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He was his own thing-it’s hard for me to lump him into a group.”īurnside, author of two songs on Delta Kream, and Kimbrough, who composed five-none of which appeared on The Black Keys’ 2005 Kimbrough tribute EP, Chulahoma-are ingrained in The Black Keys’ DNA. With Delta Blues, I tend to think of metal body resonator, more what Son House and Bukka White did. It’s a very minimal style, really interesting. Burnside will hang on one chord the whole song, but it doesn’t feel that way. “Hill Country is a little bit more rhythmic, a little bit more hypnotic, kind of deceptively simple,” he says. Although the album’s title- drawn from a photograph of a funky, since-disappeared eatery taken by William Eggleston in the early ‘70s-infers a relationship to the more common Delta Blues, Auerbach differentiates between the two subgenres. The songs that comprise Delta Kream slot roughly into a category called Hill Country Blues, native to North Mississippi. I wouldn’t have even been pissed if what we recorded wasn’t good. It was either going to be good or bad or mediocre. It was connecting through the music and reacting. But the whole record, its vibe, is playing off of each other it wasn’t memorizing parts. First of all, we didn’t have to write the songs. “The only intention, really, was that we were going to play songs that were centric around North Mississippi.” He calls the album “the easiest we’ve ever made. “We were just kinda throwing stuff around,” says Carney. “We first sat down in the morning and had some coffee and bullshitted, and by Friday afternoon, a day later, they felt like close buddies,” Carney adds. It was so interesting because it felt new, yet, at the same time, totally comfortable, familiar.” We were just trying to have a little fun. Every time Kenny and I would take a solo break, we were not thinking about some old version. “So when you factor in all these brand-new experiences, and then layer in these songs that we kind of knew, but didn’t know that well, it helped create. And we’ve never played with Kenny before,” says Auerbach. We’ve never played with a percussion player, ever, not even onstage. “We’ve never played with a bass player in a studio. In addition to Brown and Deaton, the record also features an auxiliary percussionist, Sam Bacco, and, on three tracks, organist Ray Jacildo. But, as both Auerbach and Carney are quick to point out, it is also an album of firsts. In some ways, the 12-track album, which consists entirely of blues covers, was cut the way most of The Black Keys’ music has been-seat-of-the-pants, with little fuss. What happened was Delta Kream, released this spring by Nonesuch Records. Let’s just jam and see what happens,’” says Carney. “Dan gave me a day’s heads up and I said, ‘Of course. It seemed a shame to send Brown and Deaton home after the Finley sessions wrapped. Burnside and Junior Kimbrough, two long-gone blues titans who sit high upon the pantheon of influences that initially sparked The Black Keys. The two musicians had worked extensively with R.L. Auerbach had been producing a recording for bluesman Robert Finley and had called in a couple of veteran players to help out: guitarist Kenny Brown and bassist Eric Deaton. With that casual invitation-extended shortly before the pandemic lockdowns kicked in and changed the way everyone did everything-the duo’s 10th album was born. “Hey, are you around?” the guitarist/vocalist asked the drummer. It was Dan Auerbach, his partner in The Black Keys, calling from Easy Eye Sound, his recording studio in Nashville. Patrick Carney was sitting around at home, not doing much of anything, when his phone rang.