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Rubber Factory
Studio album by
the Black Keys
ReleasedSeptember 7, 2004 (2004-09-07)
RecordedJanuary – May 2004
StudioSentient Sound (Akron, OH)
Genre
Length41:43
LabelFat Possum
ProducerThe Black Keys
The Black Keys chronology
Thickfreakness
(2003) 		Rubber Factory
(2004) 		Chulahoma: The Songs of Junior Kimbrough
(2006)
Singles from Rubber Factory
  1. "10 A.M. Automatic"
    Released: August 23, 2004
  2. "'Till I Get My Way"
    Released: November 22, 2004
  3. "Girl Is On My Mind"
    Released: November 22, 2004

Rubber Factory is the third studio album by American rock duo the Black Keys. It was self-produced by the band and was released on September 7, 2004, on Fat Possum Records. The album was recorded in an abandoned tire-manufacturing factory in the group's hometown of Akron, Ohio. Rubber Factory received positive reviews and was the band's first album to chart on the Billboard 200 in the United States, reaching number 143.

Recording and production

[edit]

The Black Keys recorded their first two studio albums in drummer Patrick Carney's basement. The building was sold by its landlord, forcing them to find a new location for their third album.[1] They decided to set up a makeshift studio in a dilapidated factory in their hometown of Akron, Ohio. Built by General Tire to manufacture rubber tires, the factory stood on the corner of S Seiberling Street and Little Cuyahoga River in the East Akron neighborhood.[2] General Tire closed the factory in 1982, though space in the building was being leased out.[3] The band rented the entire second floor of the building for $500 per month, and dubbed their workspace "Sentient Sound".

Carney said of the experience:

We were looking for a place and we saw the "for rent" sign and it's just this giant building and the first floor is where all the big storage rooms are, the big kind of cavernous rooms, and then the second floor is where they had all the offices and laboratories, and that's where we rented our space... we just kind of rented one room, but there was no one around us in that corner of the building so we had cables running out the door and across the hallway and into other rooms and stuff and it was basically just like this kind of deserted old building and we had free reign [sic] of it.[4]

Carney called the factory "not really ideal in any way. It's too far away. It's on the second story. It's hot as hell. You can't open the windows. The acoustics are horrible."[5] For recording, the group used a mixing console that Carney purchased on eBay from a former sound technician for Canadian rock band Loverboy.[6][7] Frequent malfunctions with the console stretched the sessions nearly five months;[6] the group ultimately left the console behind in the factory after completing Rubber Factory.[8] The album was recorded on recycled tape provided by the band's record label Fat Possum from its studios in Mississippi.[9]

In 2009, Carney said the factory was to be removed, and it was demolished in 2010.[10] The vacant lot in which the factory used to stand appears on the cover of the band's 2011 single "Lonely Boy".[11]

Packaging

[edit]

The sleeve artwork for Rubber Factory was designed by the group's creative director, Michael Carney,[12] the brother of Patrick Carney.[13] The artwork is a collage of local features, mainly from the desolate east side of Akron: abandoned storefronts, tire piles, the Goodyear blimp, and even the Cathedral of Tomorrow's unfinished tower restaurant depicted as a smoke stack on the front of the album.

Promotion

[edit]

The song "When the Lights Go Out" was used in the film Black Snake Moan. The song "10 A.M. Automatic" was used in an American Express commercial, in the movie Live Free or Die, in the soundtrack for MLB '06: The Show, and in the movie The Go-Getter; this motion picture also features "Keep Me". Their version of "Grown So Ugly" can be heard during the party scene in the movie Cloverfield. "Girl Is on My Mind" was used on a commercial for Sony Ericsson mobile phones, as well as a Victoria's Secret commercial. "Stack Shot Billy" was performed on Late Show with David Letterman.

Reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic81/100[14]
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[15]
Boston HeraldStarStarStarHalf star[16]
Entertainment WeeklyA[17]
The IndependentStarStarStarStar[18]
MojoStarStarStarStar[19]
NME7/10[20]
Pitchfork8.3/10[21]
QStarStarStar[22]
Rolling StoneStarStarStar[23]
SpinB[24]

Rubber Factory was met with critical acclaim. According to review aggregator website Metacritic, the album received an average critic score of 81 out of 100.[14] James Hunter of The Washington Post said that the album "capitalizes richly on whatever it exactly was that caused the rock- and-roll commentariat to adopt [the band] in the first place as college-dropout makers of new indie-rock blues".[25] In an enthusiastic article, David Browne of Entertainment Weekly gave the album an "A" and wrote six variations of a review for the album. He called it a "lo-fi version of classic-rock boogie—done by utterly earnest indie-rock nerds, and done the right way" and said that "the Keys had bested not only themselves but just about everyone else in rock this year".[17] In a three-star review, Christian Hoard of Rolling Stone described the album as "high-impact scuzz-blues that aims for prime Hendrix and almost gets there, thanks mostly to Dan Auerbach's thick-ass guitar lines", but said that it was missing fully formed songs.[23] Jonathan Zwickel of Pitchfork gave the record an 8.3/10, writing that, "There's more of an album feel to Rubber Factory, a conscious song-by-song progression rather than the visceral, overwhelming vibe that forged their debut, The Big Come Up, into a seething wrecking ball."[21]

The album was the group's first to chart on the Billboard 200, reaching number 143.[26] After the commercial success of their 2011 studio album El Camino, Rubber Factory re-entered the chart in May 2012, peaking at number 131.[27]

Track listing

[edit]

All tracks are written by Dan Auerbach and Patrick Carney except where noted.

No.TitleLength
1."When the Lights Go Out"3:23
2."10 A.M. Automatic"2:59
3."Just Couldn't Tie Me Down"2:57
4."All Hands Against His Own"3:16
5."The Desperate Man"3:54
6."Girl Is on My Mind"3:28
7."The Lengths"4:54
8."Grown So Ugly" (Robert Pete Williams)2:27
9."Stack Shot Billy"3:21
10."Act Nice and Gentle" (Ray Davies)2:41
11."Aeroplane Blues"2:50
12."Keep Me"2:52
13."Till I Get My Way"2:31
Japanese bonus track
No.TitleLength
14."Summertime Blues" (Eddie Cochran)2:34

Personnel

[edit]
The Black Keys
Technical

Charts

[edit]
Chart (2004-2005) Peak
position
Australian Albums (ARIA)[28] 18
French Albums (SNEP)[29] 123
Scottish Albums (OCC)[30] 59
UK Albums (OCC)[31] 62
UK Independent Albums (OCC)[32] 11
US Billboard 200[33] 131
US Heatseekers Albums (Billboard)[34] 5
US Independent Albums (Billboard)[35] 11

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Rubber Factory

View on Grokipedia
from Grokipedia
Rubber Factory is the third studio by the duo , consisting of and , released on September 7, 2004, by . The album was self-produced by the band and recorded in an abandoned tire factory in their hometown of , using a reel-to-reel tape machine, which contributed to its raw, lo-fi sound characterized by blues-influenced elements. Featuring 13 tracks, including standout singles like "10 A.M. Automatic" and "When the Lights Go Out," it marked a pivotal point in the duo's career, blending gritty guitar riffs with Auerbach's soulful vocals and Carney's driving percussion. The recording process for Rubber Factory was unconventional, as the band rented space in the derelict rubber factory—once a hub for the city's tire industry—to capture an authentic, unpolished aesthetic that echoed their roots. This DIY approach not only influenced the album's sonic texture but also symbolized the duo's transition from underground obscurity to wider recognition, with the record peaking at number 143 on the and earning critical acclaim for its energetic, stripped-back production. Notable tracks such as "When the Lights Go Out" and "Girl Is on My Mind" highlight the album's emotional depth, drawing from influences like and other artists, while establishing as a force in the early-2000s scene.

Background

Early career context

The Black Keys were formed in 2001 in , by childhood friends and , both in their early twenties at the time, as a raw blues-rock duo driven by their shared passion for music. The pair drew heavily from North Mississippi artists, particularly idolizing figures like and , whom Auerbach described as "our rock stars." This regional influence shaped their minimalist setup—Auerbach on guitar and vocals, Carney on drums—eschewing additional band members or elaborate production to capture an authentic, gritty sound. Their debut album, , was released in 2002 on the independent label Alive Records, featuring lo-fi recordings that highlighted their garage style with covers and originals evoking classic traditions. The album's raw production and limited distribution helped build an initial underground audience, leading to a deal with , a label known for reissuing and promoting Mississippi artists. Their follow-up, , arrived in 2003 on Fat Possum, recorded in a single intense session in Carney's basement, further solidifying their reputation for unpolished energy and earning them a growing among and enthusiasts. Following , the duo faced mounting pressures from Fat Possum, including financial constraints and expectations to evolve their sound commercially, which clashed with their commitment to artistic independence. This tension fueled their desire for greater creative control, prompting them to self-produce their next project and seek unconventional recording spaces to maintain their DIY ethos amid label demands.

Album conceptualization

The Black Keys sought to create Rubber Factory as a raw, unpolished reflection of their hometown Akron, Ohio's fading industrial landscape, drawing direct inspiration from the city's storied rubber and legacy, which had defined its economy for over a century before widespread factory closures in the late 20th century. and aimed to infuse the album with a gritty, authentic blues-rock sound that echoed the resilience of Akron's working-class communities amid economic decline, emphasizing organic tones over studio polish to evoke the "rough and blown out" aesthetic reminiscent of early influences like . This conceptualization positioned the album as a sonic tribute to local heritage, capturing the duo's desire to root their music in the tangible echoes of the Rust Belt's transformation. Frustrated by prior experiences and seeking greater artistic control, the duo decided to self-produce Rubber Factory to foster a more experimental, hands-on process. Auerbach and Carney, who had already self-recorded their debut The Big Come Up in a basement, viewed this independence as essential to achieving an "organic" sound free from label-imposed refinements, despite pressure from Fat Possum Records to bring in a professional producer. This shift allowed them to prioritize intuition over convention, experimenting with unconventional setups to maintain the album's raw energy. Central to the album's concept was its deep tie to Akron's heritage, symbolized by the choice to record in an abandoned tire factory on the city's outskirts, a site that embodied the shuttered plants of the rubber industry and the enduring spirit of blue-collar perseverance. The vast, echoing space of the former facility not only provided a makeshift studio but also served as a metaphorical , reinforcing the band's commitment to authenticity by immersing the recording in the very environment that shaped their identity. Carney later reflected on the location's scale—"We were in about 1/100th of an old rubber factory. It was huge"—highlighting how it amplified the album's thematic with Akron's industrial past.

Recording and production

Location and equipment

The recording of Rubber Factory took place at Sentient Sound, a makeshift studio rented on the second floor of an abandoned tire factory—the former plant—in , from January to May 2004. The cavernous, decaying space, filled with crumbling , dust, and potential hazards, provided an unconventional environment that infused the sessions with a gritty, industrial atmosphere reflective of the duo's roots in Akron's fading manufacturing legacy. The technical setup emphasized simplicity and affordability, aligning with the band's lo-fi ethos. Drummer handled engineering using a second-hand M-16 mixing console, acquired on from a former sound technician for the band , which still bore a faded sticker from the group. Complementing this was a 85-16B 1-inch 16-track reel-to-reel tape machine, obtained through a trade leveraging an advance from their label, . The rudimentary gear, scattered amid amplifiers, wires, and dismantled drum kits in the rented space (at $500 per month), captured the album's raw, echoey sonic character, where the factory's natural reverb enhanced the blues-rock tracks without additional effects. The General Tire plant, shuttered since 1982, symbolized Akron's post-industrial decline and was ultimately demolished around 2010 due to environmental concerns like , rendering the recording site a fleeting artifact of the city's tire-making history.

Creative process and challenges

The Black Keys' third album, Rubber Factory, was recorded over a five-month period in early 2004, during which and relied heavily on to develop the material directly . Auerbach handled guitar and vocals, while Carney focused on , capturing most tracks as live takes with intervention to build layers; the duo incorporated significant overdubs and studio experimentation on many songs. The self-production approach by Auerbach and Carney involved mixing on the fly without external engineers, allowing them to experiment freely but also introducing significant hurdles. Technical challenges abounded in the disused factory setting, including frequent console malfunctions from the secondhand M-16 they acquired via , as well as power outages that disrupted sessions. Rather than striving for polished results, the pair deliberately embraced these imperfections—such as tape hiss and unintended noise—as integral to the album's gritty character, reflecting their DIY ethos. This process yielded a concise 13-track album with a total runtime of 41:43, showcasing the duo's ability to adapt constraints into creative strengths.

Music and lyrics

Musical style

Rubber Factory is characterized by its core blend of garage rock and blues rock, featuring raw, minimalist instrumentation that highlights Dan Auerbach's distorted guitar riffs and Patrick Carney's pounding drums. This sonic foundation evokes the gritty energy of 1960s blues artists like Howlin' Wolf, with the duo's setup—guitar, drums, and occasional slide or lap steel—creating a visceral, two-piece dynamic that prioritizes intensity over complexity. The album marks an evolution from the Black Keys' earlier works, such as The Big Come Up and Thickfreakness, by incorporating added punk energy through aggressive, garage-punk edges while introducing subtle psychedelic elements in reverb-heavy guitar solos, as heard in tracks like "10 A.M. Automatic." This progression allows for a more structured album flow, balancing the band's primal aggression with moments of restraint, such as the haunting lap steel in "The Lengths," without losing their lo-fi aesthetic. Influenced by North blues artists like and , the adopts a hypnotic rhythm and thick, greasy tone that infuses its with a driving, repetitive pulse. This regional style contributes to a shift toward more accessible structures, making Rubber Factory the duo's first broadly appealing release while preserving the raw, unpolished grit central to their identity.

Themes and influences

Rubber Factory's lyrics center on themes of working-class struggle, isolation, and fleeting relationships, deeply informed by the economic downturn in the band's hometown of , where major employers like Goodyear had drastically reduced their workforce from 30,000 to just 3,000 employees by the early 2000s. has described the city's transformation into a place of limited opportunities, with many friends leaving for elsewhere yet achieving little more, underscoring a sense of personal and communal stagnation that permeates the album's introspective tone. Tracks like "The Lengths" exemplify this through its portrayal of unwavering loyalty in the face of emotional hardship, evoking the endurance required in strained bonds amid broader socioeconomic pressures. The album's storytelling draws heavily from blues traditions, emphasizing raw, narrative-driven songs that blend personal vulnerability with gritty realism. Auerbach incorporates anecdotes from his own life, using metaphors of industrial toil to convey transformation and disillusionment, as seen in the cover of Robert Pete Williams' "Grown So Ugly," where factory-like drudgery mirrors personal decay and alienation. This approach honors influences like and , prioritizing emotional authenticity over polished expression, which Auerbach achieved by simplifying his gear to capture a more primal sound. Subtle social commentary on the decay of the American Rust Belt emerges across the record, fusing individual introspection with collective melancholy to highlight resilience in decline. Songs such as "Till I Get My Way" capture this through themes of determination and transient connections, reflecting the instability of life in a fading industrial hub like Akron, where the abandoned rubber factories that inspired the album's recording site symbolize broader . Overall, these elements create a cohesive portrait of quiet defiance against adversity, rooted in the duo's Akron upbringing.

Packaging and release

Artwork and design

The artwork for Rubber Factory was designed by Michael Carney, the brother of drummer and a longtime collaborator with . Carney, who has handled the visual design for all of the band's albums, created a collage-style cover using black-and-white photographs taken on film with a camera, which were then scanned and assembled in Photoshop. The front cover features a surreal, distorted collage of Akron landmarks from unusual angles, forming a gritty landscape that includes the band's members and against a red background, alongside elements like the Akron Airdock, Goodyear Tire & Rubber Co. facilities, a stack of tires, a fleet of Goodyear blimps, water towers, and a cell tower. The back cover incorporates additional east-side Akron imagery, such as the Mattress Factory Outlet sign, a drive-in restaurant marquee reading "Have you Had A Nitemare Lately?", and a small figure of Carney himself standing in the snow. These stark, desolate urban visuals directly evoke the album's industrial theme, drawing from the abandoned tire factory where it was recorded and capturing the nostalgic grit of Akron's history as the Rubber Capital. The packaging adopts a minimalist aesthetic with simple, unadorned that prioritizes raw authenticity over commercial polish, aligning with the album's lo-fi ethos and reinforcing its roots in the band's hometown environment.

Formats and distribution

Rubber Factory was initially released on September 7, 2004, by label in (CD), vinyl, and digital download formats. The standard edition features 13 tracks, capturing the duo's raw blues-rock recorded in an abandoned Akron tire . Certain international variants, such as the Japanese release, included a bonus track: a cover of Eddie Cochran's "." The vinyl edition was produced as a limited initial pressing on 180-gram audiophile-quality , emphasizing the album's analog aesthetic without involvement from a major label. Distribution occurred primarily through independent channels, including specialty record stores and online retailers aligned with Fat Possum's network, reflecting the band's commitment to release strategies. Following its physical debut, Rubber Factory became available on major streaming platforms in the late and 2010s, expanding accessibility via services like and . As of 2025, no deluxe or anniversary reissues have been officially released, though standard re-pressings of the vinyl and continue to be offered by Fat Possum.

Promotion and commercial performance

Marketing and singles

The Black Keys promoted Rubber Factory through a series of singles releases that highlighted the album's raw blues-rock energy, beginning with the "10 A.M. Automatic," issued on August 23, 2004, via . This track, with its driving guitar riff and urgent vocals, received limited airplay primarily on and indie radio stations, helping to build buzz among niche audiences without significant mainstream exposure. Following the album's September 7 release, the band issued a double A-side single featuring "'Till I Get My Way" and "Girl Is on My Mind" on November 22, 2004, through Epitaph Records. These songs, both evoking classic garage rock influences, saw similarly modest radio rotation on alternative formats, reinforcing the duo's grassroots appeal rather than chasing commercial radio dominance. Media synchronization deals further amplified the album's reach. "10 A.M. Automatic" appeared in a 2007 American Express commercial featuring athlete Shaun White, exposing the track to broader audiences via television advertising. Additionally, "When the Lights Go Out" was featured in the 2007 film Black Snake Moan, directed by Craig Brewer, where it underscored the movie's gritty Southern Gothic atmosphere as part of the official soundtrack. The band also performed "Stack Shot Billy" live on the Late Show with David Letterman in 2004, delivering a high-energy set that showcased their minimalist setup and raw intensity to national late-night viewers. Promotion extended to a low-budget tour across U.S. indie venues in fall , focusing on small clubs and theaters to connect directly with fans. This strategy leveraged word-of-mouth momentum from their prior albums (2002) and (2003), which had cultivated a dedicated underground following through similar grassroots efforts.

Chart success and sales

Upon its release in September , Rubber Factory marked The Black Keys' first entry on the , debuting and peaking at number 143. It also reached number 5 on the Billboard Heatseekers Albums chart, reflecting its strong performance among emerging artists. Internationally, the album achieved modest peaks, entering the ARIA Albums Chart at number 18 and spending two weeks there. In the , it debuted at number 62 on the Official Albums Chart, with a total of one week in the top 100. Similarly, it peaked at number 123 on the French Top Albums chart for one week. Following the commercial breakthrough of the band's 2011 album El Camino, Rubber Factory experienced a re-entry on the in May 2012, peaking at number 131. The album has not received any RIAA certifications, underscoring its initial modest sales trajectory despite later retrospective interest driven by the duo's rising fame. Overall, Rubber Factory's chart performance established it as a pivotal release in building the band's credibility, even as global sales remained under 500,000 units.

Reception and legacy

Initial critical response

Upon its release in September 2004, Rubber Factory received widespread critical acclaim, earning a aggregate score of 81 out of 100 based on 23 reviews, indicating "universal acclaim." Critics frequently praised the album's raw, lo-fi production, which captured the authentic essence of through its gritty, unpolished sound recorded in an abandoned factory. Entertainment Weekly awarded the album an A grade, lauding its "raw energy" and describing it as "shockingly well done... a remarkable album" that channeled sensual -rock intensity. gave it an 8.3 out of 10, highlighting its role in the revival with "sparse arrangements and DIY aesthetic" that provided " genuineness" missing from contemporaries, revitalizing the primal force of the genre. rated it 3 out of 5 stars, appreciating the "grit" in its "high-impact scuzz-" that evoked prime Hendrix influences, though it fell short of fully achieving that ambition. Reviewers commonly noted the album's acclaim for preserving the blues' raw spirit amid the garage rock revival, often comparing it favorably to acts like for its indie authenticity and positioning it as a standout in the genre. However, some critiques pointed to its limited accessibility, arguing the unrefined style contrasted with more polished rock productions and might alienate broader audiences. This buzz helped establish Rubber Factory as an indie darling, boosting its initial commercial traction in underground circles.

Long-term impact and reissues

Rubber Factory is recognized as ' breakthrough album, as it became their first to chart on the at No. 143 and elevated their profile within the garage rock revival by blending raw influences with a stripped-back duo format. The record's cohesive songcraft, exemplified by tracks like "The Lengths," demonstrated Dan Auerbach's songwriting at its peak and helped redefine blues-rock for modern audiences, contributing to the band's transition toward major-label success in subsequent years. Its enduring appeal lies in the raw energy that inspired later acts, with bands like Bad Mannequins citing it as a formative influence for its simple yet powerful drums-and-guitar dynamic and 1960s-inspired grit. Retrospective rankings underscore its lasting significance, placing it at No. 2 among in Ultimate Classic Rock's assessment and No. 4 on Best Ever Albums' user-curated list of their works. While the album itself garnered no major awards, it laid the groundwork for the duo's commercial ascent, paving the way for six Grammy wins across later releases, including Best Rock Album for El Camino (2011) and Brothers (2010). In September , marked the 's 20th anniversary through streams, reflective interviews, and discussions of its Akron roots, highlighting its role as the first project recorded in an abandoned tire . Reissues have been limited to standard vinyl represses by , such as the ongoing 180-gram black vinyl edition and a 2011 variant, without deluxe or expanded versions featuring additional content. By 2025, the 21st anniversary passed without formal reissues or new material, though the album remains available via the label's catalog and streaming platforms.

Credits

Track listing

The standard edition of Rubber Factory contains 13 tracks, all written by and of except where noted. The album has a total runtime of 41:33. "10 A.M. Automatic" was issued as the album's .
No.TitleWriter(s)Length
1."When the Lights Go Out", 3:24
2."10 A.M. Automatic", 2:59
3."Just Couldn't Tie Me Down", 2:58
4."All Hands Against His Own", 3:17
5."The Desperate Man", 3:54
6."Girl Is on My Mind", 3:28
7."The Lengths", 4:54
8."Grown So Ugly"Robert Pete Williams2:27
9."Stack Shot Billy", 3:20
10."Act Nice and Gentle"2:41
11."Aeroplane Blues", 2:51
12."Keep Me", 2:52
13."Till I Get My Way", 2:31
Certain international editions include a bonus track. The Japanese CD release adds "", a cover of the 1958 song written by Cochran and Jerry Capehart, running 2:30.

Personnel

Rubber Factory was created almost entirely by the duo , underscoring their self-reliant production ethos with no guest musicians involved. handled lead vocals, guitars, , , and handclaps, while contributed drums, percussion, and handclaps. Both Auerbach and Carney co-produced and co-mixed the , with Carney also the recording sessions. The duo recorded at an abandoned tire factory in (Sentient Sound), and mixed at Sentient Sound in . Artwork and design were crafted by Michael Carney, brother of . Mastering was completed by at Sterling Sound in New York.

References

  1. https://www.discogs.com/master/79409-The-Black-Keys-Rubber-Factory
  2. https://fatpossum.com/products/rubber-factory
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  4. https://www.amazon.com/Rubber-Factory-Black-Keys/dp/B0002O06N0
  5. https://www.billboard.com/music/music-news/be-black-keys-mindi-abair-66304/
  6. https://theblackkeys.com/products/rubber-factory-album
  7. https://americansongwriter.com/digital-cover-story-the-black-keys-patrick-carney-and-dan-auerbach-on-25-years-of-the-black-keys-industry-pitfalls-and-their-evolution/
  8. https://www.rollingstone.com/music/music-news/the-rise-of-the-black-keys-180489/
  9. https://diffuser.fm/black-keys-the-big-come-up-released/
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  11. https://www.loudersound.com/features/the-black-keys-best-albums
  12. https://jambands.com/features/2004/09/30/the-black-keys-margarine-and-the-rubber-factory/
  13. https://glidemagazine.com/4288/the-black-keys-factory-line-blues/
  14. https://www.soundonsound.com/people/black-keys
  15. https://www.allmusic.com/album/rubber-factory-mw0000299769
  16. https://magnetmagazine.com/2005/01/15/the-black-keys-my-city-was-gone/
  17. https://tapeop.com/interviews/136/patrick-carney-black-keys
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  20. https://tapeop.com/interviews/127/dan-auerbach
  21. https://www.nme.com/blogs/nme-blogs/13-albums-recorded-in-weird-places-2086458
  22. https://rateyourmusic.com/release/album/the_black_keys/rubber_factory/
  23. https://pitchfork.com/reviews/albums/767-rubber-factory/
  24. https://www.popmatters.com/blackkeys-rubber-2495839456.html
  25. https://www.discogs.com/release/8529426-The-Black-Keys-Rubber-Factory
  26. https://www.discogs.com/release/4351288-The-Black-Keys-Rubber-Factory
  27. https://www.discogs.com/release/1200835-The-Black-Keys-10-AM-Automatic
  28. https://www.discogs.com/master/166880-The-Black-Keys-Till-I-Get-My-Way-Girl-Is-On-My-Mind
  29. https://adtunes.com/threads/american-express.87419/
  30. https://www.imdb.com/title/tt0462200/soundtrack/
  31. https://www.youtube.com/watch?v=b3_MA57G9a4
  32. https://glidemagazine.com/6241/black-keys-venture-on-the-road-in-support-of-rubber-factory/
  33. https://www.billboard.com/music/music-news/black-keys-branching-out-on-tour-63496/
  34. https://australian-charts.com/showitem.asp?interpret=The+Black+Keys&titel=Rubber+Factory&cat=a
  35. https://www.officialcharts.com/artist/1281/black-keys/
  36. https://www.chartsinfrance.net/The-Black-Keys/Rubber-Factory-ac10460.html
  37. https://www.metacritic.com/music/rubber-factory/the-black-keys
  38. https://www.milforddailynews.com/story/entertainment/music/2004/09/30/cd-reviews-black-keys-rubber/41183235007/
  39. https://www.treblezine.com/black-keys-rubber-factory/
  40. https://ultimateclassicrock.com/black-keys-albums-ranked/
  41. https://www.loudersound.com/features/the-top-10-best-garage-rock-albums-as-chosen-by-bad-mannequins
  42. https://www.besteveralbums.com/thechart.php?b=1848
  43. https://www.discogs.com/release/585450-The-Black-Keys-Rubber-Factory
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