The Nashville ef­fect

Dan Auer­bach dis­cusses the mak­ing of his sec­ond solo al­bum in the home of coun­try mu­sic.

The Star Malaysia - Star2 - - Music - By MES­FIN FEKADU

THE record­ing of Dan Auer­bach’s (pic) new solo al­bum was so mag­i­cal he wanted to film the process, which in­cluded him col­lab­o­rat­ing with some of the most vet­eran ses­sion mu­si­cians of all time.

But Auer­bach also felt that he needed to keep his recipe safe.

“We filmed it, but I didn’t like it. I mean, I don’t like to give up my se­cret sauce. But at the same time, it felt so spe­cial, I wanted to doc­u­ment it,” Auer­bach said in a re­cent in­ter­view.

Wait­ing On A Song was recorded last sum­mer in Auer­bach’s stu­dio in Nashville, Ten­nessee, fea­tur­ing mu­si­cians like Rock & Roll Hall of Famer Duane Eddy, 14-time Grammy win­ner Jerry Dou­glas and Johnny Cash’s for­mer bass player Dave Roe. The Black Keys leader and pro­ducer ap­proached song writ­ing dif­fer­ently this time, adopt­ing the nor­mal style in Nashville.

He called the switch “life-chang­ing.”

“We got into this sched­ule where we’d write Mon­day through Wed­nes­day, and we’d record Thurs­day through Satur­day ev­ery week,” he said. “It was re­ally amaz­ing. And I sort of haven’t stopped . ... It’s just some­thing I’m plan­ning on keep­ing a part of my diet.”

Did you feel any pres­sure while work­ing with those sea­soned acts?

I think you kind of rise to the oc­ca­sion or you don’t get it done. ... Be­cause we’re all there to serve the song, that’s what’s most im­por­tant, and that’s kind of the com­mon thread be­tween all of us. How did be­ing in Nashville shape the al­bum?

Auer­bach: (Nashville) sup­ports the mu­sic busi­ness, whether you like the mu­sic or not, it’s the mu­sic busi­ness there. So it af­fords a lot of mu­si­cians to live com­fort­ably in Nashville and I get to ben­e­fit from that be­cause all those guys are there and I get to tap into that en­ergy and do some re­ally cre­ative record­ing at my stu­dio with these guys who love it.

The al­bum has an old-school soul and R&B feel, es­pe­cially Stand By My Girl.

I mean, Bobby Wood and Gene Chris­man who play on the record played on Nat­u­ral Woman by Aretha (Franklin), I’m In Love by Wil­son Pick­ett, Son Of A Preacher Man by Dusty Spring­field – some of the great­est soul records of all-time. That’s the thing, it doesn’t sound like it, it is it.

Those guys are the sound of those records – it’s them. It’s hard to kind of some­times wrap my head around it. Like, what you’re hear­ing doesn’t sound like a style, it is the root of the style, be­cause the guys who in­vented it are play­ing it (on my al­bum). It was kind of a trip when you’re there hav­ing Duane Eddy play a gui­tar solo and it’s like, ‘Man, that sounds like (Duane Eddy). Oh man, it is Duane Eddy.’ (Laughs.)

How are you bal­anc­ing your bands the Black Keys and the Arcs, solo stuff and also pro­duc­ing for oth­ers?

I just work all the time. But it’s easy be­cause I like it. I have the stu io down the street from my se. I have all these great peo. ’ a joy re­ally. I love it. It’s my d my pro­fes­sion. — AP

Newspapers in English

Newspapers from Malaysia

© PressReader. All rights reserved.