HIT LIST REVIEWS Pete Anderson Live at the Moose Gary Louris and Louris’ fantastic with trademark tenor (which seems to T he Bu rba n k ’60s Gibson SG. get better with age) – but Moose Lodge exciting left turns await. doesn’t seem a The muddy and druggy likely place for rocker “Lost The Summer” electrifying guitar is a quick counterpoint performances, but Pete Anderson and to the opener, while the band spent three days in December 2014 anglophilic “Lovers Of The dazzling the crowds that showed up there Sun” feels like a sunny to see them. The band is basically an organ park scene in a groovy trio with Anderson, Luke Miller on organ mid-’60s rom-com. And and key bass, and drummer Lael Eccard. although “Pretty Roses Anderson’s chops are on display through- In Your Hair” sounds like out and he shows he’s not afraid to play the title of a lost A.P. around. Those familiar with him from his Carter chestnut, Louris, a long-past days as Dwight Yoakam’s guitar- ferocious guitarist, would ist and producer will smile at the banjo leave Neil Young blush- rolls that have notes flying everywhere on ing even in his gnarliest the funky “36-Hour Day.” POWER POP WITH Crazy Horse mode. “One And Only Lonely Fool” is a simple Songs like “Isabel’s blues shuffle that features Anderson soloing Daughter” and “The Devil with double stops and dazzling single- TWANG AND THUNDER Is In Her Eyes” reel things string runs that are imaginative and never back to more familiar fall into cliché land. The instrumental “Wes hose with only a on, the Jayhawks offer territory with Karen Grot- Side Blues” is a jazzy piece with some Latin casual ear to the their ninth long-player and berg’s keys and gorgeous influence. T pavement will likely fourth sans Olson (a short- background vox playing If you think it’s impossible to take the file the Jayhawks under lived reunion in 2011-’12 off Louris and the har- sameness out of slow blues, check out murky signifiers such ended badly). Recorded in monies of drummer Tim “I Got Mine” as he mixes blues and jazz as “Americana” and “Alt Portland, Oregon, the disc O’Reagan, but both are into a guitar stew that almost creates its Country.” While those contrasted with the likes own genre. Anderson’s also not afraid to tags were once perfectly of “Ace,” a snakey detour explore several emotions within one song. apt, the truth is they’ve (complete with car horns). “Blue Guitar” is a lovely instrumental that been thoroughly inad- Buck’s influence is starts as a ballad and before it’s done it equate since the second obvious in “Dust Of Long becomes a funky number that showcases Clinton administration. Dead Stars,” perhaps the his quick right hand. It’s all different and In 1995, Jayhawks best mid-period R.E.M. varied, without cutting into the integrity co-frontman Mark Olson song not written by of the song. bailed abruptly, though R.E.M. The album’s zenith, While Anderson flies under the radar to amicably, leaving guitarist however, is “Leaving the general listening public, he’s assembled Gary Louris and bassist The Monsters Behind,” a discography that features original and Marc Perlman, the lone Paging Mr. Proust an incredible ear worm imaginative guitar playing. If all you know founding members, at a The Jayhawks featuring a marvelous or remember about him is his past history crossroads. The reimag- background vocal from with Yoakam, latch on to this one and ined band began indulging is co-helmed by Louris, R.E.M. bassist Mike Mills. then work backward through an extremely deeper influences and R.E.M.’s Peter Buck, and Proust finds four musi- rewarding catalog of music. – John Heidt sonic sensibilities. Even production whiz Tucker cians who’ve been togeth- at the band’s twangiest, Martine (Bill Frisell, My er for two-plus decades in Charles Lloyd Louris’ love of a good Morning Jacket, and typical fine form but, more and the Marvels Fuzz Face had been Mudhoney, among many encouragingly, continuing I Long To See You noted frequently, but others). Martine’s diverse to move forward. Fans of suddenly the sublime past credits hint at what’s Big Star-inspired power It doesn’t take a brother-like harmonies he in store when the needle pop, headphone music genius to realize that had created with Olson drops. “Quiet Corners & from the likes of Jayhawk adding Bill Frisell to were replaced with layers Empty Spaces” may hint pals Wilco, and indeed a project will yield of keys, strings, and an at the classic Jayhawks Americana twang, will great results. But teaming him with jazz expanded pedalboard. modus operandi – catchy consider this a rewarding saxophonist Charles Lloyd was a master Nearly two decades jangle, descending verse, endeavor. – Dennis Pernu stroke, in large part because the sensibilities VINTAGE GUITAR 112 July 2016.