Home > Austin Music Source > Archives > 2009 > September > 28 > Entry
ACL 2009 Preview: Dan Auerbach
James Quine/SPECIAL TO THE AMERICAN-STATESMAN
Dan Auerbach owes the better part of his musical success to a little help from his family, who reared the Akron, Ohio, native on a steady diet of blues and rock ‘n’ roll music. Auerbach grew up playing with the many musicians on his mother’s side of the family, singing bluegrass harmonies with his uncle and drawing influence from his cousin, the late, acclaimed guitarist Robert Quine. “Every time we got together it was basically one long jam session,” recalled Auerbach, 30. “My mom’s family reunions are all music. My uncles play, my aunt plays, everybody plays.”
So it should come as no surprise that Auerbach matured into a talented multi-instrumentalist and full-throated singer with a gritty sound and a keen songwriting sensibility. He teamed with drummer Patrick Carney to form the Black Keys, a minimalist garage rock duo, and struck out on his own for this year’s solo debut “Keep It Hid,” an energetic, heavy garage blues album. And Auerbach, mindful of the guidance he had access to as a youth, has begun nurturing an impressive group of up-and-coming musicians as a producer. That includes Hacienda, a San Antonio rock quartet who are serving as Auerbach’s band on the “Keep It Hid” tour, and whose second album Auerbach recently finished recording in his Akron studio. Auerbach spoke by phone about what he’s learned from the band, his fondness for vintage equipment and the story behind the upcoming “Blakroc” album, a collaboration between the Black Keys, hip-hop label executive Damon Dash and a multitude of popular rappers, including Mos Def, RZA and Ludacris.
American-Statesman: First off, being a Texan writing for a Texas paper, I have to ask about Hacienda, hailing as they do from San Antonio. How did you meet these guys?
Dan Auerbach: They gave me a demo, a long time ago, and that’s how I met them. They sent it to me over the Internet. I really dug it and I started a dialogue with them and met up with them after a show. We hit it off. They’re good dudes. We have a lot of common interests and they’re just good people and really good musicians to top it off, which is nice. They’re excellent guys. Something different happens when family members are in a band like that — there’s lots of honesty and truth and it’s a really good thing to be around on the road, when you’re in this industry surrounded by phony (expletive).
AS: Common interests such as?
DA: Music, food, girls. They’re pretty obsessed with old soul music and rock ‘n’ roll and crazy about Stax Records.
AS: What was behind your desire to make a solo record — was there something you wanted to do that you felt you couldn’t within the parameters of the Black Keys?
DA: No, I’d just been recording and had all these tunes finished and liked the way they sounded, so I just decided to do it. Once I put it out I realized I should probably do a tour to support it and that opened up a whole door, playing with a big band, and it’s totally been a different dynamic and really cool. Every time I play with other musicians I learn something new I can bring to the table with the Black Keys.
AS: What specific kind of things have you learned from working with, for instance, Hacienda?
DA: I learned stuff recording Hacienda, even before touring with them. I learned about song structure and harmony. I’d never seen people work on harmonies like that. And when I got to hang out with them in studio they were working on harmonies and piano and there’s a formula there I never really knew. So I used that on (2008 Black Keys album) “Attack and Release,” using that formula for backing vocals and harmonies. And I’ve used it on subsequent albums I’ve worked on. It’s a whole learning experience to pick up things you like.
AS: How did recording in a studio you built shape the sound of ‘Keep It Hid?’
DA: First of all, it allowed me to do the record in the first place. I don’t think I could have done it otherwise because I had such a small amount of time between tours. Having my own place allowed me the time to jump in when I could. The studio is completely custom-built for me from floor to ceiling. It’s basically set up so I can tinker and do whatever I want. All my instruments are set up and ready to go, and it’s all about ease of use and creativity. I don’t think there’s any better studio in the world.
AS: You’re somewhat renowned for your use of vintage and analog equipment. What appeals to you about using older equipment?
DA: I just think it’s easy to use. I think it sounds superior to most modern recording devices anyway. I think people overlook it because of its simplicity but I don’t need a lot of bells and whistles. I like to keep it simple. I think things sound bigger and better that way.
AS: You’ve done a lot of production lately as well, and you’ve shepherded some younger artists along, notably Hacienda and Jessica Lee Mayfield. What about taking other people under your wing and helping them along appeals to you?
DA: Well, I mean I’m in a position where I can help people, first of all, and I like to be able to do that. But I gain from it. Every time I work with a musician I learn something. Real music is all about give and take, and I get that from Jessica and Hacienda and the Buffalo Killers and everyone I work with. And I’m really lucky that with this job in the Black Keys I can work with whoever I want. I get to just work with whoever interests me. It’s not a full-time commercial studio where they have to deal with (expletive) band after (expletive) band. I get to pick and choose so I’m very fortunate.
AS: A lot of the music world was kind of taken by surprise by the “Blakroc” announcement. How did that collaboration come about?
DA: Well, we got a call from Damon, out of the blue, and he said basically “I want to work with ya’ll. Whatever you want to do, I want to do it. Let me know.” So we booked some studio time in Brooklyn, we were in for like two days, we went in totally blind and got eight songs recorded. You know how me and Pat are — we work quick. We had lyricists and rappers coming through and it just came together so fast. It was kind of a whirlwind. It was natural and super-creative and unlike most modern hip-hop I think. It was communal. These guys didn’t have time to listen to a beat for months or a week and write their rhymes. They had to come in face to face with us and deliver. It was all spontaneous. It felt very natural, nothing felt contrived or forced, and that was the beauty of the whole thing.
AS: The project could be viewed as a strange direction for a garage rock combo like the Black Keys — why did it make sense for you?
DA: We started as the Black Keys because we loved the sound of RZA’s production. We’ve been saying that from day one, that when we started we wanted our demo to sound like a Wu-Tang record. We wanted that kind of grimy, dirty thing, that’s what we wanted. So it was basically like, as I told Damon, we sort of had been preparing for this “Blakroc” record since we were 16.
AS: Mos Def is going to be at ACL. Is there any chance for an on-stage team-up?
DA: I don’t think so, because I’m going to be with Hacienda. But you never know.
AS: Is it difficult to keep up with the volume of demos and interest that you receive?
DA: I do get a lot of e-mails and stuff and definitely get lots of demos when I’m on the road on tour. But I think it’s cool. I feel like if there’s something I can help them with there I definitely like to do it. I always listen to everything people give me. Of course, if it’s not good I don’t listen to the whole thing.
Dan Auerbach plays the Austin Ventures stage at 7:15 p.m. Sunday, Oct. 4. He will also play a sold-out aftershow at Antone’s Nightclub, 213 W. Fifth St., at 9:30 p.m.
Permalink | Comments (0) | Post your comment Categories: ACL Festival 2009
Comments
Austinites love to be heard, and we're giving you a bullhorn. We just ask that you keep things civil. Leave out the personal attacks. Do not use profanity, ethnic or racial slurs, or take shots at anyone's sexual orientation or religion. If you can't be nice, we reserve the right to remove your material and ban users who violate our Visitor's agreement. Click here to report comment abuse.