The White Stripes - Under Blackpool Lights Review

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The White Stripes - Under Blackpool Lights ReviewYou've maybe heard of this band but are wondering if they're the real deal? They are phenomenonally real, and this live concert shows why. That boy Jack White has studied the blues masters and seems to have made the same deal with the devil that Robert Johnson did. His playing is positively possessed: an over-amped guitar sound that reminded me both of Hendrix and Blue Cheer's Leigh Stephens, a voice between young Robert Plant and Janis Joplin. The drummer is perfect: solid, beautiful, and very cool. No stage gimmickry or back-up dancers, just an electrifying couple setting the night on fire. For once you can believe the hype.The White Stripes - Under Blackpool Lights Overview

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Thickfreakness Review

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Thickfreakness ReviewThe Black Keys are two guys from the American mid-west, hard as it to believe that only two people make this thick, rich audio gumbo. They play the blues, post-modern blues with licks of psychedelia and rockabilly, white mid-west blues, punk blues. They write original music, even though you'll swear some of those songs have got to be fifty or sixty years old. Can two white kids from Akron, Ohio play the blues with anything like conviction? Oh, yeah.
Patrick Carney plays drums, and he plays them heavy, the kick-drum thuds into your stomach, the cymbals are muted like they're coated with years of cigarette smoke from greasy clubs and roadhouses. This guy ain't a showoff drummer, he's a hold down the groove until you find yourself breathing in time sort of drummer.
Dan Auerbach plays guitar like he's stringing barbed wire, through an old Ampeg amplifier that is one gig short of meltdown. And he sings like he's done time in Mississippi jails, impossible, this guy is in his early twenties, where did he get the chops to stream that kind of pain through his voice? Can he write a blues lyric? "She want to get out the car, in the middle of the road, her screamin' and hollerin', it's getting mighty old," yup, he can.
This album reeks of cigarette smoke and beer and gasoline fumes, the whole tone reminds me of Exile on Main Street, it's gritty and earthy, three a.m. blues when the band is past caring about the audience and just playing their pain away.
So, The Black Keys, with a guitarist who sounds like he's channeling Elmore James and a drummer who sounds like an idling Chevy 327 with bad lifters are now on Fat Possum records, the real deal. Their music is thick enough to chew, it tips its hat to all the right forefathers(...).Thickfreakness Overview2003 sophomore album from the acclaimed Alt-Rock/Blues duo.

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Rubber Factory Review

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Rubber Factory ReviewAfter an explosive debut album and a mellower sophomore effort, Akron duo The Black Keys roar back with "Rubber Factory", a passionate, catchy, masterpiece that proves these guys are for real.
In their third album in as many years, the Keys press ahead with their revival of the long-sputtering genre of blues rock. Having rejected a major record label and signed instead with blues authority Fat Possum, the Keys stay true to their fuzzed-out demo-tape sound, recording the album in an abandoned tire factory, with drummer Patrick Carney producing the songs on his trusty 4-track (or did they graduate to 8-track by now?). Topping both their previous efforts, "Rubber Factory" does not have a single bad song. It is actually difficult to pick the best ones because they are ALL so good.
Unlike "The Big Come Up" and "Thickfreakness", though, "Rubber Factory" starts off in low gear with the mellow "When the Lights Go Out". Things get pumped up right after that with what is undoubtedly the catchiest song they've done yet -- "10 a.m. Automatic". This song is so fun and addictive it takes a conscious exertion of will not to just play it over and over.
The nice mellow ride of "Just Couldn't Tie Me Down" recalls a bit of the juke joint feel so prevalent on "Thickfreakness". The next three tracks -- "All Hands Against His Own", "The Desperate Man" and "Girl Is On My Mind" -- form a trio of catchy, classic-rock style tunes. Things mellow out a bit for a sugary ballad, "The Lengths", but get kicked right back up with "Grown So Ugly", a jammin' and hard-hitting rock number. "Stack Shot Billy" is a wonderful electric-slide resurrection of the outlaw song, and shows that these guys know their source material. "Aeroplane Blues" and "Keep Me" are other straight-out sonic assaults that will put a crooked smile on the face of anyone with an ounce of blues running in their veins.
The album closes with a real bang -- the energetic "Till I Get My Way". The crunch of Auerbach's guitar and Carney's head-bobbing tattoo meld into some of the best jamming they've yet displayed.
"Rubber Factory" is a nearly flawless piece of work that should have no problem standing the test of time. I hope these guys are having as much fun making this music as I am listening to it. I already can't wait until the next one...Rubber Factory Overview2004 album from the acclaimed Alt-Rock/Blues duo.

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