Dan Auerbach returns a second solo record, this time experimenting with the upbeat "Nashville" and "Bakersfield" sounds of 60's and 70's country rock. Ranging from orchestral to more soulful Motownish accompaniments, it's clear here that this album is as much a Dan Auerbach 'production' fetish piece as it is a 'performance.' Maybe he's made a conscious effort to move away from the "blues" sound that has defined much of the rest of his work, and he demonstrates here as much mastery of the country genre (across ALL of it's decades) as he has The Blues. Guest musicians include John Prine, Mark Knopfler and more. In case you didn't already know it, Dan Auerbach apparently doesn't have a bad song in him, but here, the songs are a vehicle for production experimentation, and that's just fine. One of the great producer/writer/musicians of our generation, at his ascending best. So far.
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Favorites: Play anything. Not. One. Bad. Song.
1. "Waiting on a Song" (2:49) - Starts off with that big, over-produced Bakersfield "Wall of Country Music" Sound. Bells, and Buck Owens-style plucked guitar solo. This is late 60's and early 70's country music, verbatim. A simple song, with straightforward lyrics and a decent hook, run through the megaproduction machine about 20 times.
2. "Malibu Man" (3:36) - This is straight up 70's Jimmy Buffet songwriting, and I mean that in the best way possible (full disclosure, I think "Living and Dying in 3/4 Time" is one of the great recordings of 70's country music). This is Sativa, flip-flops and Art Deco beachhouses, rolled into a song, with full brass backing. One of my favorites of the album. Apparently a tribute to Rick Rubin.
3. "Livin' in Sin" (2:24) - Nice organ-driven country rocker.
4. "Shine on Me" (3:17) - Mark Knopfler on guitar. 'Nuff said. Great song anyway, but Knopfler signature slide-pluck guitar work makes it better.
5. "King of a One Horse Town" (3:47) - This one would be right at home on one of the slightly overproduced RCA Records Willie Nelson did before he went "Outlaw" and shifted the country music world's center of gravity to Austin, TX. ANother great
6. "Never in My Wildest Dreams" (2:56) - This song would feel right at home on a Don Williams album, circa 1976. Williams would have probably had another #1 with it, too. Sweet, shuffling, soft-snare rhythm and that nice brass accompaniment that stays just in the back the right amount. A great love song. Play it.
7. "Cherrybomb" (3:45) - This one is actually a little out of place on this album. Though Duane Eddy's guest spot shines, and so WHO CARES! Great infectious groove. Funky, rockin' booty shaker. I dare you not to move.
8. "Stand by My Girl" (3:53) - Jangly honky-tonk piano intro gives way to a toe-tapping, giant "Nashville Sound" showpiece production.
9. "Undertow" (3:24) - This one sounds like he accidentally listened to a few hours of Curtis Mayfield while trying to mainline straight Nashville Sound. Of course, it works beautifully. Superfly strings and country rock go together like Chicken & Waffles.
10. "Show Me" (2:50) - Frieght train rhythm drives this album to it's close. Another lovelorn, upbeat head-nodder, tailor made for window-down road tripping across the West.