Predominantly recognised for his work with The Black Keys, Dan Auerbach is back with his second solo release, Waiting on a Song, but is this a worthwhile listen, or a case of writer’s block?
Auerbach is best known for his work with The Black Keys but his impressive creative scope is not limited to only this outlet. Whilst having obtained Grammys with the band, he’s also managed to rake in a few for himself for his production work.
Auerbach moved from his native Akron, Ohio to Nashville back in 2010, where he has since seen the Black Keys become one of the biggest, busiest rock bands in America (and by extension, become an in-demand producer for everyone from Dr. John to Lana Del Rey.) Now comfortably entrenched in his Easy Eye Sound studio, Auerbach’s approach for Waiting on a Song was a lot more like Planning for a Song. The album includes famous names like John Prine, Duane Eddy, and Mark Knopfler, but also seasoned Nashville production veterans like Luke Dick, Michael Heeney, and David Ferguson. As per Nashville tradition, songwriting for the album was treated like the job that it is, with tunes developed and recorded on a set weekly schedule.
The title track breathes life into the album immediately. Waiting on a Song is very retro, the song is much like the entire concept of the album; about Auerbach waiting for a song to come to him and not wanting a rush as ‘songs don’t grow on trees’. This reviewer only hopes that this is the case for the rest of the tracks to come.
In “Livin’ In Sin” Mark Knopfler’s signature guitar picking rings out in all its country glory. Despite his more Blues-y tone that can be found in The Black Key’s work, not an ounce can be found in this album, Auerbach choosing his more melodic tones over his more growling blues register.
Daniel Quine “Dan” Auerbach is an American musician, singer-songwriter, and record producer, best known as the guitarist and vocalist for the Black Keys
“Shine On Me” is in much the same vein melodically, but brings more of a T-Rex funk vibe with it, making it a well-produced toe-tapper. The same glittery approach can be seen in ‘Malibu Man’, while it might feel a bit more ‘Al Green’ with its fat sax and beat, coupled with a few more sliding sections of guitar. The latter however, can feel a little ‘too’ cool for what is ultimately a country song, and lacks the, well, soul of the influence it’s drawing from.
“Cherrybomb” is comfortably the breakaway track of the album. An undulating bassline from the drums with sweet glissando guitar punctuating with shimmering strums set an undeniably talented undertone to Auerbach’s more understated vocals on this track that tells the story of gold digging girl who leaves as soon as the money runs out. This is well placed in the album with a banjo-filled, clapping led ballad; Stand By Your Girl. The song appears to be a love song borne of a want to be committed and sing of it’s benefits, the chorus ends however with ‘because she’ll kill me if I don’t’. Even if he isn’t explicitly singing the blues here, Auerbach still peddles its well-worn female cliches.
Whilst the album in it’s entirety here is a solid effort, for a producer of Auerbach’s quality to run an album through a Nashville studio in the small space of time this album took has done him no favours. His work with The Black Keys lends itself a raw edge and allows for more of the world weary lyrics to be taken a little easier, they have very little place in an album that’s been so cleanly produced by one of the pop centres of America. Overall the album is good, but we’re left wanting. Whilst Dan may have been waiting on a song, maybe he could have held out a little more.
Author: Steve, Southgate store
