Pete Anderson en Reverend Introduces Gilded Pete Anderson Signature Guitars <!--paging_filter--><p>Reverend Guitars is offering two of its Pete Anderson Signature Models in Gold Metal Flake. </p> <p>There are just 10 each of the Reverend Pete Anderson Signature Eastsider and the Reverend Pete Anderson PA-1 RT — and they are available only at <a href="">Wildwood Guitars in Colorado</a>.</p> <p>The Pete Anderson Signature Eastsider-T is in homage to vintage guitars and offers a number of traditional features while l maintaining famed Reverend innovations. It has a chambered Korina body, a satin finish and a compound-radius maple fretboard. With a push-pull phase switch, custom alnico pickups, stainless steel saddles and a graphite nut, it adds up to the perfect old-meets-new guitar.</p> <p>The Pete Anderson Signature PA-1 RT is loaded with Reverend’s own Revtron pickups for extra midrange punch and twang on the PA-1 platform — a large, maple hollow-body with Reverend’s proprietary Uni-Brace system. The unique structure controls the feedback that you would normally expect in similar guitars, while adding sustain. </p> <p>The model also has a three-piece Korina neck, a 15th-fret neck and body joint for better access to the higher points on the neck, “R” embossed knobs and an “R” logo pickguard. The exclusive Reverend Bass Contour, a variable bass roll-off that adjusts the pickup voicing, is featured on this model as well. All PA-1s come with a Bigsby B70.</p> <p>“It’s influenced by the classics," says Reverend Guitars founder Joe Naylor. "The look is very important — you wear it — but it’s also a musician’s tool, and everything has to work. Everything continues to evolve for Reverend, and that’s part of our philosophy. The last Reverend is the best Reverend.”</p> <p>For more information, visit <a href=""></a> or <a href=""></a>.</p> Pete Anderson Reverend Reverend Guitars Electric Guitars News Gear Wed, 28 Aug 2013 17:54:26 +0000 Guitar World Staff 19107 at Interview: Guitarist Pete Anderson Discusses His Next Album and Life as a Solo Artist <!--paging_filter--><p>Growing up in Detroit, Michigan, guitarist Pete Anderson began his foray into the music world at age 8 with a lap steel guitar, but his epiphany took place as a teenager. </p> <p>"Bob Dylan came out, and that was a whole new weird thing that got psychedelic and re-attracted me to the guitar," he says. "So at 16 or 17, I went a completely different route and, through Dylan, went in reverse to the old blues guys like Robert Johnson and Lightnin’ Hopkins. In my late teens and early 20s, I couldn’t get enough of the blues."</p> <p>His musical journey eventually brought him to Los Angeles, where he launched an almost-20-year working relationship with country artist Dwight Yoakam. </p> <p>Anderson stepped out on his own 10 years ago and launched his own record label, Little Dog Records. He has signed and produced other artists, in addition to focusing on his own material. Last year, he revisted his blues and jazz roots on his acclaimed album <em>Even Things Up</em>.</p> <p>Anderson is in the process of writing and recording a new album. He took some time to overview the making of <em>Even Things Up</em>, discuss his upcoming project and look back on some highlights of his remarkable career.</p> <p><strong>GUITAR WORLD: What is going on in the world of Pete Anderson? There’s a new album in the works.</strong></p> <p>I stopped playing with Dwight in 2002 and I had a guy on my label named Luke Davis. I made a record with him and sort of shepherded his career for about four years. We went around the world, to Europe and Japan twice, then that fell apart, and I said, “I just want to play my guitar in front of people and I don’t want to be in a situation where anyone can stop me from doing it,” i.e., a singer who doesn’t want to tour, or has to take time off, or wants more money, or any number of things that could keep me from playing. </p> <p>I decided to put my own thing together, really put my nose to the grindstone, and that’s how <em>Even Things Up</em> came about. We’ve toured on it and it has served its purpose, so I’m in the middle of doing the second record in a series of stuff that I’m super-focused on right now. </p> <p>I’m on a career path for myself. I’m dedicated more to working my career as a guitarist, which I’ve never done. I’ve been a producer who plays guitar, and I want to change the paradigm to be a guitar player who produces records. If and when the time arises and I can work it into my schedule, I can produce, but my main focus is on playing guitar now, so we’re working on the second record. </p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>How is it coming along?</strong></p> <p>I’ve got half the tracks cut and the other half are written. I’m just deciding little things about tempos, keys, grooves, arranging. It’s really what I’ve done for other people for many years as a producer and arranger, and now I’m doing it for myself, so if I can get a little bit out of body when I work on them, then I can approach it like I’ve done it for other people. </p> <p>I have my own studio, Dogbone Studios in Burbank, and a real comfortable group of people. Tony Rambo is the engineer, Michael Murphy is producing it again, my wife, Sally Browder, is also a producer and engineer, and she’ll be working on it. It’s pretty much an extension of the same group of people. I’m hoping to bring in a few guests that I didn’t do on the first record, although I did a special edition of the first record and had Bekka Bramlett sing on “Still In Love.” The song went to No. 2 on B.B. King’s Bluesville radio chart, which is the only 24-hour blues station in the world. </p> <p>We got a lot of airplay and it was nominated by BluesWax magazine as a Top 5 Blues Song of the Year, so it got us some notoriety. My plans are pretty much the same. I’ve worked with these people for many years, so it’s a comfortable environment.</p> <p>I’m extremely proud of <em>Even Things Up</em>. I set a pretty high bar for myself production-wise and material-wise, and I feel strongly about the material. Hopefully we will match it and probably exceed it, because that record I wasn’t playing in a band or in this situation. It was, “I’m going to do this now.” I started the project from scratch, wrote the songs, recorded the songs, then played the songs live, created an act and got my legs under me as a frontperson. </p> <p><img src="/files/imce-images/pete300.jpg" width="300" height="451" align="left" style="padding:10px 20px 10px 0;" alt="pete300.jpg" /></p> <p>I’ve been doing that for a couple of years, so I think it will have more of a band feel. I’ve been working with an extraordinary drummer named Jesper Christensen. He’s been playing on some of the tracks, and that’s really changed it because he’s played so many songs. </p> <p>Half of the record we’ve been doing on the road, and when you do it as a band it takes on a little different character because you have a person on his instrument bringing something to the party. Especially over a period of time, being able to play the songs where he gets to know them, we construct them and then deconstruct them. We know where everything belongs, but we don’t have to state them, and that’s when the real fun happens in music. </p> <p><strong>Working on your own projects has allowed you to step outside of the parameters you were associated with. How important is it for musicians to step outside of that zone? It is now possible to listen to a radio station that only programs the genre or artist you like. Musicians sometimes don’t want to listen to a genre they have no interest in, and thanks to these stations, they no longer have to do so.</strong></p> <p>It’s gigantic. If you want to increase your vocabulary as a player, you’ve got to make it part of your life study to hear everyone that’s articulated something on their instrument, because you want to know what they’re thinking and how they think about it. I think it’s part of being a musician. It’s part of the word and you need to explore it. </p> <p>If I was playing country music, it didn’t mean I didn’t listen to King Curtis or Junior Walker or Albert King or anybody that said, “Check out this new trumpet player, Chet Baker,” or a record I found or Arturo Sandoval or a percussionist, Mongo Santamaria. </p> <p>You’re going to pick up something from some of these guys, especially the ones who have become masters of their instruments. You’ll find genres and styles that you like and don’t like, but you’ve got to explore it to find that out. The one thing people said to me more than any other about my career with Dwight is, “I never really liked country music, but man, when I heard Dwight Yoakam and I heard your guitar, I started listening to it and there’s some stuff I like.” </p> <p>There’s a perfect example of if you had just said, “It’s country, I don’t like it,” you would have missed that whole world. I think it’s mandatory. I think you should be very inquisitive as a musician. Even today, if I hear of a new band or a new guitar player, I read about it and I’ll search it immediately — what’s this about, is there something new, a new spin somebody’s putting on something? That’s exciting to me. It’s expanding your vocabulary.</p> <p><strong>What were the most valuable lessons you learned, as a musician and a producer, while working with Dwight Yoakam, and how did those years prepare you when it came time to start your own label?</strong></p> <p>That’s a whole book! I was with Dwight from 1983 until 2002. Dwight’s nine years younger than me. We learned a lot of stuff together. My whole career as a producer was spawned from that and I learned a lot about the record business. I didn’t know what a gold record was, what Arbitron was, what <em>Billboard</em>, Cashbox, any of that was and how it worked. </p> <p>Unfortunately, the more I learned about the record business, the more depressing and ugly that scenario got. I don’t know that it really helped me with my record company, in that my record company was an extension of me wanting to survive in the music business as a producer and not wait for somebody to call me up and say, “Hey, I got a guy; you want to produce?” or nine times out of 10, “Hey, I got a guy that’s not very good, but because I don’t know anything about music but have a job at a record company, I signed him, so I think he’s good and you’re going to come in and for money you’re going to pretend he’s good and you’re going to produce a record on him.” That was really the scenario about 80 percent of the time. </p> <p>I learned a lot producing records. I would produce a Dwight record and then produce three other records before I’d produce his next record, so it really afforded me access to studios, great engineers and studio musicians that had much more experience than I did. That was very much going to school. Everything else, we sort of had our routine. We just got better at it. </p> <p>From day one until I produced <em>Guitars, Cadillacs</em>, I knew my way around a studio a little bit and I knew how to arrange songs. We got better by doing, but I guess there wasn’t any giant revelation because we were up to speed by the time we got there. We believed in what we were doing and followed the same pattern, record after record, as far as how we did the rehearsals, the preproduction, how we recorded it and how we arranged it. </p> <p>Dwight got better at arranging as it went along. I would interpret his ideas and had my ideas as far as how to arrange the material. He’d write the songs and come in with an acoustic guitar and sometimes he had a little motif. I would come up with a guitar riff or some sort of motif for the riffs or licks for the songs.</p> <p>Dwight and I sort of blazed our own trail and did what we wanted because he had an extraordinary amount of talent. He had great songs, and songs rule the roost no matter what. Dwight could have been the biggest country star possibly of all time if he’d had the marketing skills of Garth Brooks to go with his talent. In that, we lived in California, people didn’t like us too much, but more of it was out of sight, out of mind. </p> <p>Not that I wanted to live in Nashville, but if he had that talent and did what he did and lived in Nashville, it would have been that huge. But we weren’t there under their noses all the time, and they’re always thinking about what’s immediate and right in front of them. So the strength of his career is a testimony to how good the material was and how far it transcended across boundaries.</p> <p><strong><em>Read more of Pete Anderson's interview <a href="">here.</a></em></strong></p> <p><em>— Alison Richter</em></p> <p><em>Alison Richter interviews artists, producers, engineers and other music industry professionals for print and online publications. <a href="">Read more of her interviews right here.</a></em></p> Alison Richter Dwight Yoakam Pete Anderson Interviews Features Wed, 19 Sep 2012 16:49:19 +0000 Alison Richter 16781 at Guitar Center Launches Sixth Annual Battle of the Blues Competition <!--paging_filter--><p>Guitar Center has launched the sixth annual Battle of the Blues competition. </p> <p>Aspiring blues guitarists can sign-up at any Guitar Center location across the country to enter for the chance to win more than $50,000 in prizes which includes $25,000 cash, gear from Gibson, Epiphone, Egnater, Shure, Ernie Ball and Boss, plus studio time with Grammy Award-winning producer Pete Anderson. </p> <p>Six finalists will be picked to perform for a panel of celebrity judges at the Battle of the Blues finals in Los Angeles, playing alongside Joe Bonamassa. </p> <p>“Guitar Center’s Battle of the Blues is more than a celebration of the blues guitar, it’s an opportunity to unmask the multitude of undiscovered artists out there,” Bonamassa said. “Each years’ contestants have raised the bar on the level of talent and I’m looking forward to an even higher caliber of competition this year.”</p> <p><a href="">To enter Guitar Center’s Battle of the Blues, head here.</a> To hear Bonamassa’s tips for contestants, check out the video below.</p> <p>Guitar Center’s Battle of the Blues Grand Prize Package (Valued at more than $50,000) Includes:</p> <p>• $25,000 cash<br /> • Studio session with Pete Anderson<br /> • Gibson Custom Les Paul ‘59 Reissue or 335 ’59 Reissue (winner’s choice)<br /> • Epiphone 1965 Elitist Casino<br /> • Egnater Full Stack (winner’s choice of Egnater Head plus two matching cabinets: Renegade, Tourmaster, Vengenance or Armageddon)<br /> • Egnater Rebel-30 112 HG Combo<br /> • Boss GT-10 Guitar Multi-Effects Processor<br /> • Winner’s Choice of two Boss Single Stomp Pedals<br /> • Endorsement Deals from Gibson, Ernie Ball, Boss, Shure and Egnater<br /> • $1,000 in gear from Fret Rest, Road Runner and Live Wire (winner’s choice)<br /> • Shure Artist Package (includes a Shure ULXD14 Digital Wireless Guitar System and Shure 520DX ‘Green Bullet’ Harmonica Microphone)<br /> • Feature in <em>Guitar World</em> magazine.</p> <p>Local preliminary competitions will be held at each of the 230 Guitar Center locations nationwide, beginning May 8. Each contestant will be required to perform one live guitar solo from the 35 original backing tracks varying in different blues styles provided and developed by Anderson.</p> <p>All backing tracks are <a href="">available for free here.</a></p> <p>One winner from each store finals competition will be chosen to move up to district competitions (hosted at 26 Guitar Center locations nationwide), followed by regionally hosted semi-finals (six locations). The winners from these six semi-final locations will convene in Los Angeles to compete in the Battle of the Blues grand finals in front of a live audience and a panel of celebrity judges. The solos from these six finalists will provide an opening act for Bonamassa.</p> <p>Guitar Center’s Battles of the Blues is presented by Gibson, Epiphone, Egnater, Ernie Ball, Shure, Boss, Fret Rest, Live Wire, Road Runner and <em>Guitar World</em>.</p> <p><iframe width="620" height="345" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/GC%20ad.jpg" width="620" height="797" alt="GC ad.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-bonamassa">Joe Bonamassa</a> </div> </div> </div> </fieldset> Guitar Center Joe Bonamassa Pete Anderson News Wed, 04 Apr 2012 17:37:33 +0000 Guitar World Staff 15244 at Reverend's Pete Anderson Eastsider Guitar Now Available with Maple Neck <!--paging_filter--><p>Reverend Guitars, maker of the Pete Anderson Signature Eastsider guitar, has announced that the model now will be available with an optional maple neck.</p> <p>The guitar, Reverend's second Pete Anderson Signature model, comes in S and T varieties. The Tobacco Burst versions, however, will still feature a rosewood fretboard.</p> <p>From Reverend Guitars:</p> <p>The Eastsider is in homage to vintage guitars, with a number of traditional features, while still maintaining the famed Reverend innovation. The guitar has a Korina body, a satin nish, and a compound radius fretboard. It is available in T-style, with two pickups and S-style, with three pickups and a tremolo. Add to that: custom alnico pickups, stainless steel saddles, and a graphite nut, and it adds up to the perfect old-meets-new guitar.</p> <p>Reverend Guitars gives you the best that Vintage and Modern guitars have to oer: celebrated materials, small improvements, and the next step in guitar design. We partner with original musicians, independent dealers, and like-minded companies. Reverend is for the innovators, the creators, and the independent thinkers.</p> <p>For more about Reverend and the Eastsider models, <a href="">visit Reverend's official website.</a></p> <p><img src="/files/imce-images/rosewood.jpg" width="620" height="208" alt="rosewood.jpg" /></p> Damian Fanelli Pete Anderson Reverend Reverend Guitars News Mon, 12 Mar 2012 15:10:01 +0000 Damian Fanelli 14956 at Photo Gallery: Reverend Guitars Pete Anderson Eastsider S <!--paging_filter--><p>Here's a photo gallery of one of the recent arrivals here at the <em>Guitar World</em> office in New York City: a Reverend Pete Anderson Eastsider S in Satin Black.</p> <p>Reverend teamed up with Anderson -- a Grammy-winning country/roots-rock guitarist and producer -- to a put a serious spin on the standard Tele-style guitar. There's a lot more going than just the three pickups:</p> <p>Features include: </p> <p>• <strong>Chambered Korina Body</strong>: Chambers under the pickguard area reduce weight and increase resonance for a lively tone.</p> <p>• <strong>Custom Alnico V Pickups</strong>: Early '50s-style bridge pickup uses 43-gauge wire for a thicker twang that's never harsh. Vintage-style middle and neck pickups deliver bright quack, throaty blues and everything in between.</p> <p>• <strong>Studio Switch</strong>: Push-pull tone control turns neck pickup on no matter where the pickup selector is set. In addition to the standard five-way selector settings, you have two extra possibilities: bridge+neck and bridge+middle+neck.</p> <p>• <strong>Wilkinson Tremolo</strong>: Trem that features stainless steel locking saddles and adjustable arm swing tension. Also features a graphite nut and Reverend Pin-Lock tuners,.</p> <p>• <strong>Compound Radius Fretboard</strong>: 10 inches at the nut, flattens to 14 inches at the last fret. Offers comfy chording at the lower registers and buzz-free lead playing at the higher frets.</p> <p>• <strong>Vintage Style Tuner Buttons</strong>: Oval buttons for a vintage look.</p> <p>• <strong>Custom Knobs</strong>: Knurled metal knobs featuring the Reverend "R."</p> <p>For more about the guitar, check out the video and photo gallery below and <a href="">visit the guitar's page on</a></p> <p><em>Photo: Damian Fanelli</em></p> <p><iframe width="620" height="345" src="" frameborder="0" allowfullscreen></iframe></p> Damian Fanelli NAMM 2012 Pete Anderson Reverend Electric Guitars Blogs News Gear Tue, 06 Mar 2012 15:48:32 +0000 Damian Fanelli 14889 at