Pata Negra :

Rafael Amador - spanish guitar, electric guitar, vocals
Raimundo Amador - spanish guitar, electric guitar, bass,  vocals

additional musicians :

Jos Matchell - bass
Antonio Rodríguez - drums
Carlos Carli - drums
Manuel Marinelli - keyboards
Arturo Soriano - sax
Antonio Carmona "Habichuela" - percussion
Antonio Moreno "Tacita" - percussion
Guadiana - handclaps
Producerd by– Ricardo Pachón

Tracklist:

01 Bodas de Sangre 3:04
02 Blues de la Frontera 4:13
03 Pasa la Vida 3:51
04 Yo Me Quedo en Sevilla 3:34
05 How High the Moon 2:31
06 Camarón 3:08
07 Calle Betis 3:18
8 Lindo Gatito 4:52

09 Lunático 5:16

PATA NEGRA

 FLAMENCO  &  BLUES   -   A 1987 SPANISH EXPERIENCE

Cover Pata Negra El Blues De La Frontera

09/27/2019

PATA NEGRA (Spain)
"Blues de la frontera"
Nuevos Medios - 1987

Andalucia, the large region in southern Spain, is the land of flamenco music and singing. There emerged among the laments of the poorest and most unprotected people as a cry to pain and hope. The history of Flamenco is endless, the performers are unmentionable and their origins date back to times when their protagonists were only anonymous people of the deep south. Orthodoxy has always been a law for performers and criticism, and any deviation from what is misaligned from fidelity to the original it's considered a sacrilege to ancestral values. One of the greatest figure of flamenco's singing, Camarón de la Isla, was considered by a large part of the flamenco's community, as a seller to commerciality and opportunism for having broken some of the unwritten rules of authenticity. In 1987, Pata Negra, band that emerged in Seville in 1978, formed by the Amador brothers, published their fourth album "Blues de la Frontera", nine songs where the line that divides flamenco and blues is so fine that fidelity is escape everywhere. This work represented a groundbreaking album and inspiration for much of the music that followed in posterior decades. The Spanish music magazine "Rock De Lux" considered it the best album published in Spain that year and still today, thirty-two years later, it's as current as it's imperishable.

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