FAME Review: Pete Anderson - Even Things Up: Deluxe Edition
 
Pete Anderson - Even Things Up: Deluxe Edition

Even Things Up:
Deluxe Edition

Pete Anderson

Little Dog Records - LDVT001

Available from Pete Anderson's web site.

A review written for the Folk & Acoustic Music Exchange
by Bob Gottlieb
(taoboy@cox.net)

Detroit born, Pete Anderson is probably best known as Dwight Yoakam's musical partner who produced, arranged, and played lead guitar on his discs between 1986 and 2003. However, to those that know much about him, he is also recognized as a master of the Telecaster sound and a very accomplished producer and arranger in the Americana field who has used his influence to introduce us to such artists as Lucinda Williams, Rosie Flores, and Jim Lauderdale. This is a re-release of a limited release of his 4th solo disc, Even Things Up and includes 4 new tracks, 2 of which are live, and Still In Love, which has tremendous vocals by Bekka Bramlett. On this particular cut he demonstrates his love of the Blues which was/is his 'favorite' music.

Mr. Anderson's guitar most of the time straddles a cross between the Blues and that California swinging Bakersfield sound that Dwight was so known for. There are times when he crosses lines going into Jazz on Booker Twine" and slides into some Latin Rhythm with That's How Trouble Starts, and he feels equally at home in any genre he chooses to play in. Then you have him playing acoustically on Prophet For Profit, on which he also displays a here-to-for unknown prowess on harmonica. He either wrote or co-wrote all but one of the songs on the disc. A wonderful display of the wide-ranging talents of this often over looked musician.

Track List:

  • Honky Tonk Girl
  • Booker Twine
  • That's How Trouble Starts
  • Even Things Up
  • Wes' Side Blues
  • One and Only Lonely Fool
  • Stop Me
  • Dogbone Shuffle
  • Still In Love
  • Room with a View
  • Blue Guitar
  • Prophet for Profit

Edited by: David N. Pyles
(dnpyles@acousticmusic.com)

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Copyright 2011, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
 
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