Ahead of their 2022 record 'Dropout Boogie,' The Black Keys' Dan Auerbach joined The Current to talk about the recording process for 'Dropout Boogie,' jamming with ZZ Top's Billy Gibbons, and the band's shared love of Captain Beefheart.

Interview

Edited for clarity and length

JILL RILEY: We've got some news from The Black Keys, and I could just tell you all that news myself, but I don't want to do that, because I've got a special guest on the line. I've got half of The Black Keys, Dan Auerbach is with me. Hey, Dan, how are you doing?

DAN AUERBACH: Hey, how are you? I'll be your news anchor.

Yes, please. Sometimes I think I could use somebody. Well hey Dan, I heard some great news: new Black Keys record on the way and got a new song out this week. How does it feel to have a new record coming out?

It's exciting. I don't think I'm nervous, but I'm excited. Yes, that's how I would describe it.

Yeah, and I imagine after all this time--I know, it doesn't feel good to be nervous. But it's so relatable to at least hear you say that you still get nervous about these things. But it's nice to hear excitement. Last year, we got a blues covers album from The Black Keys, 'Delta Cream'. Before that, it was the record, "Let's Rock". So Dan, tell me about making the new record. When did you guys get together? Where did you record it?

We did it at my studio, Easy Eye Sound in Nashville, Tennessee. But we'd recorded that Delta Cream album, and we recorded that record in one day. It was so much fun, and I think that we just couldn't wait to get back in the studio, to be honest. It made us excited to get into the studio. Pat, and I, we blocked out a couple weeks on the calendar. And we didn't talk about anything or plan anything. We just had those weeks coming up, and that's it. With the same spirit that we made 'Delta Cream,' we jumped into making our own record. And that's basically how we got there.

Where did you get the inspiration for the sound of the record, and even this title "Dropout Boogie"--what does that mean to you?

Well it's definitely a nod to Captain Beefheart, who we love, but it's also who we are. We're both dropouts. And I think we've always felt like sort of like underdogs, we're definitely dropouts--never the guys with the diplomas on the wall. You know what I mean? But we love that, you know what I mean? I guess that's sort of what it's all about.

Not everybody calls Captain Beefheart, an influence or an idol. So it's kind of cool to hear that.

Pat and I really bonded over 'Safe As Milk'. And that was Ry Cooder playing all the slide guitar, he played on all the early Rolling Stones stuff. So it's like, very similar vibe on the guitar, and it was inspiring because I knew all the old blues songs, but to hear somebody take those kinds of forms and then like, mutate them and turn them into something new, but still have that really raw old style of guitar. I loved that. And I think that helped Pat and I form a bridge to where we could get together.

I'm on the line with the Dan Auerbach of The Black Keys talking about a new record on the way this spring, 'Dropout Boogie'. It's due out May 13. And Dan, you got a new song out this week. I listened to it on repeat. I think I've heard it about a dozen times in a row. It's got a great groove. Did I did I hear a little wah wah pedal on this new song wild child?

I think there's probably some on the rhythm guitar.

I liked it. I like the groove of it. I wonder if you could talk about the song a little bit.

Well, that's funny that you brought up the wah wah because I don't think I've ever used a wah wah on a Black Keys song ever.

Yeah, I noticed it right away.

So weird, but I always have one set up at the studio. I just don't really use it that much. But anyway, there are songs on the record where they're just first takes, very raw. All the mistakes. We just left them in there. This one we probably worked on it the hardest, took us longest to construct, even though it's such a simple song sometimes it's just like that, you know? But yeah, and we we had our friend, Greg Cartwright from The Oblivions and The Reigning Sound, he helped us with the some of the lyric writing so it was really fun. A cool experience.

The song is called "Wild Child," got it cued up the play here in just a moment, new record--we're talking about new Black Keys record 'Dropout Boogie' due out this May and Dan, I couldn't help but notice that this year is the 20th anniversary of The Black Keys. Can you even believe it? I mean, are you guys sometimes maybe in disbelief that you've kept it together this long or does it completely make sense?

I mean, it seems insane. I mean, you know, I've made music with so many people, it's just still to this day, it's just never as easy as when Pat and I play together. You know, we're just like, given this gift of like being neighbors when we were 16. You know, we were a block and a half from each other. I don't know, it just seems crazy. But I also feel like our relationship is probably better now than ever has been, I think, like the time has actually helped our relationship.

I mean, do you think that also kind of a key to your longevity is the fact that you guys have always had kind of your own interests, you know, you've do so much producing outside of the band.

I just think that we both are still so excited and fascinated with the recording studio, and making music. I mean, we're still just as excited to make records now as we ever were. It hasn't really lost its appeal at all. Because it's so magical. It's like anything can happen. You can have an absolutely worthless day, or you can write a smash hit, you know what I mean? You just never know. And all that happens in between? I don't know, it's just so addicting. And still is.

When you talk about this new record, 'Dropout Boogie,' and how, you know, some of the songs, you know, really keeping them raw, and even first takes, I mean, that has to feel kind of reminiscent to when you guys first started out and you're like, making records in a basement. And, you know, now I know you have your own studio in Nashville.

I mean, it's just a big part of who we are. Just because, like, it's always been part of our sound--is the sound of not practicing, the sound of all the mistakes is part of the sound. And, you know, I think that's the thing that we really like, too, is that it's always teetering on the edge of collapsing, but it somehow doesn't sometimes, and, you know, there are definitely songs on the new album that are just first takes. We had Billy Gibbons stop by one night, we just jammed with him and we made up a song on the spot. And that's on the record, it's called "Good Love". But I mean, it's just, you know, that's really a big part of who we are, is that improvising,

That's very cool to hear. 'Dropout Boogie,' new record from The Black Keys coming out May 13. And that new song, and Dan, you talked about this, this new song, "Wild Child" so hey, take a listen for what Dan called perhaps the first use of the wah wah pedal on a Black Keys track, Dan Auerbach of The Black Keys. I appreciate your time and thanks for checking in about this new music.

Absolutely. Thanks for having me.

External Link

The Black Keys - official website

Credits

Guest - Dan Auerbach
Host/Producer - Jill Riley
Digital Producer - Jesse Wiza
Technical Director - Peter Ecklund