
Taken from a performance at the Lockn' Festival, the band tears through the classic album with help from Trey Anastasio.
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/TTBLaylaRevisited
TRACKLIST:
1. I Looked Away
2. Bell Bottom Blues
3. Keep On Growing
4. Nobody Knows You When You're Down and Out
5. I Am Yours
6. Anyday
7. Key To The Highway
8. Tell The Truth
9. Why Does Love Got To Be So Sad?
10. Have You Ever Loved A Woman?
11. Little Wing
12. It's Too Late
13. Layla
14. 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 ā Jacksonville, FL @ Daily's Place Amphitheater
June 15 ā Brandon, MS @ Brandon Amphitheater
June 16 ā Orange Beach, AL @ The Wharf Amphitheater
June 18 ā Huntsville, AL @ Von Braun Center
June 19-20 ā Murfreesboro, TN @ Hop Springs Brew Park
June 22 ā Winston-Salem, NC @ The Drive
June 24-25 ā N. Charleston, SC @ The Bend
June 26 ā Columbia, SC @ Columbia Speedway Entertainment Center
July 1-3 ā Frederick, MD @ Showtime at the Drive-In
July 6-7 ā New Haven, CT @ Westville Music Bowl
July 9-11 ā Lafayette, NY @ Apple Valley Park
July 13-14 ā Ridgefield, CT @ Ridgefield Playhouse Outdoor Stage
July 16-17 ā Gilford, NH @ Bank of New Hampshire Pavilion
July 18 ā Elmer, NJ @ Appel Farm Arts & Music Center
July 20-21 ā Eatontown, NJ @ Concerts on the Green
July 23 ā Shelburne, VT @ The Green at Shelburne Museum
July 24 ā Martha's Vineyard, MA @ Beach Road Weekend Festival
July 30-31 ā Morrison, CO @ Red Rocks ON SALE TBA *
For more information:
Tedeschi Trucks Band
- GALLERY: Tedeschi Trucks Band's 2013 Touring Gear - Premier ... āŗ
- Album Review: Tedeschi Trucks Band - "Made Up Mind" - Premier ... āŗ
- Tedeschi Trucks Band: All in the Family - Premier Guitar | The best ... āŗ
- Rig Rundown: Tedeschi Trucks Band - Premier Guitar āŗ
Hereās a physical mashup for new soundsāsomething that never existed before now: a humbucking Charlie Christian pickup.
Have texture, color, context, and groove replaced shred chops and bluesy bends in the modern guitar era? Seems like it!
There was a time when the electric guitar reigned like a monarch. Plugged in, turned up, and cracking the sky with saturated authority, it swaggered through stadiums, screamed through garage doors, and printed sparkling textures onto tape reels in studios. Electric guitars werenāt just instruments, they were an accomplice in rebellionāa declaration of intent with six strings and a headstock like a crown.
But that was then, and this is now. Welcome to 2025, where the electric guitar is neither dead nor dominant, but hovering somewhere in the curious limbo between legacy and latency. So letās roll up our sleeves and take a grease-stained look under the hood.
The Death of the Guitar Has Been Greatly Monetized
Every few years, some tone-deaf oracle proclaims that the electric guitar is dyingāusually right before Fender reports record-breaking sales. The āguitar is deadā trope is as worn as a 1959 slab-board neck, and just as beloved in certain circles. But peek behind the curtain of online guitar forums, and youāll see a landscape less apocalyptic but certainly more complicated.
New gear sales may have occasionally hit plateaus, thanks in part to a tidal wave of secondhand Strats and Les Pauls sloshing around the used market, but that doesnāt mean guitarists arenāt playing. In fact, a growing number of those people are young, diverse, and uninterested in recreating āEruptionā note-for-note. Statistics donāt lie and research indicates that nearly half of all current guitar players are under 30, and about a third are women. The old gatekeeping clichĆ©s are rusting away, and the next generation is walking right past them playing a genre you probably canāt nameābut your kids will.āWeāre witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI.ā
Tone Meets Tech
If the classic electric guitar was a muscle car, tomorrowās iteration may be a hybrid with an amp-modeling package. Weāre seeing a rise in alternative pickups, effects-driven designs, and sustainable materials replacing endangered hardwoods. Carbon fiber? Itās not blasphemy any longer. Recycled aluminum? Well, maybe. Guitar rigs are becoming the solar panels of the gear world: tech-savvy, divergent, eco-friendly, yet still capable of making your windows rattle.
But this isn't just about sustainabilityāitās about adaptability. Weāre witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI. Simply put, itās about the music, not the muscle.
Genre for a New Generation
If youāre looking for the next guitar god, donāt bother. The pedestal has been dismantled, and the throne now belongs to the collective. Todayās players are blurring genre lines like a toddler with a crayon. The guitar isnāt always the star of the showāitās the secret ingredient, the smoked paprika in a mashup gumbo. Itās not about being the loudest voice anymoreāitās about texture, color, and context. Weāve had our fill of ego-driven wankeryāgive us nuance. Give us groove. Give us players who arenāt afraid to capo, loop, and go full tremolo spaghetti-Western to a chillhop beat backed by a horn section. Donāt forget the whammy pedal on the electrified resonator, all while serving the song.
The Coda
So where does that leave us? Somewhere between tradition and transformationāmaybe with a hand-wired analog fuzz in one hand and a MIDI cable in the other. As much as I love a sweet blues-rock hand vibrato at the end of a classic pentatonic riff, I donāt mourn its reduced stature. The electric guitar hasnāt vanished; itās just learned to blend new dialects. Itās still a tool for expression, rebellion, and joy. Guitar is still capable of conjuring emotions that donāt fit into neat categories. And if you ask me, itās doing just fine.
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy ⦠one of the nicest fellas Iāve ever come across. If youāve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, heās a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New YorkerāBrooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (heās exiled here among us Philadelphia sports fans) and heās just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since heās been added to my circle (and is such a mensch), I decided I should work him into a column.
So hereās the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. Iāve also seen Kawai guitars with the Zim-Gar label, but the Zimmermanās seemed to sell cheaper and cheaper gear as the ā60s wore on, including the piece you see here.
āThis build reminds me of the cutting boards I used to make in wood shop back in my high school days.ā
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay ādragon snoutā shape of the mid to late ā60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this buildāeven the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didnāt know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ā80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there shouldāve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
Dive into the ART Tube MP/C with PG contributor Tom Butwin. Experience how this classic tube-driven preamp and compressor can add warmth and clarity to your sound. From studio recordings to re-amping and live stage applications, this time-tested design packs a ton of features for an affordable price.
Art Tube Mp Project Series Tube Microphone/Instrument Preamp
Designed in Rochester NY and originally released in 1995, the Tube MP is celebrating its 30th anniversary in 2025.
The Tube MP/C is the most fully-featured member of the Tube MP family, designed for recording guitarists and bassists. It is a tube mic preamp and instrument DI with advanced features including an optical compressor/limiter and switchable line/instrument output levels for use as a re-amping device.
In line with the MOOERās recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatileāall at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOERās philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Proās maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Proās rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOERās versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitarās hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOERās commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possibleāa high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitarās two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12ā neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).