Pete Anderson Albums (3)
What The Critics Say
Pete Anderson's third solo outing has been a long time coming, and one gets the distinct impression that it's the album he's been itching to make all along. Given that Daredevil is completely instrumental, the guitar geeks already have something to salivate about. But there's much more to it than that. Anderson played the vast majority of instruments, with help in a few places from multi-instrumentalist Skip Edwards and minimal assistance from trumpeter Lee Thornberg and fiddler Donny Reed as well. There's also some string work performed by some mysterious entity know as "the Skipper." If the Latin Playboys were an instrumental country band, they would almost certainly sound something like this. While it's true that Anderson's guitaristry is signature to all he does, he understands dynamic, rhythm, and atmosphere and texture as well. Check the beautifully warm and silvery "My Little Angel," with Thornberg's English horn wafting under Anderson's slippery Telecaster, playing romantically over a shimmering B-3 that creates a sound that would make great serial music for a romantic interlude in a David Lynch film. The gutbucket swamp blues in "Baby Done Something Wrong" and "Sweet Delta Sunrise" are quirky, angular, slightly spooky, and tough as nails. The open acoustic guitar and tabla drums that provide the framework for "The Ballad of Los Barilles" are breathtaking. The power chords and synth loops that open "Big Canyon/Little Bird" are a surprise, but a welcome one, because Anderson's slow-handed stinging lead work cuts through them and lends them a near majestic quality before the entrance of Thornberg's trumpet and Reed's fiddle transmutes everything into a jazzy down-home groovefest. This is an iconoclast's record; it stands outside the margins and wears its freak flag high. That said, it is free of egotistical excesses and miscues. It's not only a pleasant listen, but a compelling one. ~ Thom Jurek, All Music Guide
What The Critics Say
Dogs in Heaven is Pete Anderson's second solo outing on his own Little Dog Records label. His debut effort in 1994, Working Class, played down his country music association and emphasized his Americana roots. Dogs in Heaven seemingly picks up where Working Class left off. This time without the steady hand of producer Dusty Wakeman, Anderson still pulls off some spectacular moments. Throughout, his guitar playing is perfection; he is vocally akin to Tom Waits, which lends itself well to songs such as the Duane Jarvis co-write "110 in the Shade," which is an evocative blues number, as is "Feels Like Mississippi," written by Anderson and Kostas. For good rockin', Anderson proves himself on "Chalene" and the infectious "For You." His instrumental title track is also notable, as is his cover of the Motown hit, "Ain't That Peculiar," a nod to his Detroit roots. With his usual band, Taras Prodaniuk, Skip Edwards, and James Christie in tow, this is another fine example of Anderson's eclectic musical style. ~ Jana Pendragon, All Music Guide
What The Critics Say
Before moving to California and beginning his successful association with country singer Dwight Yoakam, Pete Anderson cut his musical teeth in Detroit playing rock & roll and R&B. It comes as no surprise then that on his first solo outing he would stray from the signature country string-bending style that had become his trademark. From the bluesy strut of Anderson's own "Working Class" to the gorgeous instrumental reading of the oft-covered Ruby & the Romantics classic "Our Day Will Come" along with the Texas blues shuffle take on Jimi Hendrix's "Fire," Anderson's relaxed delivery -- both vocally and with his always-captivating guitar playing -- emits the feeling that there was little pressure in making this record. He and his band sound like they are having a great time. There are hints of country and folk (a solo cover of Dylan's "She Belongs to Me"), but primarily this is a blues record and a fine one at that. An enjoyable and insightful look at one of country music's most innovative and influential guitarists. ~ Jack Leaver, All Music Guide
