This live batch is a force of groove and attitude that you won’t find on the band's other live recordings.


The Allman Brothers
Play All Night: Live at the Beacon Theatre 1992
Epic/Legacy Recordings

Some venues just feel right. Clearly New York’s Beacon Theatre does something for the Allman Brothers, who’ve played well over 200 shows in this rocking neo-Grecian venue since 1989. In 2000, the Brothers recorded the live album Peakin’ at the Beacon with a 21-year-old Derek Trucks and a soon-to-be-fired Dickey Betts on guitar. In 2003, Allmans released the platinum-selling Live at the Beacon with Trucks and Warren Haynes on 6-string. Which begs the question: Do we really need another live recording of the same band at the same venue? Yes, because that lineup on those nights in that room killed it.

Just listen to the opening track, where Dickey Betts’ midrange-heavy PRS punches you in the ear with “da dada da da” and Warren Haynes’ slide answers with a sweet cry. You'll be glad Sony just released this forgotten gem. This version of “Statesboro Blues” has all the fire and grease it had in March of 1971 when brother Duane raised the bar for all during At Fillmore East. “Play All Night” benefits greatly from the warm, round fuzz of Allen Woody’s bass, a force of groove and attitude that you won’t find on the other live Allman Brothers recordings.

Must-hear track: “Midnight Rider”

Multiple modulation modes and malleable voices cement a venerable pedal’s classic status.

Huge range of mellow to immersive modulation sounds. Easy to use. Stereo output. Useful input gain control.

Can sound thin compared to many analog chorus and flange classics.


TC Electronic SCF Gold


When you consider stompboxes that have achieved ubiquity and longevity, images of Tube Screamers, Big Muffs, or Boss’ DD series delays probably flash before your eyes. It’s less likely that TC Electronic’s Stereo Chorus Flanger comes to mind. But when you consider that its fundamental architecture has remained essentially unchanged since 1976 and that it has consistently satisfied persnickety tone hounds like Eric Johnson, it’s hard to not be dazzled by its staying power—or wonder what makes it such an indispensable staple for so many players.

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While Monolord has no shortage of the dark and heavy, guitarist and vocalist Thomas V Jäger comes at it from a perspective more common to pop songsmiths.

Photo by Chad Kelco

Melodies, hooks, clean tones, and no guitar solos. Are we sure this Elliott Smith fan fronts a doom-metal band? (We’re sure!)

Legend has it the name Monolord refers to a friend of the band with the same moniker who lost hearing in his left ear, and later said it didn’t matter if the band recorded anything in stereo, because he could not hear it anyway. It’s a funny, though slightly tragic, bit of backstory, but that handle is befitting in yet another, perhaps even more profound, way. Doom and stoner metal are arguably the torch-bearing subgenres for hard rock guitar players, and if any band seems to hold the keys to the castle at this moment, it’s Monolord.

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