Award-winning South African blues rock guitarist Dan Patlansky became a familiar face on these shores prior to that dreaded Covid pandemic, guesting with more established names on tour alongside his own countrywide dates, and he’s back now with his eleventh studio album, Movin’ On.
The record began to take form in January 2023, where – stepping outside his more familiar solo writing status – he involved Greg Van Kerkhof and Andy Maritz, the latter also co-producing at his own Drumheadz Studio in Johannesburg, alongside Patlansky. The reason, according to the main man was to introduce a distinctly fresh perspective and approach to the creative process.
“Movin’ On is all about going back to my roots musically; playing and writing music that I love the most. This is without a doubt my most honest and raw offering to date. The older I get, the more important it is for me to play what I truly believe in”, the guitarist commented on what’s said to be “a no-nonsense, unforgiving and relentless time capsule of how he wants to be remembered.” This, apparently, went as far as striving for authentic live performances with as little polish and editing as possible.
Now, when your last album did particularly well, going against the grain might not be the wisest career move, though some perspective might do your own peace of mind a world of good. People I’ve met at shows tend rave about Patlansky’s explosive Hendrix-come-Stevie Ray Vaughn bursts of guitar fire-power, and while I’ve nodded in agreement, I also asked if they’ve played his records, because it’s as a songwriter that I’ve found him most interesting. That he’s now chosen to co-write seems curious to be, but short of skinning a cat, let’s explore what’s on offer.
Well, ‘Red Velvet Suit’ is decidedly old school in its song structure, rock and reeling with a loose-knitted speedy skiffle approach, with some lively spurts of guitar that come belching out. Then, halfway through. it slows right down, with a ream of delicious funky chords shuffling away like a card shark at Las Vegas casino on a role before returning to the main event. It’s fun, but more workout than revelation, and if that’s more what you’re after it starts to unfold right after.
Between wiry wails of guitar over a mid-paced blues beat, ‘Who I Am’ gives us the Patlansky I’m most fond of on record; the introspective soul-searcher as his dusky voice deliberates, asking “Where have I been?”, thankful to “Hear myself again”. Following aptly is ‘Humbled’, a distorted crunching tank driving roll that continues to question life’s pattern in verse, hitting a deep muscular arrogantly gruff “Huh!” only to go into lullaby like lines where he admits “still got a lot to learn” during the chorus hooks.
‘Movin’ On’ claims to be like a rolling stone and gather no moss, but it is plaintively in no hurry; more akin to a weary early morn where your arms stretch out slowly to greet the sun but your legs remain steadfastly attached to where you’re stood. Acoustics and electrics strum away, as a pedal steel offers a slight hint of country to the proceedings. Those feet start tapping with ‘On My Way’ mind, a dirty shrugging blues of the kind The Fabulous Thunderbirds used to pass our way, with Patlansky’s voice roaring and crooning away in earnest emotional release, with a couple of tasty solos thrown in for good measure.
‘One With Fire’ is power trio blues rock in the Cream format, but with Hendrix taking the six string role over a Willie Dixon song framework. But it’s not all bombastic thunder, a chinking funky guitar is as likely to splays out over a pounding rhythm section one minute, then hit you like a storm over more subtle backing. As with much of this album, it’s drenched in dichotomy, be that between the music approaches featured, lyrical deliveries and actual song titles. It’s apparent this album is going to require a more studied listening to for any deeper appreciation. The guitarist himself has claimed that this one is about “Reclaiming my life and identity from people in my past.” I’ll take that as read, while the more tongue-in-cheek lyricism of ‘Baby’s Packin’ Heat’ should be more apparent, though what you’ll mostly be listening out to are the long sustained notes exuded between extraordinarily elongated phrases and runs shriek out over this extended slow blues.
Nearing the end, and similar to ‘Movin’ On’ in form, we have ‘Welcome In’, a dusky ballad with a touch of country echoing in by way of slide, but whereas the former’s about turning your back on what was, this is about inviting new loved ones into your life. It’s delivered vocally with tempered caution alongside the feeling of past regrets. Arriving in time to put a smile on listeners’ faces ‘Free Wheelin’’ repurposes The Beatles’ Daytripper’ riff over a blues groove with a funky bass popping out nicely, thank you, only for us ‘Lift Off’ to wave us off (unless we press replay) with this instrumental freaking away amid hefty shards of funk, racing blues and spiky rock licks.
How the co-writers were involved in the creative process would prove interesting, but the overall impression is that the album is catharsis for how chained-in Dan Patlansky’s been feeling in recent times, be that the music business, personal concerns or the world-at large and thus the more raw, slightly more ramshackle numbers reflect that as a way of getting things off his chest. That there are some good songs that need further digestion, where deeper rewards are expected plaintively shouldn’t be ignored, as it’s good to have this songwriter back.
- Review by Paul H Birch.
- Movin’ On is released on 1st March 2024 and is available here.
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Track list:
- Red Velvet Suit
- Who I Am
- Humbled
- Movin’ On
- On My Way
- One With Fire
- Baby’s Packin’ Heat
- Welcome In
- Free Wheelin’
- Lift Off
