If i run my digits Down your spine A binary Code Then you are mine. Cave hold their hoods Numbers explode skeletons Blakc Keys Keep their hold On me of your. You do your OWN TIME And I'm do mine All the Black Keys Can't hold all time All time. Thru, thru all I've given up by writing down All my worst thoughts And now their out I can't set back. So I explode By the side of the roads This is bigger than me This is bigger than me This is the BIGGEST BEAST you've ever seen.
Let's Rock (stylized with quotation marks) is the ninth studio album by American rock duo the Black Keys. It was released on June 28, 2019, through Easy Eye Sound/Nonesuch Records. It was their first release since Turn Blue (2014), marking the longest gap between studio albums in their career
The Minutes have just returned from upstate NY where their debut album was recorded at Marcata Recording with the honourable Kevin Mc Mahon at the helm ''Marcata'' will be released mid-2010 so stay tuned! In the past, the band have had the pleasure of touring with Albert Hammond Jr (The Strokes),Supergrass & The Von Bondies to name but a few.
Everything The Black Keys does it's pure art and this album it's not an exception! #LetsRoc. xpand. But The Black Keys still have it. I can definitely sense that they're cruising around more of a commercial and simple-chorded side of Rock which I've seen to happen since their departure of raw, Garage and Blues-Rock that old fans were akin to up until the cut-off from that sound on "El Camino", which I'm not too happy about, but they still rock.
Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli Paperboy Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting.
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Turn Blue, the Black Keys‘ eighth studio album, opens with seven minutes of slow burn and eccentric fury. Weight of Love is the sort of uproar most bands would save for a big finish. But the Keys – singer-guitarist Dan Auerbach and drummer Patrick Carney – and their co-producer Brian Burton, . Danger Mouse, show their nerve upfront in a mounting tension of acoustic guitar and painted-desert ambience, cut open by Auerbach’s machete-treble twang and battered by Carney’s unhurried John Bonham-like rolls. When Auerbach finally gets to the chorus, he sings it as high-pitched warning ( Don’t.