Bitrate : 320K/s
Total Time : 64:23
Total Size : 147,4 MB
Styles: Blues Rock
Scans: Front, Back
1. Travelling Riverside Blues (4:44)
2. Got My Geetar (4:07)
3. Night Time Train (2:47)
4. Damon (4:42)
5. Mow De Lawn (3:46)
6. Mighty Crazy (2:58)
7. Hootchie Cootchie Man (5:06)
8. Hilly Billy In A Woodchipper (2:26)
9. Heart Of Stone (7:28)
10. Letter To My Girlfriend (2:43)
11. Jaded (4:27)
12. I Ain't Superstitious (5:59)
13. Poker Queen (2:00)
14. Frozen Dirt (3:52)
15. Don't Be Fooled (3:00)
16. Pistol Whip (4:10)
Ever since his debut album, Standing At The Station, followed by his 2004 major label (Blue Note, EMI produced) masterstroke True Blues, Patlansky has immersed himself in the rich and rollicking world of blues-rock music.
Note from DP : The album was called True Blues because at the time I was in to the more traditional blues stuff; I wasn’t really in to the blues rock thing and not really into song writing, per se – it was about playing the guitar over traditional sounding blues tunes. We had a recording budget for True Blues and we had a producer too – a very nice chap – but I have to say I was very disappointed with that album when it came out.
Certainly not disappointed in the way I was with Standing at the Station but I was thinking "well, this is still not representative of what I do" because we had a three piece horn section on a lot of the songs and live we were a power trio – and the album wasn’t like a power trio at all.
Short of sounding like I was really disappointed with everything I recorded for those first couple of albums [laughs] I have to say I was, honestly, a little disappointed with True Blues, but it did help to put me on the map in the South African music scene.
Being on a big label helped too. We got a lot of TV advertising to promote the album, which led to playing outside of my home city of Johannesburg and the surrounding area to getting people out to see us in other South African cities. So overall, it was a good thing.
Note from DP : The album was called True Blues because at the time I was in to the more traditional blues stuff; I wasn’t really in to the blues rock thing and not really into song writing, per se – it was about playing the guitar over traditional sounding blues tunes. We had a recording budget for True Blues and we had a producer too – a very nice chap – but I have to say I was very disappointed with that album when it came out.
Certainly not disappointed in the way I was with Standing at the Station but I was thinking "well, this is still not representative of what I do" because we had a three piece horn section on a lot of the songs and live we were a power trio – and the album wasn’t like a power trio at all.
Short of sounding like I was really disappointed with everything I recorded for those first couple of albums [laughs] I have to say I was, honestly, a little disappointed with True Blues, but it did help to put me on the map in the South African music scene.
Being on a big label helped too. We got a lot of TV advertising to promote the album, which led to playing outside of my home city of Johannesburg and the surrounding area to getting people out to see us in other South African cities. So overall, it was a good thing.
True Blues