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"You get guys nowadays, they're trying to be like Buddy Guy. He played in his own style - this hypnotic fingerpicking. He played an old Super Reverb and a Les Paul copy. "If you want to hear some weird electric shit, I would definitely say listen to Junior Kimbrough. He played in open tuning with a slide - his fingerpicking was very rhythmic and a lot of it was just one chord. "When I was starting to play guitar, Fred McDowell blew my mind. It's sad."įor those who want to get back to the roots of blues, which guitarists should they check out? A lot of people think that and I understand why. But I've slowly played him things that are interesting and he understands now that 'blues' is not a bad word. "It's just so watered down and so boring, so I understand why he hates blues music. Pat really does not like blues music, he's been tainted.
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I listened to blues music when I started to play guitar, so that's my foundation musically. I don't really practise any more I like the feeling of picking up a guitar and being like, 'Whoa, how do I work this thing again?'"ĭo you think that people have the wrong idea about what blues music is? Just try to get influenced by something other than music. "At some point you have to put the guitar down, stop practising and read a book. I know so many guitar players or musicians who know so much about music and scales and modes and it gets to be so boring. It's almost like the more you know, the worse it gets. It's not necessarily one instrument any more it kind of becomes its own thing."ĭo you ever find that blues rock is a limitation on your writing style? So, on some songs - like Next Girl - there's tremolo guitar with a wah-wah and bass and a Wurlitzer, all playing together and it's just one organic sound. "I wanted to mix the bass and guitars and keyboards really closely. Everything went through that little amp, or Mark Neil's Magnatone amplifier. I used that for all of the bass, all of the keyboards and some of the guitar. "I used a little silverface Fender bass amp with a 10-inch speaker and just volume and tone controls. I have an old Italian Cry Baby wah that I really like, and a Boss Tremolo, and a couple of those small Line 6 ToneCore pedals - I think I had the Verbzilla reverb and the Echo Park delay. On the new record there's no song that's over 10 or 12 tracks in total." For instance, with the drums on Attack & Release there were maybe 15 mics on them on the new record there's one or two. "I think the production's actually rawer on Brothers it's just the way it's presented. That really helped to shape the sound of the record. "One of the things that really made a big difference with this record is that we started every song with bass and drums, and that forced us to focus on the groove. Your production approach seems to have changed since Attack & Release… Like, Everlasting Light, I originally wrote that on piano as a gospel song and we recorded it and it ended up sounding like it does on the record, which is not necessarily how I had envisioned it, but it's just what we did that afternoon.
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"Once we start working on a song we finish it in a couple of hours and we don't come back to it. It's almost like the more you know, the worse it gets."