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Black Keys
Rock music and advertisers have had a checkered relationship. In fact, for a long time there was no relationship at all. Musicians often didn't want to license their songs for commercials because they felt it cheapened their "art." When publishing contracts allowed songs to be used without a band's permission, it was the fans who got up in arms. And even when a group/performer wanted to license a song, they asked for a fortune.
So why spend half your advertising budget to use a tune that might tick off fans, the very people you're trying to reach? Maybe a better course is to find an up and coming band that will license their music cheap and appreciate the exposure.
Though the Black Keys' "Girl Is On My Mind" was heard in an 06 Sony Ericsson ad (for mobile phones), it was Victoria's Secret's use of "The Desperate Man" that turned heads, and not because the commercial featured Heidi Plum (OK, maybe it was mostly Plum).
Formed in Akron, OH, the one-time bowling capital of America, the Blues-Rock duo Black Keys was part of the early 00's lo-fi movement (stripping away all the technical enhancements to get to a more organic or real sound). Oddly, they didn't acquire their name from a piano (the black keys are the flats or sharps, depending on the key). Turns out, the group took their moniker from a term an artist friend used to describe things he didn't like or trust.
The Black Keys' 02 debut, "The Big Come Up" was recorded in 14 hours in Carney's basement using an 80s Tascam deck. And just as planned, that's exactly how it sounded.
"Thickfreakness" rolled out in 03. "Set You Free" wound up in the Jack Black flick School Of Rock. "Rubber Factory" was 04's effort and a live DVD recorded in Sydney, Australia, arrived a year later. Paying tribute to Mississippi Blues musician Junior Kimbrough, the Black Keys record six of his songs for May, '06, EP "Chulahoma." A few months later (September), the full-length, "Magic Potion,"the group's first release on Nonesuch records, dropped.
'08 saw the arrival of "Attack & Release. The set, produced by Danger Mouse (Brian Burton), featured the single "Strange Times." There was concern Danger Mouse, a Trip-Hop innovator, might alter the lo-fi Black Keys sound. Considering DM founded the hugely successful Gnarls Barkley (with Cee-Lo) and produced "The Grey Album" (his remix of "The Beatles - White Album" and Jay-Z's "The Black Album") to say nothing of his solo career, had Black Keys fans on edge. But Danger Mouse had also produced Sparklehorse's "Dreamt For Light Years In the Belly Of A Mountain" ('06) and The Good, The Bad And The Queen's self-titled debut ('07) so the Black Keys weren't entirely unfamiliar turf.
Prior to the release of "Attack & Release" the Black Keys embarked on a successful tour.
Auerbach must have spent half his life listening to late 40s/50s Chicago Blues. He does a good job channeling the sound through his down and dirty guitar and crude recording techniques. Seeping through is what sounds like a pre-Zeppelin Jimmy Page, when the then-session guitarist occasionally issued a Blues track.
Due to the sparse arrangements (though the guitar is sometimes double tracked) and the absence of a bass player there is an improvised, loose, open feeling to Black Keys songs. It's like listen to a couple musicians in a dank club at 1:00 am.
The biggest challenge facing a group like the Black Keys is overcoming a duo's limits. Early on, they were listed as contemporaries of another pair, the White Stripes. But there was a significant difference. Jack White changed things up, adding an acoustic guitar here, piano there (a bass on "Seven Nation Army!") or lacing songs with pop or even cabaret touches. The Black Keys don't go there. As appealing as their sound is, it can't help but wear out - quickly.
"Busted" and I'll Be Your Man" are prime examples of the Chicago influences that dominate "Big Come Up." From out of left field, there's also a surprisingly good cover of John Lennon's "She Said, She Said."
"Thickfreakness" goes down the same road but less effectively. Little wonder "Set You Free" was the track selected for a film appearance. "Rubber Factory" relies more on Rock and less on the Blues. Good move. The chord slashing "The Desperate Man" and "Girl Is On My Mind," with a ton of hot licks, deserve attention. However, the uptempo "Aeroplane BluesEis the set's killer track.
Riding a catchy riff, "Strange Desire," jumps out from "Magic Potion." "Modern Times" is nearly as good. "Just Got To Be" and "Just A Little Heat" are good Blues variations but nothing exceptional.
It's evident the album has a bit of a problem. The Black Keys cover ground they have previously tread. Of course, if this is the listener's first exposure it'll all sound intriguing.
With the exception of an embellishment here or a flourish there, Danger Mouse leaves the Black Keys unmolested - free to do what they do best - which is the sign of a good producer. The Black Keys aren't compromised by pop sensibilities nor are they buried. Their trademark Blues-Rock is intact and is as gritty and appealing as ever. "I Got Mine" and "Remember When (Side B)" kick like nobody's business. "Lies," "Same Old Thing" and "Strange Times" are a bit slower but they're still tough and edgy. The album opens and closes with ballads. They're OK but there's a lot more meat in between.