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El Camino boasts a no-nonsense brilliance: The pace is fast, the mood is upbeat, the choruses unfailingly addictive made for shouting along, preferably in a large, sweaty crowd. A band already at the top of its game has gotten even better.
In May 2010 they released their breakthrough album, Brothers, to widespread critical acclaim. Debuting at 2 in the US, it went on to win three Grammy Awards and an MTV Video Music Award, and topped numerous year-end lists, including iTunes, NPR, and Rolling Stone. Brothers, which included the hit singles Tighten Up and Howlin for You, has been certified Gold in the US and UK, and Platinum in Canada. Worldwide sales are now over one million and
|Artist||The Black Keys|
|Track Listing||1. Lonely Boy
2. Dead and Gone
3. Gold on the Ceiling
4. Little Black Submarines
5. Money Maker
6. Run Right Back
8. Hell of a Season
9. Stop Stop
10. Nova Baby
|Number Of Discs||1|
This is from a blog that I write, DyingNote.
'El Camino' by the Black Keys along with 'Bad As Me' by Tom Waits and Florence + The Machine's 'Ceremonials', was one of the most anticipated album releases for me in some time. And all three released in the later part of last year and each one of them is delightful - a sort of Christmas feel-good (can't call it a gift now, can I, seeing as I had to pay for these?).
The Black Keys have consistently produced high quality albums with a distinct, identifiable sound. So much so, I read they have a patented lo-fi production technique. Yet their sound has gradually changed, evolved over the years. Which is why I eagerly await their new album releases. This one, I suspect, their hardcore fans may not like too much. Me, I love this as much as, or even more than, their earlier works. In a change that was first noticeable (I think) in their previous outing on âBrothersâ, âEl Caminoâ has a fuller sound as compared to some of their earlier albums. Patrick Carney still throws more wallop than a drum kit ought to take without protest and Dan Auerbachâs guitar has lost nothing of its snarl yet the music here is brighter (which does not necessarily extend to the lyrics all the time) with enhanced instrumentation in contrast to the starkness of the older albums. Hereâs the blues accompanied by one of its lovely bastard children, R&B. Youâll hear loads of it right through this album mixed in with that typical growly Black Keys sound.
The album kicks off with âLonely Boyâ whose insistent beat should inspire some wild moves on the floor. Ditto âStop, Stopâ which almost has a disco feel to it while still retaining the rock edginess. Donât ask me why, but I think Auerbach acquires shades of Bono in his singing on âSisterâ. While all the songs in the album have the characteristic urgency of the bandâs music, thereâs just a short - about 2 minutes - relenting in the first part of âLittle Black Submarinesâ before the manic energy of the duo changes all that quietness into a mighty roar. For all the abundance of great songs, my favourite track on the album though is âRun Right Backâ. The unhinged guitaring on this song is the perfect sonic accompaniment to the vision of a madly careening car chase.
The way The Black Keys have progressed with their music, I'm looking forward to their next release with a mix of anticipation and some trepidation as to how far from their core sound they'll drift.
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