#THE BLACK KEYS ALBUM TORRENT DOWNLOAD SERIES#

вЂњWe grew up learning to play like these guys,вЂќ says Carney.

The performances are simply staggering, the sessions built on mutual respect and admiration between four consummate Mississippi hill country blues devotees from two generations. The veteran guitaristвЂ™s presence here, as BurnsideвЂ™s unofficially adopted son, feels fitting with Auerbach and Carney cast as unquestionably worthy carriers of the torch. But I donвЂ™t know if he can do that much longer.вЂќДelta Kream concludes on KimbroughвЂ™s haunting and hypnotic Come On And Go With Me, AuerbachвЂ™s pacific sweet nothings and unhurried, fluid phrasing summoned up on the fly before Brown indulges in some final electrifying slide work. вЂњHe always puts down his drumming,вЂќ says Auerbach of his long-time musical partner.

#THE BLACK KEYS ALBUM TORRENT DOWNLOAD SERIES#

The lead playing is exceptional, lit up by a series of scintillating bends, the musicians settling into an easy slumbering groove and the laughter in the studio at the conclusion signifying a job well done.Д«rown revisits his role on Sad Days, Lonely NightsВ from KimbroughвЂ™s 1994 album of the same name, recorded live at the Juke Joint, with Carney in deft control of the dynamics, his crash cymbal providing gentle encouragement to the heavenly soloing. The bandвЂ™s second attempt at Do The RompВ is elevated beyond the rootsy lo-fi charm of the version on The Big Come Up. Image: Rich Fury / Getty Images for iHeartMedia вЂњThat documentary changed my life.вЂќДЄrguably the high point of the whole endeavour is the sultry Going Down South from BurnsideвЂ™s A Ass Pocket Of WhiskeyВ album, Auerbach sliding into an evocative falsetto, while the gently decorative percussion and DeatonвЂ™s probing bass pulse lay the path for another slide masterclass, accentuated by the sweet vocal tones of a Hammond organ. вЂњThat song, the whole feeling, takes me back to the first time I saw Deep Blues,вЂќ remembers Carney. Brown and Auerbach exchange slow, luxuriant licks of the highest calibre, the feel and trust between blues master and student intuitive. Sink deep into DeatonвЂ™s smoky bassline and AuerbachвЂ™s throaty hushed tones on the blissful Stay All NightВ from KimbroughвЂ™s Fat Possum label debut All Night Long and you could be ensconced at a table in KimbroughвЂ™s Juke Joint. The cycling foundation is decorated by BrownвЂ™s scything slide work and the fierce attack of his soloing on AuerbachвЂ™s red Gibson Trini Lopez formerly owned by McDowell. BurnsideвЂ™s Poor Boy A Long Way From Home, meanwhile, is a perfect encapsulation of the powerful metrical strut that typifies North Mississippi blues. The take here is mesmeric, the push and pull between Auerbach and Carney elastic as the songвЂ™s muse entices the protagonist to вЂњwarm Chicago, down the Gulf of MexicoвЂќ.

Track two, Louise was unearthed by musicologist Alan Lomax, with Mississippi Fred McDowell cutting his version in 1964. вЂњKennyвЂ™s got his slide laying across all six strings, and IвЂ™m like, вЂThatвЂ™s it! ThatвЂ™s the sound from those Junior Kimbrough records!вЂ™вЂќ recalls Auerbach of the session. The duel between the two guitarists that winds through the song is spine-tingling. While John Lee Hooker notably recorded the song, descended from versions by Blind Lemon Jefferson and Victoria Spivey, itвЂ™s the Kimbrough incarnation thatвЂ™s channelled here, and itвЂ™s worth the price of admission for BrownвЂ™s scorching slide solo alone. There, he immersed himself in a style distinct from the delta blues prevalent elsewhere in the Magnolia state, enraptured by the deeply rhythmic, mesmerising cycling song structures, with few chord changes and an emphasis on the groove.ДЄ controlled howl of musical feedback introduces the six-minute Crawling Kingsnake, ushering in Carney and DeatonвЂ™s loping foundation and a devilish riff Auerbach describes as вЂњalmost discoвЂќ. It just came out.вЂќДЄuerbach first made a pilgrimage to Mississippi at the age of 18, playing at KimbroughвЂ™s JuniorвЂ™s Juke Joint club in Chulahoma and soaking up the rich musical and cultural heritage documented in Robert PalmerвЂ™s seminal documentary Deep Blues. вЂњIt may be The Black KeysвЂ™ most authentic record,вЂќ says Carney. Helping Carney and Dan Auerbach pay homage to two of the Mississippi hill countryвЂ™s brightest lights were a pair of musicians who were there first-time round: slide guitar ace Kenny Brown, who Burnside dubbed his вЂњwhite sonвЂќ, and bassist Eric Deaton. READ MORE: High School Musical star Joshua Bassett on the influence of James Taylor and the importance of breathing.In a further head-melting revelation for we mere mortals, the majority of the performances were improvised first takes. вЂњIt was literally the easiest record Dan and I have ever made,вЂќ Patrick Carney explains of The Black KeysвЂ™ latest, Delta Kream, вЂњbecause itвЂ™s the music we have listened to the most.вЂќ Astonishingly, the phenomenal musicality on this tribute to the North Mississippi blues of Junior Kimbrough and RL Burnside took only 10 hours to record across two days in December 2019.

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