By lounge, I mean a piece-of-crap couch and some blown-out speakers, and that computer. One day we went into the studio, and in the live room, we had a separate little lounge set up. And I think it's the computer he did The Grey Album on. He doesn't want to change it -ĬARNEY: Yeah. He has this computer that's like, I don't know, some 10-year-old Dell computer. Here we go.ĬARNEY: That's a Nico Fidenco song we sampled for the song "Year In Review" it was a sample that Brian had cut years ago.
So it was fun being able to do that for the first time.īOILEN: I want to play a bit of music. I grew up listening to that kind of music, and I love long guitar solos and spacey jams. That was the first rock show I ever went to was the Grateful Dead, Richfield Coliseum with my dad I was, like, 12 or something.
Are you sure?" And they're like, "Go, go, go!" I had never done something like that on record, even though I grew up listening to Derek & the Dominos and The Allman Brothers and stuff like that. I would stop every few seconds and be like, "Are you sure I should be doing this? This feels a little self-indulgent. Brian and I were like Rick James at that moment.īOILEN: And Dan, what were you feeling there?ĪUERBACH: Oh, God. HILTON: Let's talk about the epic solo here that kicks in for the last couple of minutes of the song.ĬARNEY: You know that video for the Eddie Murphy song ? In that video, Rick James is behind the glass raising his hands encouraging the performance. I can't even remember how that one started. We would just kind of sit around, listen to music, talk, hang out, and then we would get on the instruments and try stuff and see what would happen. So we would start every day fresh with a blank canvas there. What did that song sound like before you walked in the studio in Los Angeles?ĭAN AUERBACH: We didn't have any songs when we went into the studio. So I really don't know what it's like to be in the studio with Brian in any other situation.īOB BOILEN: So what came to the table when you started working with him? Let's take an example: "Weight of Love," which is the opening track to the record. I think every time he works on a project, he approaches it differently. And when he works with Cee-Lo, I think he has more of a traditional producer role, although he's writing there as well. When he works with James, I'm sure they have a different dynamic when it comes to making the music. It's not like a traditional producer role at all it's more like he's just in the mix with us. When he works with us, like I said, it's like he's joining the band. HILTON: How would you describe a Brian Burton-produced record? I think there's always such a distinctive vibe to his sound.ĬARNEY: Well, everybody he works with, he works with in a different way. And Brian is the only person on the planet that can walk into that position with us, and it's completely OK. We're writing together and producing together. When we go into the studio with him, we basically become like a three-piece band. ROBIN HILTON: When I heard the first track and the bells kicked in - I didn't know Brian Burton produced this record, and I thought, "This sounds like a Brian Burton record." And that's a compliment. You can listen to the whole audio interview at the "Listen" link on this page, or read an edited version below.
The interview has a lot of playful back-and-forth, a lot of jokes and a whole lot of music, including songs from Turn Blue. Danger Mouse, the production genius behind memorable albums by Beck, Gorillaz and Norah Jones, not to mention Burton's own myriad projects, including Broken Bells and Gnarls Barkley.ĭan Auerbach and Patrick Carney recently sat down with All Songs Considered hosts Bob Boilen and Robin Hilton to talk about what it was like working with Brian Burton, how he helped shape the band's sound, and how they came together to forge the 11 new songs that make up Turn Blue. It kills.īut Auerbach's guitar and the other sounds deployed here are slowly warmed and simmered in the studio by producer Brian Burton, a.k.a. In fact, as they tell us in this interview, Auerbach did something he's never done before for this record: On Turn Blue's incredible opening track, "Weight Of Love," he shreds on an epic guitar solo for more than two minutes straight. There's plenty of swagger in these songs, with thumping bass lines, rumbling beats from drummer Patrick Carney, and fuzzy riffs from guitarist Dan Auerbach. That's not to say the album doesn't have a lot of the Akron, Ohio duo's signature sounds. But that's what you get when you press play on the band's latest full-length, the expansive and irresistibly catchy Turn Blue. These probably aren't the first sounds you think of when it comes to The Black Keys. Patrick Carney (left) and Dan Auerbach of The Black Keys.
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