Waiting on a Song
Prolific producer and Black Keys frontman Dan Auerbach is one of those artists whose music always manages to sound fresh yet comfortingly familiar. His second solo album sounds like a lost gem from the ‘70s, mixing California folk-pop (“Waiting on a Song”), soul lite (“Malibu Man,” “King of a One Horse Town”), and a touch of psychedelia (“Cherrybomb”) for a breezy, kaleidoscopic listen that’s perfect for summer.
The Black Keys’ singer’s solo album bears little relation to his past efforts, yet nonetheless exudes his signature retro-soul fetishism. It’s casual in execution and intricate in construction.
The Black Keys’ singer’s solo album bears little relation to his past efforts, yet nonetheless exudes his signature retro-soul fetishism. It’s casual in execution and intricate in construction.
A conundrum. Would the precise combination of sound-waves on Waiting On a Song be any more charming if they were willed into being in 1975 by some freewheeling cowboy who never received his due?
A conundrum. Would the precise combination of sound-waves on Waiting On a Song be any more charming if they were willed into being in 1975 by some freewheeling cowboy who never received his due?
Blues obsession notwithstanding, Dan Auerbach has always been a pop songwriter.
Blues obsession notwithstanding, Dan Auerbach has always been a pop songwriter.
Black Keys frontman’s DanAuerbach’s Waiting on a Song is, first and foremost, a piece of studio art.
Black Keys frontman’s DanAuerbach’s Waiting on a Song is, first and foremost, a piece of studio art.