD is magnificent;
it is worthy of all the accolades it has received (three Grammys, three Billboard Award nominations). But as good as Brothers is, I like the earlier works more. Usually, you hear that analysis from long-time fans, who compare new works to older, more familiar, well-liked works. In my case, It just serves as the rationale for the depth of my newfound fandom. If I liked Brothers but not the previous works, I’d just take them as a band that grew into being worthy of my listening time. As it stands, the fact that I love their earlier works even more than Brothers, has motivated me to articulate why.
The Black Keys are simple, direct, and straightforward. Until fairly recently, they were primarily guitar, voice and drums. Their sound is garage-band-like. Some have said they are a little reminiscent of the White Stripes, but in my view, they are a little more accessible, less eccentric. They seem to know that good rock and blues needs no eccentricity. It just needs to be “pounded” out.
As an illustration of their straightforward simplicity, the band recorded their second album, Thickfreakness, in 14 hours, back in 2003. Thickfreakness, as the name sort of implies, is full of thick, fuzzy, bluesy, guitar, accompanied by driving rhythms. In this album, I hear hints of Hendrix, some Allman Brothers, Stevie Ray Vaughn, etc., but the songs I like most are pure Black Keys. At the top of that list, Everywhere I Go is a blues dirge that became a ski anthem and theme song for me while I explored the “steeps and deeps” of my local “Big Mountain.”
In 2004, the Black Keys released Rubber Factory. It’s first track, When the Lights Go Out, accompanied the opening, erotic scene featuring Justin Timberlake and Christine Ricci in the movie Black Snake Moan. The same song would later be used prominently on ads for the hit show Sons of Anarchy, on TNT. The Keys’ impact was beginning to be felt. Soon they would become an integral part of the soundtrack to America’s pop culture–whether we were paying attention or not. I clearly was not–at the time anyhow.
The 2006 release, Magic Potion, is probably my favorite Black Keys’ record thus far.
In it, I hear some serious Zeppelin homage, from the guitar riffs on Just a Little Heat and Goodbye Babylon, to the relentless pounding/driving drums on Modern Times and Goodbye Babylon. The similarities ring my “familiar” bells in a way that is undeniable. John Bonham drummed with a distinction and zeal that yielded perfection throughout Zeppelin’s entire catalogue (for a classic example, focus on hearing the drums only while listening to Stairway to Heaven). On Magic Potion, Patrick Carney captures some of that same Bonham’ zeal. The drums sound heavier, more insistent, like they must be that way, to drive the insistency of the blues riffs. It all works.
Around the same time-frame as Magic Potion, the band also released Chulahoma. Chulahoma features the songs of the late Mississippi bluesman, Junior Kimbrough. While this is probably the least commercial album in their discography, it does increase their “blues” credentials on some level. An interesting track on the Bonus version (of the CD), is a phone call from Junior’s widow Mildred, praising the Keys as being one of the only bands to play his music “like Junior played it.” She was very proud of it. I’d say they can all be proud. It is true blues–earnest, captivating, and hypnotic even. I didn’t know Junior’s music before, but because of the Black Keys, I now do…and like it.
In 2008, the Keys put out Attack and Release. This was seemingly the beginning of their expansion beyond just the two of them. Working with Gnarls Barkley’s producer ‘Danger Mouse’, the Keys also had a number of collaborators, vocally and musically on the record. Adding keyboards, flutes and background vocals to the blues duo’s core sound was a winning formula too. It just broadened and deepened their repertoire, setting the stage, paving the way for the meteoric success of their follow-on album, the new Brothers CD.
The success of 2010’s Brothers CD was apparently the impetus for SNL to bring on the Black Keys as a musical guest. And once again, SNL has proven to be of continuing relevance. More often than not, it’s the comedy that produces the water-cooler discussion. In this case, SNL gave me a centerpiece for this ski season’s soundtrack. If you have any affinity for Rock and Blues and you haven’t heard them before, give the Black Keys a spin. You won’t regret it.
The Black Keys Discography and my “Best of” Playlist follow below:
Album Year
The Big Come Up 2001
Thickfreakness 2003
Rubber Factory 2004
Chulahoma 2006
Magic Potion 2006
Attack and Release 2008
Brothers 2010
My “Best of the Black Keys” playlist goes like this:
- Everywhere I Go – from Thickfreakness
- When the Lights Go Out – from Rubber Factory
- Stack Shot Billy – from Rubber Factory
- Keep Your Hands Off Her – from Chulahoma
- Just Got To Be – from Magic Potion
- Just A Little Heat – from Magic Potion
- Modern Times – from Magic Potion
- The Flame – from Magic Potion
- Goodbye Babylon – from Magic Potion
- Black Door – from Magic Potion
- I Got Mine – from Attack and Release
- Same Old Thing – from Attack and Release
- Oceans and Streams – from Attack and Release
- Tighten Up – from Brothers
- Howlin’ For You – from Brothers
- The Only One – from Brothers
- Too Afraid To Love You – from Brothers
- I’m Not the One – from Brothers

















My Miley-like Comedy Monologue – The Casey Anthony Trial
Hey Ya’ll,
Welcome to my Miley Cyrus-like Comedy Monologue (think southern, bubbly, free-floating, stream of consciousness, and probably not completely thought through).
I feel obligated to explain the lost month of June 2011.
Sorry I haven’t talked with ya’ll lately. I’ve been too caught up in the Casey Anthony trial.
That poor girl. Losing her baby, after all those years of abuse by her father and brother. It must have been so tough on her. I’d say she deserved to party for a month–so she could legitimately get a Bella Vita (good life in Italian) tattoo. Cause everybody knows that commemorative tattoos have totally valid enduring value–even when your baby gets tragically, accidentally drowned, and then put in a trash bag, secured over by duct tape, and some creepy meter reader pokes a stick in a skull’s eye-socket, and you end up prison for the rest of your life.
The disembodied voice of a sensible producer–“NOT so fast Cowgirl! Have you ever heard of reasonable doubt?”
No. I’ve got this…
What was Casey thinking back in 2008? Well, maybe it went somethin’ like this…
“Hmmm, my folks won’t keep the baby….and my friends are going clubbin’….and I wanna go. I’ll do the seemingly responsible thing…and still be the party-girl. Come on, Caylee let’s go for a ride.
Hey baby, time to take your vitamins (Xanax). It’ll make you feel better.
30 minutes later, “Dang, this isn’t working fast enough. This baby needs a boost. Hey, I’ve got this chloroform. That’ll work.
Now, there we go, Caylee’s sleeping like a baby. That’s such a cute nest I made for her in the trunk. Oh, but what if she wakes up. Ah, that’s what duct tape is for. It’ll help keep her from screaming. She’ll rest better. It’ll only be for a coupla hours.
Ah, time to dance….
Gimme another shot of Patron. Woohoo!
Several hours later, lemme check on my baby. OMG!!!
What happened? What am I gonna do?
First, lemme get a trash bag. OMG I don’t have a shovel. Wait, the neighbors do. Lemme ask them.
I just need some time to figure all this out. In the meantime, I’ll just leave her in the trunk. Nobody will look there.
Casey’s friends over the next few days/weeks, “Hey we had fun with ya at the club the other night…we’re going out tonight, wanna come?” Casey, “Sure, see ya there. I’ve got a new tattoo I wanna show you.”
Man, this car’s starting to smell. I’d better find a spot here somewhere to put her. Hmmm, there is that woodline around the corner. Nobody would ever look there. Lemme put Caylee’s blanket in with her. She’d want it that way.
Florida native wisdom says you need to double wrap the body—that’s what we always did with our poor-old dead dogs, cause the nearby woodlines can get swampy. You always want your baby to have the best treatment–even under the worst circumstances. Right ya’ll?
“Life is tough. It’s even tougher if you’re stupid” (so said John Wayne in Sands of Iwo Jima). And true-dat to both parts if you’re trying to get a seat in the gallery for the Casey Anthony trial. That nexus of tough and stupid embodied the demographic of folks attending the event. They were so aggressive that the authorities had to literally rewrite the rules for the public attending trials in Florida.
To those who got to sit in on the trial, on behalf of the rest of us, I salute ya. And because y’all represented all of us, I’ll just acknowledge that–“We rock~!” Don’t we ya’ll? We fight for our spot in line. It’s the American way. And so is being able to text wherever we want. That’s what freedom is–freedom to text/tweet my way thru the new Transformers. My BFF NEEDs to know that Transformers 3 Rocks Ya’ll. ReTweet Requested.
Oh, anyway.
In 2036, at the end of the news, when they do that,”25 years ago today…” thing, they’ll hearken back the days of the Casey Anthony trial…..and we’ll be able to say, “I was there.” Not that I was literally there, but I did have the i-Phone App. And in many ways that was even better. I got to control my own climate while not missing a second of the proceedings. Bathroom break, no problem. Thanks Steve Jobs!
So, there ya go. It’s been a great month, June 2011, the year of the non-stop Casey Anthony Trial coverage. Will July compete? How can it? The defense has rested, closing statements are in, and we’re just waiting on the jury.
Poor Casey. Benvenuto a la penal system en Florida—la nostra casa e la tua casa. Bella Vita indeed.
The now more insistent, sensible Producer, “Wait Cowgirl, stop the presses. The glove didn’t fit. The Jury had to acquit.”
Ok, ya’ll? Did ya see that? Casey didn’t murder her baby? Is she free yet? Can we get her on the show? We can share some K2 and hit the clubs. Let’s get this done, ya’ll!
—————-The fine print————————
This was a joke. It was NOT in any way affiliated with Miley Cyrus. For the Record, my only familiarity with her comes from her SNL and American Idol appearances. The Comedy Monologue notion is more an homage to the SNL parody of Miley Cyrus. In those cases (Miley and SNL’s parody of her), I’m sure both are professionally, quite well-thought out. My version here, is a tongue in cheek statement of the world in which we live. I meant no harm…to Miley, Steve Jobs, Casey Anthony or anyone else–including me, your part-time, wannabe comedian. Just trying to lighten urrybody up. K’ ya’ll?
Besides, I thought it was “pretty cool”….even if it was in very poor taste (so said Napolean’s Corporal’s review). What else did you expect it to be? We’re talking about a baby that ended up in a trash bag in a trunk. Bella Vita gone horribly wrong!
Special thanks to B-Squared-B, of Straight2Vault Productions–for his take on the Casey/Caylee Anthony scenario. It’s as plausible as anything else put out there. JDPF