Black Keys
main | Black Keys downloads
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ALIVE
0044 - LP-180 gram
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PINK vinyl ltd. to 500
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YELLOW vinyl ltd. to 500
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ALIVE
0044 - CD
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ALIVE
0047 - 4 track CD single
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ALIVE
0047 - 7" single
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| The Black Keys specialize
in stripped-down, indie-fied blues, complete with punchy riffs
and Hendrix-esque guitar squalls (...) The low-fi buzz goes just
fine with the excellently rough edges built into their sound.
- Christian Hoard / Rolling Stone (3 STAR rating) |
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For those people
who have still not discovered the bombastic sounds of The Black
Keys, I shake my head in disgust. The Keys combine the perfect
sounds of deep South homegrown delta blues with 70s Detroit rock
n' roll thunder. Having released two masterpiece albums full
of their hybrid blues/rock compositions, the Keys decided to
release a catchy EP of four songs that are a mix of two familiar
songs and two new songs, so to speak. "Heavy Soul"
was released on their first album. On this EP, it is a more raw
and alternate version. "Have Love Will Travel" was
on their second disc, but it is presented again in a more stripped-down
form then it had been previously. "The Moan" is a song
that had seen the light of day on a split 12" but had been
recorded live. On this EP, "The Moan" is the actual
recorded studio version, which showcases the tightness between
the guitar player and the drummer in their song structures. "No
Fun" is a cover of The Stooges classic, which is amazing
to hear as a souped-up blues rock nugget. Having this EP take
its place among the other two Keys discs is to have the complete
music catalog from the band, which is a worthwhile addition to
any music lover's collection. - Kevlar7 / Slugmag |
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The Moan is a four-song EP from Akron, Ohio's
best (and possibly only) grunge blues duo. Two of the four songs,
'Heavy Soul' and 'Have Love Will Travel', appear on other albums,
but 'The Moan' and 'No Fun' are priceless rarities. - Jon Levin
/ Rockpile |
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The Big Come
Up was released in
2002 on Alive records. An impressive heap of critical praise
followed. In response to the positive reactions to the band,
Auerbach and Carney went back into their basement on Sept. 11,
2002 and laid down two more tracks. The Black Keys' gritty, bare-bones
combination of rock'n'roll and the blues is echoed on this, their
first picture sleeve. Both the music and the graphic design is
stripped of excess and presented in a manner that reminds me
of looking into the sun. If you don't have the record yet, do
yourself a favor and go to www.alive-totalenergy
to order it. Not only will the collector in you be thankful in
years to come, but your ears will also be most appreciative.
- Charles Szabla / Goldmine |
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And although the
CD single's four tracks only include one of the new Keys material,
two covers and an alternate take on a track from their first
record, most listeners will still be blown away by how traditionally
Blues-y two Ohio white boys can sound. The Black Keys also take
on The Stooges' "No Fun" and Richard Berry's "Have
Love Will Travel." Both are great, and maybe the best part
of the release. - NowOnTour
(rating 4 out of 5) |
The Black Keys are
cool, that's for sure. Twenty-First Century Cool.
A two piece from Ohio with lo-fi recordings and retro-artwork
on one hand and a kick-ass website with online merchandise and
live performance clips on the other. They've got a sound both
nasty and massive and yet they could probably tour the country
in a Mini Cooper if they had to. They're the best of what roots
rock and the D.I.Y. spirit has come to represent in the last
fifty years. The MOAN is a four-track e.p. that continues the
rawboned blues (as Peter Relic describes the duo in Rolling Stone)
of their critically acclaimed debut The BIG COME UP and their
follow up full length THICKFREAKNESS, with a heavier take on
'Have Love Will Travel' from the latter release and an alternate,
but equally cool, version of 'Heavy Soul' from the former. RATING=10.
- kevchino
/ Sunset Underground |
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The Black keys has
so incorporated the Delta juke joint hard-liquor blues sound
that the duo of Patrick Carney (percussion) and Dan Auerbach
(guitar/vocals) sounds out with deep-rooted authenticity on each
track of this 4-song CDEP. The primitive instrumentation and
raw blues sound is gritty and substantial. Auerbach does not
feel it necessary to growl aloud like Jon Spencer, but instead
lets flow melodically, if disjointedly, and the vocals are soulful,
if rugged, as in "Heavy Soul". Another standout track
on the album is when the pair takes Iggy Pop's "No Fun"
for a Mississippi drift down to where the kudzu grows. - Outsight |
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Bass player? The
Black Keys don't need no stinkin' bass player! Not when they've
got a singer who can do that great Iggy Pop-meets-Michael McDonald
trick. This four-song EP is perfect stripped-down raw soul. -
Brian J. Bowe / Creem |
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Pieced
together from 7-inch B-sides and alternate takes, 'The Moan'
is a dirt-under-the-fingernails testament to the Black Keys'
reign over old-school rock 'n' blues. Sunk in the sludge amid
Otis Redding, the Jon Spencer Blues Explosion and the Melvins,
the Black Keys fold chunky guitar licks and rawboned rhythm thunder
into a grizzled swamp chug, slurping down a pair of originals,
a Stooges cover ("No Fun") and Richard Berry's "Have
Love Will Travel." - Newt Briggs / Las
Vegas Mercury |
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Damn it! The Black
Keys are putting the sex back in the good ol' blues. Not sure
if sex ever left the blues but I do know that assholes like Gary
Moore and Eric Clapton have done their share of taking the pleasure
out of the genre. Anyway, The Black Keys are sexy as hell (musically
of cource) and are making the blues fun again. They have their
own laidback und ultra cool style and it's quite amazing how
a stripped down line-up of drums, guitar and vocals can be all
it takes. Simplicity and less is more are the keywords here and
it just works for The Black Keys. The title track is the only
new song on this 4 track EP and it's of the usual high standard.
The remaining tracks are from the debut album "The Big Come
Up" including their personal covers of The Stooges' "No
Fun" and Sonics' "Have Love Will Travel". Would
make more sence to pick up the above mentioned album as well
as the new one on Fat Possum... but for starters this is all
recommended. I have still not gotten over the fact that The Black
Keys cancelled their scheduled gig in Copenhagen recently. That
was not polite! - Don K / Low
Cut |
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A
4-song blast from the sultans of raw power blues awaits you.
The Black Keys were the toast of the town a year ago and this
EP is to get the gums flapping again about the dynamic duo. They're
young, white and from Akron, Ohio, so no wonder they sound like
grizzled old whisky-soaked Missippians. The fact is, these two
can crank out a howling full sound, like starting up the GTO
inside the garage. They rework The Stooges' "No Fun"
into a traditional blues arrangement and dress it up in brokedown
rock rags. Add this to their earlier Beatles cover and you're
kind of left hanging because there's nothing resembling those
bands in their music (...) At any rate, BK are a gutsy union
of garage heat and fret-worryin' blues. I like 'em because they're
a low-voiced thrash version of The White Stripes with a kickass
drummer. - Paul Leeds / Culture Bunker |
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Here's
how you get excited about the Black Keys : listen to them. Their
Frankensound is created from bits of Led Zeppelin, Howlin' Wolf,
Black Crowes, Dead Kennedys and Otis Redding. New stomp "The
Moan" and the b-side's brash handling of oft-covered Richard
Berry tune "Have Love Will Travel" are sure to Lazarus
up any block party. Sneak these onto Grandpa's mix tape beside
some early Junior Wells. - William Bowers / Magnet |
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That's
a lotta action for two weird beards from Akron reviving Cream's
heavy blues rumble with broke-ass amplifiers, who still release
their stuff on fiercely independent labels like Fat Possum and
Alive. Ya know what that means? It means that the Black Keys
really don't give a fuck about nuthin' except for rocking. And
you gotta love that, man. "The Moan" is their latest
single, a muddy, fuzzed-out groove that makes even yr eyeballs
feel greasy. - Sleazegrinder |
A killer, bluesy
Midwest two-piece who aren't the White Stripes.
Rawboned blues duo the Black Keys hail from Akron, Ohio, but
a listen to "The Big Come Up" suggests the Keys may
have been raised by Mississippi ridge-runners. While Dan Auerbach's
overdriven ax is powered by the same internal-combustion engine
that drove blues legends Junior Kimbrough and Fred McDowell,
this is no po-faced retro show. There's Wu-Tang Clan-schooled
funk in drummer Patrick Carney's fatback beats, and on the cranked-up
"Countdown," Auerbach suppresses a sob with the droll
closing couplet, "You stole my heart and damn near drove
me mad/I gotta get back home to my mom and dad." From the
truthfully titled "Heavy Soul" to a devolved, choogling
cover of the Beatles' "She Said, She Said," this is
a righteous choice for rock debut of the year. In a world gone
White Stripes crazy, save room in your heart and CD wallet for
the Black Keys.
Peter Relic / Rolling Stone #907 - October 2002 (4 star
rating) |
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| Remember
when you had to have talent to be in a band? Recall the days
when you had to have chops to play the guitar. Think about music
that had distinctive vocals that you could identify the band
instantly; people like Howlin' Wolf and Otis Redding fall indelibly
into this category. Since punk, the feeling and sound that any
schlub can make music has perpetuated music. And while numerous
amazing bands have sprung up due to this belief, don't forget
the piles of junk that seep out of your speakers more often than
not. Personally, I long for music that is so defined that you
can only find it on oldies stations these days. Enter Akron,
Ohio's the Black Keys. Sure, Akron is nowhere near the Mississippi
Delta, but that doesn't mean there isn't blues there. Actually,
rumor has it that singer/guitarist Dan Auerbach lived in the
Delta for some time learning from Fat Possum bluesman T-Model
Ford while sleeping on his floor. At any rate, soul is not something
you can learn, even by sleeping on James Brown's floor, it has
to come naturally. And the Keys have bucket loads of soul. The
band roars through thirteen bluesey numbers with a cool confidence
that few young acts possess. The record consists of solid electric
blues tunes, backed by Patrick Carney's swinging drumbeats. Auerbach's
grimy voice can pass the litmus test of true blues. Clearly,
the band is well versed in blues history. While many bands pledge
allegiance to the blues flag lately, most are merely garage bands
that have a couple Blues Explosion records. The Keys have a gritty
soul that expands the texture of this record, making it a personal
affair. - Pat Wensink / Skyscrapper |
| This Ohio duo indulges
in Gories-style minimalism, with a heavier dose of the blues.
Guitarist Dan Auerbach and drummer Patrick Carney sound like
the garage is as far as they'll ever get. Where the White Stripes
reminded everyone that alt rock could still contain graceful
'60s hooks and prettiness, the Black Keys, with their heroic
cover of 'She Said, She Said," drag the Beatles back to
the Cavern. -
Spin Magazine |
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The Black Keys play
stripped-down, raw, vintage-style blues that could have been
produced by Leonard and Phil Chess in the 50s. But more than
revisionists, they're full of their own swaggering self-confidence,
soulful hollers, and fuzz tone buzz. The Big Come Up, the first
album by this two-piece powerhouse from Akron, Ohio, could be
the best blues album in years.
You may not have heard of them yet, but The Black Keys won't
be a secret for long. This dynamic duo serves up stripped-down
blues - two garage-jammin' musicians getting back to the basics
and keeping it real - real simple. The band features Dan Auerback
on his 'triplofonic' guitar and vocals; he's one of those rare
singers whose earthy, raucous voice sounds much older than he
is. At 22, his guitar work is exceedingly accomplished and spirited.
His partner, the talented, gangly, bespectacled Patrick Carney,
pounds on a "broke beat kit." Carney also produced
the album, giving it a vintage sound with his patented "medium-fidelity"
recording technique, which he describes as combining "equal
parts broke-ass shit to equal part hot-ass shit." Auerback
and Carney have an emotional investment in their Mississippi-style
music. Legend has it that Auerback headed down to the region
unannounced and apprenticed with T Model Ford. And at times,
you feel like the boys are channeling the blues, resurrecting
the spirit of the founding fathers of rock 'n' roll, masters
like Robert Johnson, Muddy Waters and Howlin' Wolf. The
album opens strong with "Busted," a tune reminiscent
of R.L. Burnside, with its driving riffs and the steady, snapping
of Carney's snare. "Do the Rump," an improvement on
the Junior Kimbrough original, delivers a fierce, fuzz-laced
guitar. "I'll Be Your Man" sounds like the classic
it's bound to become. "Countdown" adds Gabe Fulvimar's
moog bass to the mix. He's also featured on the best Beatles
cover ever, "She Said, She Said." Among the strongest
pieces is "Heavy Soul," a burning love song riding
a virtuous groove that blows up in the last 20 seconds, as Auerbach's
overwhelming guitar pours forth, drowning out his cries and pushing
the song to its aptly-named conclusion. There isn't a
weak track in the bunch. I have actually seen women get up to
dance to the catchy "Yearnin'." Another of my favorites
is "Brooklyn Bound," with is driving guitar and haunting
lyrics. This is an album of lasting importance from artists who
will be around for years to come. What continues to surprise
with every listen is that this music, created in the basement
of an Ohio home by two very young men, resonates so profoundly
with the gritty sounds of the Delta. These guys are good, very
good - and they're only getting started. - Mike Kylis / Delusion
of Adequacy |
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The Big Come-Up introduced the garage-grime and "white
Hendrix" croon of The Sonics to the unholy strut of Junior
Kimbrough's legendary guitar lines, fusing them into a spitting,
spewing, 40-ton monster. Winners like "Heavy Soul"
evoked the primal ballet of Fordzilla crushing unmanned Buicks,
and when it wasn't busy flattening rides, still offered a glimpse
of the delicate machinery under the hood with soul cuts like
"I'll Be Your Man". - Pitchfork |
Left
Of The Dial
- Best of 2002 (Big Come Up #3)
You probably won't find this at Best Buy, thank God. Finally
something is overlooked by the mainstream, and it is magnificent
music. Check this out if you want to delve into your darker side
of minimalist R&B. It's really basic stuff, but you might
have to buy it if you really want to enjoy something before you
go to hell. |
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Auerbach
and gangly funk drummer Patrick Carney are a twentysomething
duo from Akron, Ohio, whose college-kid jam-band look and impassioned
stranglehold on the blues make it clear this is neither retro
hipsterism nor the post-punk tinkering of the White Stripes and
company. They're not cool; they're just brilliant. - Dean Kuipers
/ LA Times |
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Infusing
their fucked-up blues with the restless spirit of Son House and
electrifying the whole mess with a charge dirty Detroit rock'n'rollness,
Dan Auerbach and Patrick Carney push the needles off the dial
with their bare essentials racket. The Black Keys' debut crackles
forth from your speakers and shakes its ass round the room like
it's alive, as insistently persuasive as that ole devil-man himself,
with its eerie reverberated hollerin, speaker-shredding distortion
and those dang-she-done-me wrong sentiments. - Hugh Gulland /
Bucketfull Of Brains UK |
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Fabulous cover,
fabulous disc. First, the cover. A black and white photo of two
men's faces, the one in front bespectacled, nervous and bug-eyed,
the other a few feet behind serene and, maybe, furtive. These
two guys are the Black Keys, and Rolling Stone has called
The Big Come Up rock debut of 2002. Drummer Pat Carney
is the frazzled tall guy, and his partner Dan Auerbach is the
guitarist-singer who hollers out rawboned blues so swampy the
music suggests these Akron, Ohio buys have been spending shitloads
of money on their Mississippi blues record collection. Auerbach's
ax is in overdrive all the time, indwelt by the spirit of blues
legends Junior Kimbrough and Fred McDowell. But there is also
a punk heart here, not just retro blood. Check out the Minutemen-inspired
guitar that kicks off "Them Eyes" as well as a heavy
boogie remake of the Beatles' "She Said, She Said".
The sturdy funk in Carney's big bottomed beats buoy the college
dorm humor on "Countdown". Auerbach whines drolly:
"You stole my heart and damn near drove me mad/I gotta get
back home to my mom and dad." The flatted thirds and sevenths
come tight and fast on the album's 13 tracks, and it's only on
the closer "240 Years Before Your Time" that
the Keys stretch out, transforming an instrumental, a rock-steady
beat, some weird sample and guitar psychedelia into a Hendrix-ian
mini-opus. - Lee Chung Horn / Betamusic |
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There are a couple
of ways for current musicians to approach the blues: they can
ape the actions of their forefathers, or they can try to find
the same spark that inspired them. The Black Keys have left behind
what is cultural about the blues, sticking instead to what is
primal. They don't pretend that they're pimps or sharecroppers
from the 1930s. They're two young white guys from Akron who groove
like hell. The band's
stripped-down, guitar-and-drums instrumentation and color-themed
name invite obvious comparisons to fellow Midwesterners the White
Stripes. But the Black Keys have rejected the temptation to rely
on shtick or cute little uniforms. Instead of image, they rely
more on soulful singing and sexy slink. The duo of Dan
Auerbach on guitar and vocals and Patrick Carney on drums used
a method when recording the album that they call "medium
fidelity." The liner notes describe that technique as "equal
parts broke-ass shit to equal parts hot-ass shit." That
principle-keeping what retro elements sound cool while not being
afraid to live in the 21st century-allows the Black Keys to achieve
a rare feat. They capture a vintage spirit while still sounding
fresh. - Brian J. Bowe / Creem
Magazine |
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This is primal blues
strung up from a tree like a skinned buck that's been bludgeoned
by rampaging punk ruffians. Having picked up pointers on visits
to the Mississippi Delta, this guitar-drums duo's sound is combines
fiery blues raunch with avant-punk guitar experimentalism to
make their debut album essential. - Doug Sheppard / Discoveries |
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Vintage is everything
for this Akron, Ohio, duo, from its stripped-down, Exile On
Main Street-meets-Fat Possum records sound to Dan Auerbach's
asthmatic-filled-worker soul shouts to the faux-aged sleeve
artwork. As with blues-skronk revivalists Jon Spencer and the
White Stripes, purists may scoff. But these grooves are as woozy
and funky as a hungover drive from Memphis down to Clarksdale
and deep into the Delta.- Magnet |
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Two dudes from Akron,
Ohio, with Beatles to burn and blues to spare, the Keys are six
inches away from absolutely awesome. - Spin (8 star rating) |
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This is a gritty
nasty slize of Blooze n Roll that is incredibly real, visceral
and true. This is one of the best records I've been attacked
by in a while. - Roctober |
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Akron has spawned
the most compelling two-piece, hyper-primitive, blues-based rock
band of the last five years. This is one of the five best records
of 2002, and bass players everywhere should continue to grow
nervous. - Chuck Klosterman / Village Voice |
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Gutbucket blues
and raunchy rock that seem to come from Mississippi rather than
an Akron basement. The Black Keys play with savagery and soul
that are missing from most white blues musicians who've taken
a stab at the genre. - Alternative Press (rating 8) |
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The Black Keys are
putting mush mouthed sleaze back into the r'n'b rennaissance.
It almost makes me want to return to 1971 where we can safely
discuss "blackness" (or a lack of it) "authenticity"
being of great importance to the Stones and their ilk back in
the day. The Black Keys have a track called 'Heavy Soul' which
is actually what it says it is. Paul Weller's album of the same
name merely Claptonised music which had been filtered through
white people once already (Spencer Davis Group, The Small Faces
etc). No, this is basic drum and guitar encoded with Son House
DNA, moving within that ol' unpredictable John Lee Hooker meter.
It's a long way to the top if you wanna rock'n'roll, unless you
live in Akron, in which case just keep drinking the water. -
Steve Hanson / Ptolemaic Terrascope UK |
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For a white boy,
Dan Auerbach sounds as black as Art Modell's heart. The Black
Keys frontman sings as if he were sired by Jimi Hendrix, weaned
on Wild Turkey in T-Model Ford's shotgun shack, then mentored
by Mountain's Leslie West. The latter would explain why "Leavin'
Trunk" sounds a lot like "Mississippi Queen,"
the other wo why this off-the-cuff blues scorcher is so damn
good. Though the
duo has been referred to as the Jon Spencer Blues Explosion's
retarded cousin, the Black Keys are far less a Caucasian caricature
than Spencer and Co. The 22-year-old Auerbach has already made
numerous trips to Mississippi, where he's performed with many
of the Delta's legends in juke joints and shady watering holes.
He's even slept on the floor of T-Model Ford's roach-infested
home. The authenticity shows. Auerbach's voice is equal
parts heartache and hellfire. He hollers with all the sass and
sorrow of a drunk at last call, and his guitar playing is just
as rambunctious -- going from fleet, foot-stompin' blues workouts
to reverb-drenched garage-rock overdrive in a heartbeat. With
backing from Patrick Carney, who pounds out sloshed, ramshackle
rhythms on a broken drumkit, it all amounts to lots of weathered,
world-weary thrills. Highlights include "Busted," a
double shot of serrated soul; "Them Eyes," the Rolling
Stones skinny-dipping in Muddy Waters; and "Countdown,"
a funky blues barnburner. The timing couldn't be better.
Now that the White Stripes are on the tip of everybody's tongue
and deconstructionist blues is all the rage, the Black Keys are
primed for a breakout. And rightfully so. The Big Come Up is
one of the finest albums -- local or otherwise -- that we've
heard all year. - Jason Bracelin / Cleveland Scene |
|
The Big Come
Up swings, cuts and
rocks like the best hill-country blues, even when they're covering
the Beatles' "She Said She Said." Unlike the North
Mississippi Allstars, another white-boy band trying to do this
thing, there's nothing sweet or fey about the Black Keys; Auerbach
has the kind of raspy, dark voice that's made for this sort of
music. And the music? It's raw, greasy, scorching, harsh: You
could fry bacon on the CD's surface. - Jay Babcock / LA Weekly |
|
The Black Keys play
stripped down, raw, vintage-style blues that could have been
produced by Leonard and Phil Chess in the 1950's. But more than
revisionists, the're full of their own swaggering self-confidence,
soulful hollers and fuzz tone buzz. The Big Come Up, the
first album by this two-piece powerhouse from Akron, Ohio, could
be the best blues album in years. - Michael Kylis / Adequacy |
This week's column
is devoted to plucky statements--so the timid and the tepid can
fuck right off. So can the
White Stripes. Yes, I said the White Stripes can fuck right off.
Why? The Black Keys, that's why. On Friday, July 26, yet another
two-person band took the stage and did the white-guy blues thing,
but this duo--holy shit! is all I'm sayin'. Hailing from Akron,
Ohio, the Black Keys has a drummer who can actually play the
hell out of his drums, and bearded singer Dan Auerbach sings
like crazy. - Kathleen Wilson / The Stranger |
|
Two young guys from
Akron, OH, just guitar and drums, went to Mississippi to learn
from Fat Possum artist James "T-Model" Ford. They came
back expert at bludgeoning the blues in a most satisfying way,
no attempt at being authentic or even reverent, but able to fan
the flame of an emotional core in each song. There are covers
of "Leaving Trunk" and "She Said, She Said"
which go well with their own "Heavy Soul" and, of course,
"Do the Rump." - Rock & Rap Confidential |
|
Auerbach and Carney
are punks. Not the sad caricatures that the word clearly now
implies, but rather they are punks in the pure and simple tradition
of the term, caring nothing about popular convention and moving
forward, doing what feels good and what feels right. And if finding
out what feels right means stripping things right down to the
real blues that spawned the whole rockroll culture from the git-go
and then building everything up from there - then so be it. It
sounds damn good to me.
Thus Auerbach and Carney, starting from a baseline blues,
tap into references ranging from the D. Boon Minutemen guitar
that leads "Them Eyes" to the 60's era Cynic-al garage
psychedelia "She Said, She Said", along the swamp blues
path that CCR carved out ("Yearnin') and right on up the
groove heavy scales climbed years ago by "Mr. Big Stuff"
("The Breaks"). It is a supreme tribute to the Black
Keys that The Big Come Up never winds up mired in reverential
mimicry. A keen ear for the ghostly strains of the blues that
subtly haunt much of the diverse array of modern music allows
them a wealth of inspiration that obviously feeds their personal
reinvention of an age-old noise. - Kurt Hernon / Bangsheet |
|
The Big Come Up,
the Black Keys' debut album, just released on the Alive label
is is quite simply one of the best American records you'll hear
this year. By literally
tapping the source - not unlike young Bob Dylan's pilgrimage
to meet Woody Guthrie - Auerbach's experience gives the Black
Keys an undeniable integrity. In Carney, who produced The Big
Come Up, Auerbach has found his perfect counterpart. Auerbach's
rustic beard and sunken eyes make him look like a Van Gogh self-portrait
incarnate; Carney is fresh-faced with an indie Abe Lincoln physique.
Auerbach's cousin is Robert Quine, influential punk guitarist
best known for Richard Hell's Blank Generation; Carney's uncle
is Ralph Carney, the horn player and longtime Tom Waits sideman.
The pair grew up a half-block from one another. - Peter Relic
/ Cleveland Free Times & Phoenix New Times |
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