It’s been a winding road to album number 12 for blues rock duo Dan Auerbach and Patrick Carney, better known as The Black Keys. Albums one to five – from debut The Big Come Up to 2008’s Attack & Release – all played in a modern, blues rock wheelhouse. Then everything changed as they exploded into the mainstream with the quickfire releases of Brothers and El Camino.
Since their meteoric rise, heralded by tracks like “Howlin For You” and “Lonely Boy”, the duo has somewhat meandered through. The following albums Turn Blue, Let’s Rock, and Dropout Boogie all fell short of their early peak. But the thing about The Black Keys is that the promise of new releases is never far away.
For Ohio Players Auerbach and Carney have thrown open the studio doors and invited a small cast of other artists to collaborate. Ranging from Beck and pop-producer extraordinaire Greg Kurstin, to rappers Juicy J and Lil Noid, this is a small but substantial change for the Keys, as previously they have self-produced or worked with longtime collaborator/producer Danger Mouse.
Opener “This Is Nowhere” establishes that this will be somewhere more in the vein of Brothers with a plump, funky bass riff. The groove in their step carries through "Don't Let Me Go" and lead single "Beautiful People (Stay High)", putting a soulful glaze over the mainstream flourishes Auerbach and Carney have honed and played with since "Tighten Up".
The guest cast leaves an impression with "Candy and Her Friends" and “Paper Crown”. Both are moody tunes with rap features; an interesting pivot from the glossy rock beforehand. Meanwhile, “Please Me (Till I’m Satisified)” and “Live Till I Die” will satisfy the longtime Keys fans, as the former throws back to their earlier days with fuzzed guitars galore, and the latter a straight up rock jaunt.
Overall, Ohio Players pleases without being fulfilling. Its listenable sheen and guest features help it be more consistent than the Ohio duo’s previous efforts while the varied percussion throughout adds subtle, different textures. But ultimately, it’s still too safe and contained for a band who made their mark by melding searing blues rock with melody and songwriting nous.
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