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Q: What was your weirdest Craigslist/online gear purchase experience?Danny Lee Blackwell [Night Beats]A: One time I replied to an ad for a keyboard (Vox Continental) on Craigslist in Fort Worth, Texas. He wanted to meet in the parking lot of a Whataburger, which sounded strange but I agreed. I didn’t know how we were going to test out the keyboard, because how were we going to plug it in, right? Either way, I meet up with him and he has a van with a built-in power supply and full moving workshop. Vox ContinentalHe ended up being awesome and invited me back to his place to check out more of his gear. After a little deliberation, I said, “Why not?” We ended up playing music in his home for a few hours. I got on drums and played simple kraut-style beats on his drum kit while he tinkered around with organs and keys. Nice guy.Current Obsession:I’ve been a fan of Mdou Moctar since we opened for him in New Orleans a couple years ago. There’s something about the inclusivity of his music that’s so refreshing. I’m always coming back to my favorites though … Smokey Robinson, Barbara Lynn, Selda Bağcan, Bill Withers. Lee Moses’ Time and Place might never leave my head. He was the guitarist for the legendary Atlanta R&B artist, the Mighty Hannibal. That solo on Lee Moses’ “Adorable One” is one of my favorite guitar phrases of all time: It’s so simple and powerful, but ties the rest of the guitar work of the song together so beautifully.Tyler Wells [Reader of the Month]A: This happened last week … I traded a Fender reissue ’62 Strat for a fake John Mayer Stratocaster. The guy wouldn’t trade back after I figured it out. It ended up costing me around $2K in value. On a happier note, I ended up trading the fake guitar for a Mexico-made Tele, which I traded my way up to an American Deluxe Strat. Almost back to where I started!Current Obsession:Spotify playlists! I’m loving how new music is curated to fit your musical taste while throwing old favorites into the mix. If you haven’t experimented on Spotify playlists, you’re missing out on some amazing music that you normally wouldn’t listen to. I’ve been loving “Dionne” by Bon Iver/Japanese House, “Anyone” by Justin Bieber, and doing a throwback to some of the Black Keys’ earlier albums. Shawn Hammond [Chief Content Officer]A: I’ve got two. #1: The weirdest was in a dream I had just last night. I lived in the same place I lived 25 years ago and I was using my 2021 iPhone to navigate my long-gone ’93 Nissan Pathfinder to meet some Craigslist guy and sell him my Deluxe Reverb. My dream self was very dumb and agreed to meet him out in the boonies at the foot of massive, very ominous-looking mountains. Suddenly my GPS stopped working, I was badly lost, night was falling, and my phone wouldn’t exit out of the current app to the home screen. I was so mad I bent the phone in half—and then immediately freaked out about it. #2: In real life, a guy wanted to meet me at Wendy’s and buy all three pedals in my ad. Once we were at the late Dave Thomas’ place, the buyer just handed me the money without even opening the boxes. The next week, all of the pedals were for sale again on Craisglist, and from then on I periodically noticed ads for entire batches of pedals for sale from the same guy.Shawn HammondChief Content OfficerCurrent Obsession: Current Obsession:I’m still obsessed with recording!Tessa Jeffers [Managing Editor]A: I only have one Craigslist story because of what happened to me in 2011. I’d just moved to Iowa to start an exciting new job at PG. I needed a couch, so my brother, who helped me move, suggested I grab a cheap one off Craigslist. We found one quickly for $50 and picked it up. That evening, I saw a bug crawling on the arm of the couch, a curious type of insect I’d never seen before. I captured the bug in a Ziploc, Google ID’d it, and then immediately shoved the couch off my apartment balcony to the dumpster below. It was a bed bug. The couch was definitely the source because I called an exterminator ASAP and no other bugs were found. NEVER again!!!Current Obsession:Live concerts, because it’s been two years, summer of 2019, since we enjoyed a full concert season. Reminiscing about special ones I saw during that time: Anderson .Paak, Raconteurs, Lana Del Rey, Tame Impala, the 1975, and Foo Fighters.

It’s nearly impossible to improvise over a tune without hitting a dominant chord. They are ubiquitous in rock, pop, jazz, country, and nearly every other type of Western music. I’m sure you’ve heard the phrase about how all music is based around tension and release? Well, I want to teach out how to make the tension cooler and the release more musically satisfying.Instead of walking through basic 7th chord arpeggios, which have their place, I want to investigate the half-whole diminished scale and the four major triads that are inside it. We can all get our head around triads, right? Let’s start with a quick review of the half-whole diminished scale.The half-whole diminished scale is a symmetrical scale created by alternating half- and whole-steps, which creates an eight-note scale. In C this would be C–Db–Eb–F#–G–A–Bb. The other defining factor is that—much like diminished chords—this scale repeats every minor third. In other words, the C, Eb, Gb, and A half-whole diminished scales all contain the exact same notes. Not coincidentally, those four notes also outline the major triads included in the scale.Because of the symmetrical nature of the scale and the fact that it repeats itself, there are a total of three half-whole diminished scales: C (which is the same as Eb, Gb, and A), Db (which is the same as E, G, and Bb) and D (which is the same as F, Ab, and B). In essence, once you’ve learned all three scales and have gained a strong sense of how this scale sounds, you will able to apply it to any dominant 7 chord from any root.Why Not Just Play the Scale?Great question. While there is absolutely nothing wrong with using scales to improvise, I find that isolating and combining the major triads in the scale can provide a fresh perspective and distinct color when playing over dominant chords. It gets me away from familiar sounds and patterns. Using the triads in combination creates a strong dominant sound that’s begging to resolve, while also often sounding mysterious and far less like you’re just running up and down the scale.Diminished ResolutionsIn the following examples we’ll be looking at how to use major triads from the diminished scale in combinations of two to four and hear how they resolve to major chords, minor chords, and other dominant chords. Worth noting is that for most of the examples we’ll be using the G, Bb, Db, E major triads to resolve to some sort of C, Eb, Gb, or A chord. The reason we’re able to do that is because the scale repeats in minor thirds. Therefore, G7 can be treated the same as Bb7 (and can resolve to any type of Eb chord), which can be treated the same as Db7 (and can resolve to any type of Gb chord), which can treated the same as E7 (and can resolve to any type of A chord). Let’s get started!Feel free to learn these examples using positions and fingerings that feel comfortable to you. As long as you’re paying attention to the quality of your sound and playing the lines with a strong sense of rhythm and phrasing, there is no single “right” place to play these on the guitar. The tabs are merely a suggestion.We’ll start off simply in Ex. 1 with a IIm-V7–I in the key of C. On the Dm7 chord we have a line essentially constructed around the arpeggio with a bebop sensibility. Once we arrive at the G7 chord, notice that while there is no major triad played in its entirety sequentially, the line is constructed using the notes of a Bb major triad and a Db major triad. As we resolve to Cmaj7, there is a slight suspension of the #5 (G#) that quickly resolves to the natural 5 (G).Dominant Chord Domination Ex. 1In Ex. 2 we clearly outline and connect a C triad to a Gb triad over the A7 chord resolving to Dm7. This time on the G7 chord we use the two other major triads from the scale that we did not use in Ex. 1: E and G. In this measure the E triad is played in its entirety in 2nd inversion and for the last two beats we use a combination of notes from the E and G triads resolving to the 7 (B) on the Cmaj7 chord.Dominant Domination Ex. 2Ex. 3 changes key, this time playing over a IIm7–V7–I resolving to Ebm6. Notice that we’re able to draw from the same pool of triads for Bb7 as we did for G7. We’re still using two major triads on the dominant chords, this time E and Bb, resolving to the natural 6 (C) of the Ebm6 chord.Dominant Domination Ex. 3Next, we get a chance to hear the other two triads (G and Db) played over the Bb7 chord, this time resolving to Ebmaj7 instead of Ebm6 (Ex. 4). It’s worth noting how well this dominant sound can resolve to both major and minor chord qualities. Here, we also begin to break things up with eighth-note triplets and larger intervallic leaps.Dominant Domination Ex. 4Ex. 5 gives us our first chance to hear a dominant chord moving to another dominant chord before resolving to the I chord. Pro tip: You can change any IIm chord to a dominant chord to create a half-step move to the V7. On the D7 chord we hear a syncopated Ab triad followed by a B triad with a D natural leading into it (the note is not outside of the chord, but in this instance still functions like an approach note). Next, the line combines the notes of an E and Db triad on the Db7 chord, finally resolving to Gbmaj7 with a line built around seconds and fourths and highlighting the #11 (C).Dominant Domination Ex. 5In Ex. 6 we have a similar progression to the one in in Ex. 5, but this time each dominant chord is two measures long instead of one and we resolve to a minor chord instead of a major chord. Because of the longer duration of the dominant chords, we’re able to utilize all four major triads on each dominant chord (F, B, D, and Ab on B7; G, E, Db, and Bb on Bb7).Dominant Domination Ex. 6This one tackles a tricky part of George Shearing’s song “Conception” using our triadic approach on the quickly descending dominant chords (Ex. 7). I find this approach helpful on this type of progression in terms of playing a line where the trajectory moves independently from the downward direction of the chord movement. In this example we get into some more challenging rhythmic phrasing and generally use only one major triad on each dominant chord.Dominant Domination Ex. 7Finally in Ex. 8 we see an often-encountered progression where the root motion is V–I from beginning to end. Here, we are back to using two triads per dominant chord (but this time with some approach notes) mixed with a strong bebop sensibility.Dominant Domination Ex. 8As you can see, the diminished chord gets a bad rap for being overly complicated and too pattern based. By thinking of more melodic fragments (triads!) you can tackle more difficult harmonies with ease and give your lines a fresh perspective.

If you’ve ever needed a Classic Analog High Gain Distortion Pedal but been unable to find one with enough versatility to suit any scenario, the MAGUS PRO will be a very welcome surprise for you. Its slow slew rate, treble filter control, and three different modes of operation provide more than enough variance in approach and tone to compliment any playing style.We’ve specially designed a circuit to recreate the classic slow slew of the infamous LM308 op-amp using readily available modern components. By keeping the slew rate slow, harsh unwanted harmonic overtones and interference are eliminated, leaving you with a smooth layer of pure distortion whilst cranking the gain. One particularly distinctive feature of the MAGUS PRO is the Treble Filter control. It’s an extremely effective Hi-cut filter, allowing you to totally tailor your top-end bite.MAGUS PRO – Official Product VideoCLASSIC MODE takes us to a world of old-school, high gain, punchy mids and a gripping tight bottom end.TURBO MODE meanwhile engages LED clipping diodes for greater headroom, less saturation and higher output level.FAT MODE gives the low end a boost while re-shaping the upper mids for that ultimate hard rock tone.When you punch in MAGUS PRO as a solo boost, evenly balanced harmonic resonance produces effortless and lasting sustain to take you way over the horizon. It’ll also provide musical feedback when required at high gain settings, whilst its slow slew rate keeps unwanted sizzle at bay. All delivered with a warmth and tone you’d expect from only the finest analog circuitry. MAGUS PRO is housed in an amazingly compact, built-like-a-tank metal box. Ever conscious that your pedal collection may be growing while your pedalboard may not, we’ve mounted the jack sockets and power input on the top of the housing to save you valuable pedalboard real estate. Allowing you to stack more pedals than ever before in a row. For more information: TC Electronic

On July 16, Fantasy Records will release Tedeschi Trucks Band’s Layla Revisited (Live At LOCKN’), a one-off live recording of the seminal Derek & The Dominos album Layla and Other Assorted Love Songs, performed in its entirety with special guest Trey Anastasio. Recorded on August 24, 2019 at the LOCKN’ Festival in Arrington, VA, Layla Revisited captures Tedeschi Trucks Band at their incendiary best, with Anastasio proving the perfect foil to the transcendent musical union of guitarist Derek Trucks and guitarist/vocalist Susan Tedeschi, and frequent TTB collaborator Doyle Bramhall II, further supporting a live experience that, in the words of Uproxx’s Steven Hyden, provides “life-affirming shelter from the soul-destroying storm.”Tedeschi Trucks Band – Why Does Love Got To Be So Sad? (Official Music Video)The performance of Layla came as a complete surprise to fans lucky enough to be in attendance at LOCKN’ that evening. Initially billed only as “Tedeschi Trucks Band featuring Trey Anastasio,” the artists made no mention of the set of music they diligently rehearsed and planned ahead of time. But the links between the band and the album are deeply woven into the fabric of their existence. Propelled by two of the twentieth century’s greatest guitarists, Eric Clapton and Duane Allman, Layla and Other Assorted Love Songs was serendipitously released on November 9,1970, the very day of Susan Tedeschi’s birth. Later, Chris and Debbie Trucks were such fans of the album that they were inspired to name their firstborn son Derek. Decades later, Trucks would enjoy a fifteen-year tenure as a member of The Allman Brothers Band, and tour extensively with Clapton. Such is the depth of connection between the music and the performers that this album feels almost preordained.”By the time that I started playing guitar, the sound of Duane Allman’s slide was almost an obsession,” says Derek Trucks about Layla. “His playing on Layla is still one of the high-water marks for me. The spirit, the joy, the recklessness, and the inevitability of it. My dad would play that record for me and my brother to fall asleep to and further sear it into my DNA.” These cosmic coincidences all align on Layla Revisited as Tedeschi Trucks Band give fans an invigorated, inventive take on beloved classics from “I Looked Away” and “Bell Bottom Blues,” to the album’s iconic title track. For the live festival concert the band ended with “Layla” and decided to play the original version of the album closer over the PA system as walk-out music. To complete this release Layla Revisited concludes with a history-making moment of its own, as Derek and Susan deliver a studio version of “Thorn Tree In The Garden,” for the first time ever as a duo with no additional accompaniment.Pre-order Layla Revisited (Live At LOCKN’) here: https://found.ee/TTBLaylaRevisitedTRACKLIST:1. I Looked Away2. Bell Bottom Blues3. Keep On Growing4. Nobody Knows You When You’re Down and Out 5. I Am Yours6. Anyday7. Key To The Highway8. Tell The Truth9. Why Does Love Got To Be So Sad?10. Have You Ever Loved A Woman?11. Little Wing12. It’s Too Late13. Layla14. Thorn Tree In The Garden (studio)Inspired by the creative chemistry of The Fireside Sessions, the intimate at-home performance series on nugs.net, Tedeschi Trucks are gearing up to hit the road for some limited capacity shows as part of their Fireside LIVE tour. The shows will be the first fully live public performances for the ensemble since February 2020, and come on the heels of the recent postponement of their annual summer Wheels of Soul Tour to next year (2022). As circumstances currently prevent the 12-piece ensemble from touring safely, the group returns in a new form, billed as Tedeschi Trucks as a nod to their band members back at home. With 4-8 band members slated to appear at socially-distant, limited-capacity venues, these special shows are long-awaited by band and fans alike. Venues will include a mix of small or reduced-capacity outdoor amphitheaters, drive-ins, and pod set-ups, all of which are COVID-19 compliant and will take precautions to ensure the safety of fans, staff, band and crew. Full dates are below.FIRESIDE LIVE TOUR DATES:June 11-12 — Jacksonville, FL @ Daily’s Place AmphitheaterJune 15 — Brandon, MS @ Brandon AmphitheaterJune 16 — Orange Beach, AL @ The Wharf AmphitheaterJune 18 — Huntsville, AL @ Von Braun CenterJune 19-20 — Murfreesboro, TN @ Hop Springs Brew ParkJune 22 — Winston-Salem, NC @ The DriveJune 24-25 — N. Charleston, SC @ The BendJune 26 — Columbia, SC @ Columbia Speedway Entertainment CenterJuly 1-3 — Frederick, MD @ Showtime at the Drive-InJuly 6-7 — New Haven, CT @ Westville Music BowlJuly 9-11 — Lafayette, NY @ Apple Valley ParkJuly 13-14 — Ridgefield, CT @ Ridgefield Playhouse Outdoor StageJuly 16-17 — Gilford, NH @ Bank of New Hampshire PavilionJuly 18 — Elmer, NJ @ Appel Farm Arts & Music CenterJuly 20-21 — Eatontown, NJ @ Concerts on the GreenJuly 23 — Shelburne, VT @ The Green at Shelburne MuseumJuly 24 — Martha’s Vineyard, MA @ Beach Road Weekend FestivalJuly 30-31 — Morrison, CO @ Red Rocks ON SALE TBA *For more information: Tedeschi Trucks Band