The review of El Camino the Black Keys Brothers 2010 Top Ten breakthrough album, Rolling Stone called the duo a combo of two men with a big band spirit. This description seems quite prophetic now. The rock-hard El Camino, The Black Keys fourth Nonesuch album, guitarist-vocalist Dan Auerbach and drummer Patrick Carney called exciting, the stadium-sized sound, in collaboration with producer Danger Mouse and friend. El Camino has a no-nonsense glare: The pace is fast, the mood is upbeat, addictive chorus invariably made to cry together, preferably in a large crowd, sweaty.
El Camino the Black Keys Brothers
The band is on top of his game got better. And The Black Keys have done very well so far this year, with three Grammys in 2011 for the brothers under his belt, an MTV Video Music Award for Press Up, more than 850,000 copies sold in the U.S., Brothers, and more than one million units worldwide, and numerous licensing placements in film, television and commercials. El Camino has a stand-out track after another, as the first single Lonely Boy, gold for the ceiling, and amazing acoustic guitar-driven, the speed of change Little Black Submarines.
This El Camino album is more straight ahead rock and roll raw, driving, and back to basics, says Auerbach. As I said Carney, The Black Keys respecting the time past in the present, and the formula that made them sound like nothing less than the future of rock and roll. While largely self-produced Brothers, recorded at the famed Muscle Shoals studio in Alabama, had more soul and blues-oriented sound, El Camino, often resembles the time-rock blitzkrieg style of the 1960s British and 70, post-Beatles the pre-punk: artists like T-Rex, The Sweet and Gary Glitter, along with the bands heaviest undefined, such as Led Zeppelin and Black Sabbath.
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