celebrates the Hill Country blues of northern Mississippi, particularly the songs of R.L. Burnside and Junior Kimbrough. Why do those two players deserve a closer look?
Yeah, man. I feel like we’ve been on a pretty good wavelength recently. We didn’t talk about making this record. Absolutely zero conversation. And then Pat walked in the room and we just banged it out. We’ve always had this connection. It’s part of who we are. You’ve become an in-demand producer, but you’ve said some of the artists you work with don’t know who the Black Keys are. How does that anonymity help you in the studio?
I think if it’s going to happen, he’d be a prime candidate. Because he is a star, and when he walks into a room, all eyes are on Robert. He lights up the world wherever he goes. I saw him get three standing ovations in a row at the Ryman. He told me that when he used to play, people would come up and tell them something about their life and then he’d [improvise] a song for them. He’s trained his brain to be able to work like that because he was just cracking us up while we were recording.
You know, all I could really speak on is my personal experience. And I heard blues music growing up. I knew blues music before I knew Rage Against the Machine, before I heard of anybody really. I was listening to blues and bluegrass, and some of the songs are so similar. I felt a really close connection to it… I got to see R.L. Burnside play in Cleveland and Columbus.
With a blusey twist too. 🔥
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