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Being on the stage was never the thing that was so near and dear to us. Do you tend to bring out the same guitars you used in the studio on a particular record? In truth, he and Carney did, for all intents, enter the studio and just, well, rocked, pulling together 12 tunes from absolutely zero previously created material - and producing the entire affair themselves. And you know, when Pat and I got back together, we never talked about inviting anyone else to come and play or to co-produce. I think playing into the right effect is kind of important to creativity. Does a tone or an effect ever guide a song during the creative process, or do the sounds come later on? Over the course of your 18 years with the Black Keys has your approach to guitar tone changed significantly? It was used on movie soundtracks and a bunch of hits from the '60s, '70s and '80s. What were your preferred guitars and amps? Because of that I think my perspective is just different. I used that to double up some of the rhythms on some of the tracks I did with the Guild. Is that same spontaneity and ability to improvise that you have in the studio also present onstage? There are no rules. My electric sitar actually belonged to [session guitarist] Vinnie Bell. The thing plays so true because it gets to sit in this climate-controlled studio and just be pampered. Even then he was old, but he still rocked like crazy. So it was all about having the right sound, and being able to touch the strings real light, but have the tone be explosive. And for me, it did. I felt the same way I did when I used to watch him when I was And right when I was done with that session, we put the Black Keys on the books. Guitar World. And just watching him play those songs reminded me of all of the licks that I borrowed from him when I was first making Black Keys records.

But to hear Auerbach tell it, when here entered his own Easy Eye Sound in Nashville to get to work on the record, their ninth full-length sinceit was as if no time had passed at all.

Are you playing off of what Patrick might do rhythmically, or is he responding to a riff or chord progression on the guitar? Topics The Black Keys.

It was right into it. That one started with that kind of, basically, T-Model Ford guitar rhythm. More than half of the solos on the record are the improvised takes from the original foundation tracks. We really love being in the studio and making sounds and recording. It can really transport you. We would compose instrumentals, with intros and verses and turnarounds and, you know, maybe a bridge here or a solo there or an outro here. This time you also went into the studio without having worked out any material beforehand. But Pat and I are just so beyond that. I used those two a lot. Pat and I have this special relationship where when we get together it just sounds like the Black Keys. That was the very first time we sat down to play together in however many years, and just immediately we were making music. I look at my weekly planner and I think about that week and I just focus on that. Do I want to bring that nice-ass Gretsch and get it all beat up? Now that the Black Keys are back up and running with a new album and tour, do you look forward to the next thing or do you just take it one day at a time? And sometimes if I needed some choppy tremolo I used a silverface Deluxe Reverb. Makes it a little bouncier somehow. That red guitar I tour with, that Harmony by Heath [H78]? In that environment, how does that actual creative process proceed? So every single song has that live performance at the foundation of it. We were following the songs, just trying to find something that felt good. It turned into the song Breaking Down. Because for me every week is something new. In addition to not wanting to damage an old guitar, vintage gear also can be temperamental and inconsistent from room to room…. Because that changed me. It just hit me like a ton of bricks. I think the thing about the Black Keys is we started as a studio band. And there was a Gretsch Chet Atkins named Rudy. Please deactivate your ad blocker in order to see our subscription offer. I just sat down at the guitar and Pat sat down at the drums and that was it. It has a fuzz channel and an octave channel but I only used the octave channel. We had no pre-production meeting, we had no talk of what we were looking to do. You can hear it on the new record on the intro and turnarounds on Breaking Down. It was like writing in reverse, almost.