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Waikato Herald - 2021-07-23

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Be in to win Delta Kream on vinyl

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Wow! Everyone it seems wants a piece of the action when it comes to the new album from The Back Keys. They’ve created quite a stir, judging by the influx of entries to our first competition. As we now know, the Black Keys’ 10th studio album Delta Kream celebrates the band’s roots and their early inspiration. So we’re giving you a second chance to experience the magic, this time by picking up a much sought after copy on vinyl — we’ve got two copies up for grabs. Dan Auerbach says: “We made this record to honour the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. “It was a very inspiring session with Pat and me, along with Kenny Brown and Eric Deaton, in a circle, playing these songs. It felt so natural.” Patrick Carney adds: “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about 10 hours, over two afternoons at the end of the Let’s Rock tour.” The music from Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of RL Burnside’s Busted and Junior Kimbrough’s Do The Romp on their debut album, The Big Come Up, their subsequent signing to Fat Possum Records, home to many of their musical heroes, and their EP of Junior Kimbrough covers, Chulahoma. For this album, Auerbach and Carney recorded the 11 songs at Auerbach’s Easy Eye Sound studio in Nashville, and were joined by celebrated session musicians Brown and Deaton, long-time members of the bands of, among others, RL Burnside and Junior Kimbrough, who originated much of material that inspired Delta Kream. The album derives its name from an iconic photograph by William Eggleston. Delta Kream concludes on Kimbrough’s haunting and hypnotic Come On And Go With Me, Auerbach’s Pacific sweet nothings and unhurried, fluid phrasing summoned up on the fly before Brown indulges in some final electrifying slide work. The veteran guitarist’s presence here, as Burnside’s unofficially adopted son, feels fitting with Auerbach and Carney cast as unquestionably worthy carriers of the torch. The performances are simply staggering, the sessions built respect between four Mississippi hill country blues devotees from two generations. “We grew up learning to play like these guys,” says Carney. “That’s why we keep coming back to this music.”

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