Adam McCullough / Shutterstock.comThe Black Keys from Akron, Ohio, started as a gritty blues-rock duo in a basement. Dan Auerbach (vocals/guitar) and Patrick Carney (drums) made their minimal lineup their greatest strength: raw, stamping music rooted in old blues, but sounding like the present.
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Their evolution from lo-fi garage rock to polished stadium hits under producer Danger Mouse is impressive. Yet the core always remains the same: a fuzzy guitar, a simple drum beat and a voice full of soul and pain.
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Lonely Boy
Their biggest hit and a fixture at the top of the lists. The riff is a dive downward that you recognize immediately. The chorus is simple, effective and impossible not to sing along to.nnIt combines garage roots with pop production that is perfectly balanced. It's the ultimate party starter of modern rock.
Little Black Submarines
The "Stairway to Heaven" of indie rock. It starts small and acoustic, like a fragile folk song about a broken heart. Halfway through, the electric guitar falls in with a bang.nnThe explosion is phenomenal. The riff is heavy and Led Zeppelin-worthy. The contrast between the quiet intimacy and the overwhelming noise causes chills every time.
Worst track on this album honestly. People only voted because they know the music video. (5)
Gold on the Ceiling
A glam-rock firecracker that sounds like T. Rex in the 21st century. The synthesizer-organ riff is dirty and catchy. The chorus is a wall of sound.nnThe hand clapping in the bridge seals it. It's a song full of swagger and bravado, made to play loud in a car with the top down. Uncomplicated rocking.
Unreal bassline. 🔥
Tighten Up
The song starts with a whistled melody and a relaxed groove, before exploding into a rock jam in the second half. Produced by Danger Mouse, who cleaned up the sound.nnIt's about wanting to make a relationship more serious. The dynamics between the quiet start and hard end make this song a live absolute favorite.
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Fever
Here a vintage synthesizer takes center stage in the melody, giving their sound a new twist. The bass line is disco-like and compelling. It's darker and more hypnotic than their earlier hits.nnAuerbach sings with feverish intensity. The outro, where the synth and guitar come together, is enchanting. A successful experiment in psychedelic pop.
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Howlin' for You
Known for the "Da-da, da-da, da" hook that stadiums all over the world sing along to. The rhythm is a simple "glam rock" beat, inspired by Gary Glitter.nnIt's playful, sexy and tough. The guitar is heavily overdriven, which contrasts with the playful melody. A perfect track for commercials and sports events because of the pure energy.
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Wild Child
A recent hit that sounds surprisingly cheerful and funky. The brass and choir in the background give it a festive Motown vibe, but with a fuzzy edge.nnThe chorus is irresistibly singalong. The song radiates a rediscovered lust for life, as if the band is enjoying making simple pop songs again after years of heaviness.
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Lo/Hi
A return to their roots: a dirty riff, a stamping rhythm and soulful background singing. It's a classic blues-rock stamper that feels immediately familiar.nnThe guitar solo is short and biting. The song radiates a kind of carefree "cool." It's music that smells of motor oil and cheap whiskey.
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Next Girl
A song driven by a sluggish, low bass riff (played on guitar) that doesn't stop. The lyrics are a warning to the next girlfriend of an ex. It sounds bitter but triumphant.nnThe production is dry and direct. Carney's drums are simple, but give the song an irresistible "head-nod" factor. Raw and effective.
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Weight of Love
The epic opener of the album Turn Blue. It's almost seven minutes and begins with a long, Pink Floyd-like guitar intro. It's about the separation of Dan Auerbach.nnThe atmosphere is melancholic and desolate. The solos are elongated and emotional. It shows a completely different, more psychedelic and vulnerable side of the band.
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Still mind-blowing to think about: the riff is a dive downward that you recognize immediately.
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