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Joe said the first time he saw Glenn Schwartz was in 1966 or 1967 and he was wearing, like, purple velvet bell bottoms and no shirt and playing an Epiphone Casino up on somebody’s shoulders in a bar. "Well, about a year-and-a-half-ago I made a record with this guy named Glenn Schwartz, who was from northeastern Ohio and who was the original guitarist in the James Gang. I really didn’t realize how much Glenn Schwartz had influenced me until I did that session. It’s been five years since the last Black Keys album at what point did you make the decision that it was time to get back in the studio together? If you can’t get over that, you can’t make music. “That’s always the thing that’s crippling. “The thing that really fucks up any band, really stifles creativity, is being insecure and not being able to self-edit - not being able to work around certain criticisms,” Auerbach says. In the following conversation, he discusses the gear he used on the record, the unexpected guitarist who helped to inspire the sound and direction of the new music, and his and Carney’s unique creative process in the studio, which, in this instance, saw them write and record in a quick, spontaneous manner.Īnd the secret to their musical partnership?
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“We don’t even have to try.”Īuerbach recently phoned Guitar World from Easy Eye Sound - where he “lives” - to talk about the making of Let’s Rock. “Pat and I have this special relationship where when we get together it just sounds like the Black Keys,” Auerbach says. And if, after half a decade apart (during which time both members stayed plenty busy, writing, recording and producing with others), it sounds as if Auerbach and Carney haven’t lost a step, well, there’s a reason for that. The result is one of the duo’s most overall satisfying records. The album’s 12 tracks are short, focused, hooky and unequivocally guitar-centric, from the crushing power-chord hooks of opener Shine a Little Light to the gnarled boogie of Eagle Birds, the slow-burning soul of Walk Across the Water to the overdriven guitar scuzz of Every Little Thing.Īt the same time, similar to more recent Keys records, there’s also expanded instrumentation (most significantly, Auerbach adding bass behind his guitar parts) and less of a strict adherence to traditional blues forms. Pat and I have this special relationship where when we get together it just sounds like the Black Keys. Comment by KekeGotBeats ?Ĭan you check out my beat.In some respects, what the pair achieved on Let’s Rock recalls the more bare-bones riff ’n’ rhythm sound of early Black Keys records like their 2002 debut The Big Come Up and 2003’s Thickfreakness. Comment by User 129840919ĭon't give her up! Comment by Eric Avilez
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