![]() ![]() Dropout Boogie may share its name with a classic Beefheart cut, but the good Captain’s corrupting influence doesn’t extend past the record spine-the Keys’ first album of originals since 2019’s “Let’s Rock” could’ve easily been titled “Let’s Roll.” After recruiting members of Junior Kimbrough and R.L. Now, after exhausting every play in the post-success playbook-the detour into cinematic psychedelia, the reactionary return to FM radio fundamentals, the covers album hat-tip to their roots-the Black Keys have finally achieved the ultimate marker of classic-rock sainthood: the luxury of coasting into middle age, coupled with the casual assurance that the arenas and amphitheaters will still be packed no matter what they put out.įittingly, the band’s 11th album arrives roughly at the same point in the Keys’ career as the Stones were at in the mid-’80s, when Mick and Keith became less concerned with chasing the zeitgeist and just settled into doing what comes naturally. With the wham-bam Grammy-scooping double shot of 2010’s Brothers and 2011’s El Camino, the Keys thoroughly rewired the sound of modern rock radio over the next decade, uniting wayward factions of 78-collecting blues traditionalists, frat boys, neosoul lovers, Southern rock die-hards, aging hipsters, and their teenage kids purchasing their first guitars. “Come on and Go with Me” (David Kimbrough, Jr.However, while those aforementioned acts succumbed to prolonged hiatuses, break-ups, or failed Pharrell collaborations, the Black Keys’ proverbial junkyard beater was gradually tricked out into an auto-show-worthy muscle car, complete with hydraulic wheels and neon under siding. ![]() “Mellow Peaches” (Joseph Lee Williams)ġ1. ![]() “Sad Days, Lonely Nights” (David Kimbrough, Jr.)ġ0. “Going Down South” (Robert Lee Burnside)Ĩ. “Stay All Night” (David Kimbrough, Jr.)ĥ. “Poor Boy a Long Way From Home” (Robert Lee Burnside)Ĥ. “Crawling Kingsnake” (John Lee Hooker / Bernard Besman)ģ. The Blue Front is the oldest active juke joint in the U.S.ġ. The duo released a music video for “Crawling Kingsnake,” directed by Tim Hardiman and filmed at Jimmy Duck Holmes’ Blue Front Café in Bentonia, Mississippi. Percussionist Sam Bacco and organ player Ray Jacildo also appear.Īlong with tracks like “Crawling Kingsnake” and “Going Down South,” Delta Kream features a new recording of “Do the Romp,” which the Black Keys first recorded (as “Do the Rump”) for their 2002 debut, The Big Come-Up. Guitarist Kenny Brown and bassist Eric Deaton, the former sidemen of Burnside and Kimbrough, respectively, join Auerbach and Carney on Delta Kream. So we were really just kind of flying by the seat of our pants.” I’m singing a certain version that Junior recorded where maybe he messed up a line, but that’s the only one I know. “I’m singing lyrics that are like third-generation wrong lyrics. “This is basically folk music on a certain level, and a lot of this music is like hand-me-downs from generation to generation,” Auerbach told Rolling Stone during an interview for an upcoming story. The band preview the upcoming project with the single “Crawling Kingsnake,” an ominous, swaggering slice of Hill Country blues recorded by John Lee Hooker Auerbach was first introduced to it via later Kimbrough rendition. Delta Kream, the follow-up to the Black Keys’ 2019 album Let’s Rock, will be released May 14th on Nonesuch Records. Burnside, Junior Kimbrough, and Fred McDowell over 11 songs. Recorded in Nashville at the studio of Black Keys singer-guitarist Dan Auerbach, the record finds Auerbach and Keys drummer Patrick Carney paying homage to bluesmen like R.L. The Black Keys reconnect with the blues songs that informed their early years on the duo’s 10th studio album Delta Kream.
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