Guitarist Pete Anderson pulls some strings at the Moose
When guitarist Pete Anderson straps on his ax, it's a loaded, calm-before-the-storm moment. When he gets down to business, conjuring an eruptive musical cascade of flawless technique, seductive understatement and indigo-hued atmosphere, it's a transportive, exhilarating blast off into an artistic stratosphere very few others players can reach.
The longtime Glendale resident, renowned as both a guitarist and as the Grammy-winning producer whose decade-plus collaboration with country star Dwight Yoakam resulted in sales of more than 25 million albums, is a world-class talent and demanding perfectionist of the highest order. Nonetheless, Anderson and his outstanding three-piece band perform every Monday at Burbank Moose Lodge, a humble, neon-lit hotspot with no age limit, no cover and, now, one of the finest blues parties running anywhere.
“I've been at the Moose maybe 2 1/2 years, in between touring and doing different things.” Anderson said. “It's a free rehearsal, with an audience, and of course, it's a ‘Blue Monday,’ so it's a great time to play. There's always a few more tunes I need to work out with the band, so I take 'em into the Moose. It's not just a test run — it really welds the songs into your DNA.”
Though best known for most of his career as a groundbreaking country music force (aside from Yoakam he's also produced country-Americana luminaries Lucinda Williams, Sara Evans, Jim Lauderdale, Michelle Shocked and Rosie Flores), the Detroit-born Anderson has always had a blues head, a musical romance that assumed soul-deep primacy after the youth attended the first Ann Arbor Blues Festival and experienced the raw power of blues titans Muddy Waters, Howlin' Wolf, BB King, T-Bone Walker and Lightnin' Hopkins.
After he relocated to California in the mid-1970s, Anderson worked the honky-tonks, where his style was further influenced by California country guitar giants Don Rich and Roy Nichols. Melding all these together, Anderson developed a stupefying prowess, one centered around what he calls “The 3 Ts.”
“The 3 Ts in music are tone, time and taste,” Anderson explained. “I mean, let's say you're listening to [legendary blues slide-guitarist] Elmore James — it’s a very simple sound; the style is simple, the tuning is simple, but to play just like him is almost impossible, and it's because of tone, time and taste. The tone comes from your ear and the pressure on the strings that creates that sound.
“Time is where you place the notes and you can't write that out — it's not a rigid form — but you can place them where you need to. And taste is a matter of expression — what do I say, what do I play? The Ts are what make a player. If it was an Olympic event about precision music, it'd be a lot more boring, but blues and jazz, our American culutural music, you can't have it taught to you. You have to absorb it.”
At the Moose, Anderson's rich, communicative playing is always arresting, and while he generally sticks to a set of songs slated for release on a forthcoming album, he never performs them the same way twice. This dazzling, ever-shifting approach, taken with his depth of personal involvement and impeccable style, always guarantees both musical entertainment of the highest order and a fascinating glimpse into the creative process.
“I practice at my studio on Sunday and then go to the Moose and play to an audience,” Anderson said. “Even if it's only three people, you're playing live, there's pride, you can't goof it up. You find your weaknesses and strengths. It’s a really important tool for me. It's like being a blacksmith — you've got to heat the songs up, bang on them, reshape them, bend them to your will and beat them into submission.”
Pete Anderson appears every Monday, 8-10 p.m. at Burbank Moose Lodge's Club 652, 1901 W. Burbank Blvd., (818) 842-5851 Jony Whiteside, a veteran music journalist based in Burbank and author of “Ramblin' Rose: the Life & Career of Rose Maddox” and “Cry: the Johnnie Ray Story.” The Burbank Leader, January 27, 2012

11/21 Austin, TX
Continental Club
Pete Anderson "Pick"
Best known as Dwight Yoakam’s sidekick, producer, and guitarist, Pete Anderson hasn’t occupied those positions in years. As a solo act, he still thrills guitar freaks whether getting twangy or, as he has of late, sidling up to the blues. Dale Watson’s ongoing Monday residence follows, made more interesting by the inclusion of the rough-and-rowdy hillbilly sounds of his fab new release.
Jim Caligiuri, The Sun Sessions, 11/21

11/20 New Branufels, TX
Gruene Hall
SAN ANTONIO EXPRESS-NEWS: Beal - "Pick"
Recommended gigs from our music writers: Grammy-winning producer behind Dwight Yoakam, Anderson also is a world-class guitarist playing country, blues and rock. He’ll play a no-cover show at 4 p.m. Jim Beal Jr., San Antonio Express-News, November 17

11/18 Dallas, TX
The All Good Cafe
Pete Anderson: "We [Dwight Yoakam and I] Were Americana Before There Was Americana"
If known only for his guitar playing and production work with Dwight Yoakam, singer/songwriter Pete Anderson would still be a legend in both the country and alt-country genres.
There is much more to Pete Anderson than the stellar licks on such Yoakam hits as "Guitar, Cadillacs" and "Streets of Bakersfield." To begin with, there is Anderson's production work, which includes Roy Orbison, Michelle Shocked and even indie heroes the Meat Puppets.
Plus, Anderson has a back catalog of solid solo outings, including the recently reissued, deluxe repackaging of 2009's Even Things Up. Speaking from his home in Los Angeles and in anticipation of his performance tonight at the All Good Café, Anderson spoke with DC-9 about his early days in Detroit and his fateful decision to move to California, where he would meet Dwight Yoakam.
You were quite the athlete in high school. What sports did you play?
I played football, baseball, basketball and track. I specialized in basketball as I got older, but I really loved baseball. But I grew up in Detroit and back then, baseball was just a summer sport. It wasn't like I was in a fair weather town where I could play baseball year round.
Are you a big fan of the Tigers?
Yes, I was all over the Tigers this year. I really like the manager, [Jim] Leyland and [Justin] Verlander is an amazing pitcher. I've always loved American League teams. That's why I pulled for the Rangers in the World Series.
Normally, there is a split between artists and athletes. Did you think of yourself as a Renaissance man?
Well, I definitely had more of an art brain. Everybody just played a lot of sports back then. I kind of transformed into a musician in my late teens. I kept playing basketball, but then I started playing a lot more music. Once the music bug hit, it was pretty hard to find time for sports. At first, playing music served as my creative outlet, but once I picked up a guitar and starting creating music, that was where it was at.
What was your first band?
That would be a jug band called the B-52 Blues. That's going way back. That was in my last year of high school. We would play any party or coffee house.
Did you ever think about suing the new wave band The B-52s for stealing the name?
No, but I ought to just because of the crazy music they put out.
Was it much later that you moved to California?
Well, I made it to Arizona first and then to California. I arrived in L.A. in 1972 with nothing. It was several years later that I was introduced to Dwight Yoakam.
Did you quickly realize the quality of music you were making with Yoakam?
Well, people told me how much they liked it. I'm really proud of the music we made. We worked really hard and made our stand. We were one of the few Nashville acts to record in California. I think the label just sort of tolerated us because we sold records. Warner Brothers were good to us. They gave us our freedom. They figured as long as we were selling records, they would leave us alone. And we ended up selling 20 million records.
What do you think made the music so successful?
We toured a lot, and Dwight has a strong image on stage. The girls like him. He was exciting, and the band was hot. It was the same band that played on the records. The band played like they were invested. Most Nashville bands hired folks to go on the road and try to replicate the records. That wasn't us. We were like Buck Owens and the Buckaroos or Merle Haggard and the Strangers. All of the players were great. And since there was not a lot of country music going on in Los Angeles, it wasn't like anyone was busy doing sessions. I made a decent living touring with Dwight, and I was proud of putting on such a strong show. We started off playing with bands like Los Lobos and The Blasters. Playing with bands in the rock scene helped us cement our audience. We were Americana before there was Americana. Warner Brothers got involved, and we got our records played on mainstream country radio, and we found an audience there as well.
You've worked with or produced everyone from Michelle Shocked to the Meat Puppets. How did you come to work with such a diverse list of artists?
I was introducing Dwight to the mainstream, but at the same time, I wanted to work with songwriters. If you were a songwriter, I was going to be a good complement to you in the studio. Michelle is a good songwriter. Curt Kirkwood from the Meat Puppets is a good songwriter. All of these people I've worked with were good songwriters. I was more of a songwriter's producer. I wanted to create some soundscape for these songwriters to live in. It's all about the song.
Smyers, Dallas Observer, November18

11/17 Lafayette, LA
Blue Moon Saloon
LAFAYETTE ADVERTISER: "Long-time producer and songwriter Pete Anderson hits the Blue Moon Saloon Thursday night"
Grant Hill is one of the best examples of a reliable sixth man. Though Hill has never had that shining moment in professional basketball, his résumé is full of career hallmarks — had his number retired at Duke University, won Olympic gold in 1996, lead multiple teams in points and assists, won Rookie of the Year, etc. Another quality of the sixth man — he's done it all, quietly and gracefully.
In that final respect, you could call Pete Anderson the Grant Hill of modern country and blues music.
In fact, he'd prefer it.
The 60-year-old blues guitarist has had a long career, working with superstars such as Dwight Yoakam and Lucinda Williams. On his fifth solo album entitled "Even Things Up," Anderson is at the stage where he can finally show off his knack for a good hook and stellar guitar playing.
"The excitement of being able to do what I did for other people for myself, it's an opportunity for me to be an artist," Anderson said in an interview last week. "When I first started, that's what I tried to do. I’ve learned a whole lot since then."
Anderson will perform at the Blue Moon Saloon Thursday, November 17 at 8:30 p.m. Pre-sale tickets cost $12. The Blue Moon is located at 215 East Convent Street. 234-2422.
Check out a full profile on Anderson in tomorrow’s Accent Section.
Matthew Sigur Lafayette Advertiser, 11/17

11/17 Lafayette, LA
Blue Moon Saloon
THE ADVERTISER.com: "Settling scores and stealing the limelight"
The sixth man could be the most important person on a basketball team.
Coming off the bench, the player provides spark, creating plays to bring the team back or maintaining the squad's momentum toward victory. These types of athletes will wait their entire careers for respect. Most of them just keep doing what they've been doing: being reliable to the point of non-surprise.
Grant Hill is one of the best examples of a reliable sixth man. Though Hill has never had that shining moment in professional basketball, his résumé is full of career hallmarks - had his number retired at Duke University, won Olympic gold in 1996, lead multiple teams in points and assists, won Rookie of the Year, etc.
Another quality of the sixth man — he's done it all, quietly and gracefully.
In that final respect, you could call Pete Anderson the Grant Hill of modern country and blues music.
In fact, he'd prefer it.
The guitarist, like his hoops contemporary, spent a lot of his time in Detroit. In the Motor City, Anderson saw the greats live.
"My first impetus to play music was seeing Elvis Presley," Anderson said. After seeing B.B. King, Muddy Waters and other blues giants at the Ann Arbor Blues Festival in 1968, Anderson devoted himself to dining on every entrée in the blues genre.
However, for the majority of Anderson's career, he has been known as Dwight Yoakam's partner-in-crime. With the country singer, Anderson has produced, arranged and played on best-selling singles. He played a supportive role with Yoakam and others like Lucinda Williams, but led the "team."
"I was always enamored with songwriters," Anderson said. "I've been a great song doctor. I could fix up a song pretty easily. I wasn't writing a lot on my own. Consequently, in a production process with them, I was more of a team leader."
Until now with his fifth solo album, "Even Things Up," he never had the opportunity to show off his love of the blues.
"I needed to put things back in perspective for me," Anderson said. "I needed to rearrange things to become a guitar player who produced records in his off-time. I needed to prove I was a guitar player on all aspects, not just a country player or a studio guitarist. This is my opportunity to lay it on the line."
It's not that the guitarist/singer has a chip on his shoulder. Sure, he's 60 years old, but he's excited. He's getting his second wind.
"I'm loving going out and playing," he said. "I'm pretty excited about the future. The excitement of being able to do what I did for other people for myself, it's an opportunity for me to be an artist. When I first started, that's what I tried to do. I've learned a whole lot since then. All I really want to do is play guitar in front of people."
Just like the sixth man, he doesn't concentrate on what's happened — all those good things that might fuel the ego.
"I'm sort of the sports guy who missed four years in his prime, but then gains it back," he said, fulfilling the entire Grant Hill subplot without knowing it. "Hopefully, I'm healthy enough to put in a good 10 years."
Matthew Sigur theadvertiser.com, 11/17

11/12 Maumee, OH
Boone's Salon
TOLEDO BLADE: "The Village Idiot Preview"
Fans of twangy guitar, blues, and jazz with a country bottom will be out in force Saturday night at the Village Idiot to see Grammy-winning guitarist Pete Anderson.
The Detroit native is best known for his work with country musician Dwight Yoakam in the 1980s and '90s -- Anderson was the guy playing the smoking hot Telecaster and giving Yoakam's music a muscular Bakersfield sound -- but his solo releases are just as intriguing.
The most recent "Even Things Up" is a genre-crossing exercise in rock, blues, jazz, and a bit of country. He also has produced or backed Lucinda Williams, the Backsliders, Rosie Flores, Jim Lauderdale, and Michelle Shocked, among others, and is a Grammy-winning producer. And he also has a signature guitar sold through Reverend Guitars, a Detroit-area company led by Toledoan Ken Haas.
Anderson's band will include Greg Hanna on bass, Jack Maeby on organ and keyboards, and Jesper Kristensen on drums.
The Village Idiot is at 309 Conant St. in Maumee. The show will start at about 7 p.m. and admission is $7. The Zimmerman Twins will be the opening act.
Blade Staff, Toledo Blade, 11/12

11/8 Evanston, IL
Evanston Space
TIME OUT CHICAGO: "Pick"
Relatively young Idaho blues rocker John Nemeth belts and blows harp like a man with more experience under his belt. And speaking of experience, legendary producer/guitarist Pete Anderson has boosted many a collaborator, most famously Dwight Yoakam, but recently Anderson has taken a turn from country to the blues, with fruitful results.
Time Out Chicago,11/8

11/7 Dayton, OH
Canal Street Tavern
Icon Fetch.com: Tony Peters - "Concert Review"
I've just seen one of the greatest living blues guitarists in a rather unlikely setting – a Midwestern bar on a Sunday night. Pete Anderson may not seem like an obvious candidate for blues virtuoso, since most know him from his almost two-decade stint as Dwight Yoakam's guitarist. Yet, a closer listen to any number of the great solos he cut during that time, and you realize there’s nary a hint of Nashville in his fretwork. In fact, there’s a whole lot more Freddy King in his playing than Chet Atkins (for proof, dial up Yoakam's take on Elvis' "Little Sister") Since going solo in 2002, he’s concentrated on that first love, the blues.
Anderson’s salt and pepper hair, and white in his beard, suggested that he’d been around long enough to pay his dues, and to have actually seen some of the legendary guitar slingers in action. He was accompanied by longtime buddy Michael Murphy, who alternated between organ, piano and accordion, while a younger drummer and bassist rounded out the quartet. Anderson came out sporting a large, hollow-body guitar. I was close enough to notice that (gasp!) there were no effects pedals whatsoever on the floor – this was no-bullshit rock n' roll at its finest. The only time he switched guitars was when he played slide – he went to a nice-looking red solid body.
The guitarist ran through two sets, which heavily emphasized his latest offering, Even Things Up – including great renditions of the gritty "Stop Me" and the shuffling "One and Only Fool." He told a humorous story about entering his tune, "Still in Love," into a songwriting contest and receiving an "honorable mention," which he felt would’ve been an even larger reward, had it not been for American Idol queen Kelly Clarkson being one of the judges. He dug back for some blistering covers of Lowell Fulson and Freddie King, but the biggest surprise came when Anderson put down the guitar and picked up the harmonica for a Little Walter gem – he could really blow that thing! He also debuted several brand new songs he promised would be on a new album come spring - "The Fix It Man" featured some of his finest guitar work of the night, while "Red Sunset Blues" was a mellow instrumental.
Anderson seemed genuine when talking to the crowd. In fact, he and his band went and signed CDs in-between sets – not the kind of accessibility you'd expect from a guy who, during Yoakams' peak, was probably bringing in some serious dough. However, it's obvious that this time around, Anderson is calling his own shots, and actually doing what he truly loves, and sometimes that can be worth more than any amount of cash.
A final note about the venue – it had been several years since I stepped foot inside Canal Street Tavern; the tables and chairs were new, but everything else was still intact. Which meant the stage was front and center, with not a bad seat in the house, and the acoustics were great. What really grabbed me was the incredible intimacy that Canal Street provides – you just can't get that anywhere else.
Tony Peters, IconFetch.com, November 7th

11/5 Springfield, IL
Boone's Salon
ILLINOIS TIMES: "Band Spotlight w/blurb"
When Pete Anderson, along with fellow musicians Greg Hanna (bass), Jack Maeby (organ and keys) and Jesper Kristensen (drums), rocks Boone’s on Saturday, folks will get to see the show of a lifetime.Anderson’s credentials include, most famously, playing all the phenomenal guitar work while handling the spectacular production of the major hits of Dwight Yoakum, working alongside the iconic country singer throughout his career from 1986 to 2003. The Detroit, Mich., native had a big hand in promoting the burgeoning Americana/roots rock scene, creating sounds for other famous folks such as Lucinda Williams, Jim Lauderdale, Michelle Shocked and Rosie Flores in his Grammy Award-winning career. Since first hearing Muddy Waters at age 16, Anderson developed a deep and abiding love for the blues, and spends his solo career nurturing that special feeling. On Even Things Up/Deluxe Edition, the Tele-master’s 2011 re-release of a 2009 record with four added songs, the blues influence is front and center, supported by original music and outstanding musicianship.
Tom Irwin, Illinois Times, November 3,2011

11/3 St. Paul., MN
The Turf Club
MINNEAPOLIS STAR-TRIBUNE: Surowicz - "Pick"
Roots guitar great Pete Anderson, who's as known for his record-producing (Dwight Yoakam, Michelle Shocked, Rosie Flores) as his fine playing, dives into urban blues on his new release "Even Things Up." Growing up in a blue-collar Detroit family, the blues was Anderson's first big musical love, and his passion is apparent throughout the disc, which came out in a limited release in 2009, but is newly expanded with four extra tracks, including a guest vocal by Bekka Bramlett. If the names Ronnie Earl, Earl Hooker or Dave Specter make you feel warm and fuzzy, don't miss this gig.
Surowicz, StarTribune, October 2011

The hottest guitar player in all of California releases the new blues CD. "Even Things Up" Pete Anderson, known as Mr. Guitar Licks in many circles has just released the best sounding blues album to hit the airwaves in quite some time. 12 blues smokin tracks featuring super pickers. Pete Anderson, Michael Murphy, Herman Matthews, Jeff Donovan, Lee Thornburg, David Woodford and Maxine Waters. Pete simply sings his %$# off on these tracks and his guitar playing is simply scrumptious with tasty chops to the bone. This release is a great example of what great mixing and mastering should sound like. Little Dog Records deserves a pat on the back for releasing this first class project for blues fans around the world.
Robert Bartosh, Roots Music Report, www.rootsmusicreport.com/

"Pete Anderson is as much a magician as a musician. He's been taking great sounds and making them greater so long he should get a prize. His new album takes everything to the next level, showing how this man really has few peers when it comes to music to curl your toes and supply the key to the highway. 'Even Things Up' is a true groove from start to finish."
-Bill Bentley, sonicboomers.com

Roots guitar great Pete Anderson, who's as known for his record-producing (Dwight Yoakam, Michelle Shocked, Rosie Flores) as his fine playing, dives into urban blues on his new release "Even Things Up." Growing up in a blue-collar Detroit family, the blues was Anderson's first big musical love, and his passion is apparent throughout the disc, which came out in a limited release in 2009, but is newly expanded with four extra tracks, including a guest vocal by Bekka Bramlett. If the names Ronnie Earl, Earl Hooker or Dave Specter make you feel warm and fuzzy, don't miss this gig.
Star Tribune, October 28, 2011

"An earthy, felt, eloquent set of blues (and beyond) from guitar paragon Anderson. The maestro, as ever, does not disappoint."
-Jonny Whiteside, LA Weekly

"A blend of simplicity and sophistication, this CD is masterfully understated, gorgeously produced, and a true pleasure to listen too. Anderson’s playing is so tasteful and emotive, and the band grooves so sweetly that you won’t want to take this one out of your player. It will, however, have you returning often to his website to find out when he’s going to tour in support of it."
-Miles Overn, Global Eidentities Internet