It's been over a quarter century since John Anderson changed country music the first
time. That was back in the '80s when that jaw-dropping country voice combined with
huge hits like "Wild And Blue" and "Swingin'" to pave the way for the decade's neo-
traditional movement. In the early '90s, he did it again with Seminole Wind, a bona
fide classic that reignited his career and helped fan the flames of the coming country
explosion with hits like "Straight Tequila Night" and the album's unforgettable… Show more title
track. Well, it's 2009 and Anderson's back with Bigger Hands, an album that instantly
reestablishes this country music icon as a contemporary musical force to be reckoned
with. In other words, Bigger Hands is the real deal - undiluted, no-holds barred, full-on
John Anderson.

"I think we made a fine record, and I know we had a great time making it," says
Anderson.

Bigger Hands reunites Anderson with Seminole Wind producer James Stroud, and the
chemistry and camaraderie that made that project such an artistic and commercial
triumph was there from the very first sessions for Anderson's Country Crossing
Records debut.

"It's always been super easy for us working together," Anderson says. "That's one thing
that never did change, even after all this time. When James and I went back in the
studio it was just as much fun as I remember it being the first time."

A big part of the fun for Anderson was reuniting with a lot of the A-list musicians that
played on those early hit records.

"All of these guys basically are old friends, so that just makes it extra good," he says.
"I give an awful lot of the credit to the musicians, and it's one of the highlights of my
life to go into the studio with guys that play on that level."

From start to finish - from flat-out rockers like opening track "How Can I Be So
Thirsty" to hardcore honky-tonk workouts like "Bar Room Country" and "What Used To
Turn Me On," to the swampy southern groove of the album's timely and topical title
track - Bigger Hands sounds and feels like a labor of love. Freed from major label
pressures and concerns, Anderson dug deep into his bag of songs, pulling together his
most personal and freshest sounding collection in years. He wrote or co-wrote every
one of the album's 12 tracks, including rowdy leadoff single, "Cold Coffee And Hot
Beer," which Anderson wrote with his old friend and "Swingin'" collaborator, the late
Lionel Delmore,

"James has always been real accepting of my songs through the years," Anderson
says. "In fact, most of the big hits we had together were songs that I'd written.

A lot of times there's no demo; I just come in with a guitar, sing the song and say, 'Do you
like it?,' and James will say ‘Yeah, let's do it.’ And then I get to watch it come alive in
the studio."

That's one of the big reasons for Anderson's longevity and continued relevance as an
artist, and it's the reason Bigger Hands is a standout album for the man and his fans.
Through three decades of Platinum albums, CMA, ACM and Grammy Awards, countless
studio sessions and endless touring miles, Anderson has retained the tireless work
ethic and empathetic soul of a songwriter. Gifted with one of the most distinctive
and instantly recognizable voices in country music, he still puts a whole lot of stock
in a songwriting session.

"For me, it's really all about the songs and the writing," he states. "That's a big part
of having a style. I feel blessed to write the songs I write."

Anderson was especially honored - and pretty much floored - when songwriting
legend James Taylor chose to include his own distinctive version of "Seminole Wind"
on his critically acclaimed Covers album from last year.

"It's almost like finding Easter eggs," Anderson says with a shake of his head. "Songs
have a funny way of coming back. But to get a James Taylor cut at this stage of my
career? It was wonderful."

It's not Anderson's first foray over to the pop side of the fence. After covering Dire
Straits' "When It Comes To You" back in '92, he was invited onstage to sit in with the
band and became fast friends with bandleader Mark Knopfler. And he co-wrote
"Shorty's Long Gone," Bigger Hands' hardest rocking track, with hunting buddy Mark
Farner, leader of '60s rock sensation Grand Funk Railroad. But despite a latent
tendency to kick out the jams every now and then, Anderson's heart is still deep in
the country. He's currently watching "Shuttin' Detroit Down" - a recent co-write with
his former producer and frequent collaborator, country rabble-rouser John Rich -
leapfrog its way to the top of the charts.

"John's solo record was supposed to be finished when we wrote "Shuttin' Detroit
Down,' and I said, 'This is a right-now kind of thing we got here John,'" says Anderson.
"I already told John I might just buck dance if it goes to number one … and I don't
hardly ever dance anymore!"

On Bigger Hands, Anderson delivers his own blistering version of what has become
the most talked-about country song in years. And while "Shuttin' Detroit Down"
reaffirms Anderson's power as a chart-topping songwriter, it only hints at what lies
within the grooves of Bigger Hands.

"With this record, the band worked hard, and James Stroud worked harder than I've
ever seen him work," Anderson says. "I worked hard to write these songs, and I sure
worked hard singin' 'em. It was a joy just to see everyone doing their thing. And that's
what America and the music and whole deal is really all about - people doing what
they do and liking what they like. They're all just looking for something real they can
latch onto."


--- From http://www.johnanderson.com/

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