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(4 Customer Reviews)
While the vast majority of post-punk bands who have an obvious taste for the blues seem to enjoy taking the style apart and messing around with the bits and pieces, the Black Keys are the (relative) traditionalists within the subgenre. With their two-piece, no-bass format, there's no room for clutter or wank, and the raunchy fuzz of Dan Auerbach's guitar (and drummer Patrick Carney's production) owes more to the Gories/Blues Explosion/White Stripes school of aural grime than anything else, but look past all that and the Black Keys are a straight-up blues band who could probably cut an album for Alligator if they were willing to clean up their act and fill out the lineup. And Alligator would doubtless be glad to have 'em -- the Black Keys's wail is hot, primal, and heartfelt, and Auerback's lean but meaty guitar lines and room-filling vocals drag the blues into the 21st century through sheer force of will without sounding like these guys are in any way mocking their influences. In short, if you're looking for irony, you're out of luck; if you want to hear a rock band confront the blues with soul, muscle, and respect, then Thickfreakness is right up your alley. Points added for the fact that the Black Keys performed, recorded, and produced Thickfreakness all by their lonesome in a single day -- further proof these guys are not messing around. ~ Mark Deming
Principally recorded at Studio 45, Akron, Ohio.
Personnel: Dan Auerbach (vocals, guitar); Patrick Carney (drums).
Audio Mixer: Patrick Carney.
Recording information: Studio 45, Akron, OH (12/2002); Studio 880 (12/2002).
The Black Keys: Dan Auerbach (vocals, guitar); Patrick Carney (drums).
2nd Album
Rolling Stone (4/17/03, p.103) - 3 stars out of 5 - "Ohio's Black Keys specialize in a sort of garage blues--abbreviated gasps of vocal hurt, feedback-y guitar and unhinged snares..." Q (01/01/04, p.76) - Ranked #31 in Q's "The 50 Best Albums of 2003" - "[A] sweaty, thrilling delight, with songs dipped in tar..." Mojo (Publisher) (01/01/04, p.56) - Ranked #40 in Mojo's "The Best of 2003" - "Like Free jamming with Jon Spencer, this is a gnarled, righteous triumph." Black Keys Thickfreakness Songs | 1. | Thickfreakness | |
| 2. | Hard Row | |
| 3. | Set You Free | |
| 4. | Midnight in Her Eyes | |
| 5. | Have Love Will Travel | |
| 6. | Hurt Like Mine | |
| 7. | Everywhere I Go | |
| 8. | No Trust | |
| 9. | If You See Me | |
| 10. | Hold Me in Your Arms | |
| 11. | I Cry Alone | |
| Thickfreakness Music Review Average Rating: (3.8 out of 5 stars)   Grab a brew dog, set down on a crate, and get ready GROOVE If you like the White Stripes, but wish they'd be a bit less artsy and a little more fartsy, grab this album. The Black Keys are on the more "low brow" side of the bluespunk coin, combining a bayou blues sound with thick, soulful vocals. "Have Love, Will Travel" is one of the best songs I've heard this year...it's on my latest mix CD next to George Bensen's "Goodnight" and The White Stripes' "Hardest Button to Button." Still, there's only so far you can go in a combo, and as my friend at the Conservatory points out, the drummer can't keep a beat. I feel this makes things more souful. You might just get annoyed. Submitted by a reviewer (Wynantskill, NY) Was This Review Helpful? Yes No 1 of 1 found this helpful.
Exactly What I've been looking for... ok I am biased I will admit it. I found the Black keys about 3 years ago on Satelite Radio and my life has never been the same since. This is thier 2nd CD offering, and I've got to say it just rocks. Simple, heavy rock and blues. Kinda like the White Stripes only not so Alternative. I've recently figured out why I like them so much. If I had the ability to play music, this is the music I would play. I've been to thier shows as well, and the only better than thier Cd's are seeing them live. So powerful. Just plain awesome. Submitted by Pete (Forest Hill, MD) Was This Review Helpful? Yes No
great Fat guitar sound and the songs vary in style keeping you interested. Good party music. Submitted by jmg (nevada,iowa) Was This Review Helpful? Yes No
Their spontaneousness doesn't always serve the music Only when the songs are strong enough they're able to convince and be exciting, but their spontaneousness doesn't always serve the music and sometimes seems to be an excuse for their shortcomings. Submitted by andzwe (Meppel, The Netherlands) Was This Review Helpful? Yes No 0 of 1 found this helpful.
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| | Sam Cooke Keep Movin' On CD (2002)
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$14.75 Recorded between 1959 & 1965. Includes liner notes by Peter Guralnick.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
This 23-song CD stands in Sam Cooke's output roughly where those four posthumous LPs (beginning with Dock Of The Bay) stand in Otis Reddings catalog, with the major difference that Cooke's work included far fewer leftovers and sides that were justified simply by being available -- he seemed to throw a special effort into almost everything that ever recorded, and that goes double for this disc's content, which encompasses the final year of his recording career. This was a period in which he explored several promising musical directions and broke through both to an extraordinarily sophisticated synthesis of his gospel roots with topical songwriting within a pop context. Listeners won't find his most popular songs -- "You Send Me", "Chain Gang", "Only Sixteen", etc. -- here, a result of the split control of his catalog between RCA and ABKCO, but they will find his most important and influential songs. Cooke was inactive in the studio for a significant chunk of 1963, following the drowning death of his infant son, and when he resumed work late in the year it was under a new contract that was to ultimately give control and ownership of his recordings to him (or, as events worked out, his manager, Allen Klein). Represented here is his foray into a New Orleans sound, on "Basin Street Blues" etc., which he'd never explored before -- and which he shaped his own way -- as well as his poignant recording of "The Riddle Song", which (according to Peter Guralnick's notes) was a way of his coming to terms musically with the death of his son; and "Good Times", the somber-toned party song of Cooke's that the Rolling Stones chose to cover, and the equally pensive and compelling "Another Saturday Night", a relic of the first half of 1963 that fits equally well with this later material. On any other r&b collection, all of those tracks would be perceived as extraordinarily fine records, but Cooke himself raised the bar so high during the final months of his career, that they pale next to the most important of his songs: "Shake", which embodied a harder, more visceral soul sound than Cooke had ever embraced before; and "A Change Is Gonna Come". The latter, written by Cooke in the wake of his hearing Bob Dylan's "Blowin' In The Wind", seemed to tie up his origins as a gospel singer with all that he had learned and experienced in the ensuing decade ...
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