Miles Kane Plus Dan Auerbach Equals Marc Bolan

 

In September of 2021, I wrote this:

Does Dan Auerbach have one set of backing tracks that he uses for everyone he produces?

I loved what he did with Dr. John on "Locked Down," but since then, it seems like he sets the drums to "fart," adds some fake strings and essentially nods off until all lead vocal tracks have been put down. I mean, he basically broke Chrissie Hynde! 

That said, there's some nice stuff on "Year Of the Spider," the new one from Shannon & The Clams, but too much of it reeks of Auerbach. I would love to hear this record in the hands of someone/anyone else.

In April of 2024, I wrote this:

I've had a love/hate relationship with Dan Auerbach for some time now. As a producer, I thought he helped create one of the best Dr. John albums of his career. But he also had a hand in one of the worst Pretenders albums of their career. He made Shannon Shaw of Shannon & The Clams solo album "Shannon In Nashville" sound a bit like "Dusty In Memphis," but then made Yola sound just like "Shannon In Nashville." (Or was it the other way around?)  I guess my problem with Auerbach is that he has one trick, and it either works with the artist or it doesn't. It's like he uses the Dan Auerbach App.

Which brings me to "Sunlight In The Shadows," the new Dan Auerbach produced record from Miles Kane. 

I got a real kick out of The Last Shadows Puppets and then fell hard over The Jaded Hearts Club, a big, bright, joyful covers album released during the darkest days of COVID lockdown. But nothing from Kane's solo output clicked with me. It was derivative and thin. I could appreciate the influences, but much prefer listening to the influencers. "Sunlight In The Shadows," on the other hand, has stayed with me through three trips around the park.

 

Does it reek of Dan Auerbach? Yes, but less so than on previous productions. Instead, it's the ghost of Marc Bolan that takes center stage. So rather than have that melange of Brit pop which distracts you into playing "Name That Band," Kane's new one is all about one artist. 

Intentional? I believe so. Successful? Yes sir.

Some of it is obvious, like "Slow Death" and "Blue Skies." While other tracks are blatant, like "Electric Flower" and "Without You," two songs that could have easily been plucked off of the T. Rex classic, "The Slider." The opening track, "Love Is Cruel," sounds the most like the Dan Auerbach App in full use, and it is also the one that sounds the least like T.Rex. 

 

"Sunlight In The Shadows" is that rare new release that begged for repeated plays, at least in my house. Your miles may vary, especially if you're not so fond of all things Bolan. Or, the opposite may happen. You may love all things Bolan and be offended by the rip-off. 

I love this record. I think it works and is Auerbach's best work since Dr. John's "Locked Out."