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JD Simo and Luther Dickinson Jam on Phil Lesh, Guitar Gear, and the Blues

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When they serendiptiously crossed paths onstage with Phil Lesh & Friends, JD Simo and Luther Dickinson's musical souls spoke to each other. They started jamming together leading them to cut Do The Romp at JD's home studio, combining their appreciation of hill country blues, spirituals, swamp rock, and Afrobeat in a modern grease and grime.


Dickinson has the North Mississippi Allstars and toured with the Black Crowes and John Hiatt, while JD Simo earned his stripes in the Don Kelley Band at Robert's Western World before forging an impressive solo career and working studio magic for Dave Cobb, Jack White, Beyoncé, Chris Isaak, and Baz Luhrmann's Elvis movie.

Individually, JD Simo and Luther Dickinson are building their own legacies as solo artists, sidemen, songwriters, and guitar heroes. Together, they're a creative force to be reckoned with, making their own version of amplified American roots music. On the pair's first collaborative album, Do The Rump, the musicians trade blistering guitar solos, take turns at the microphone, and turn their classic influences — including hill country blues, spirituals, swamp rock, and Afrobeat — into something contemporary, reinterpreting a number of their old-school favorites into eclectic, electrifying anthems.

The partnership began onstage, where Simo and Dickinson first shared the spotlight as touring members of Phil Lesh and Friends. Dickinson had already established himself as co-founder of the Grammy-winning duo North Mississippi Allstars, as well as a celebrated guitarist for acts like Black Crowes and John Hiatt. Similarly, JD Simo had built an audience not only with his solo project, but also as a session musician for Jack White, Beyoncé, Chris Isaak, and Baz Luhrmann's Elvis movie.

Guest columnist Dave Pomeroy, who is also president of Nashville’s musicians union, with some of his friends.

Dave Pomeroy, who’s played on over 500 albums with artists including Emmylou Harris, Elton John, Trisha Yearwood, Earl Scruggs, and Alison Krauss, shares his thoughts on bass playing—and a vision of the future.

From a very young age, I was captivated by music. Our military family was stationed in England from 1961 to 1964, so I got a two-year head start on the Beatles starting at age 6. When Cream came along, for the first time I was able to separate what the different players were doing, and my focus immediately landed on Jack Bruce. He wrote most of the songs, sang wonderfully, and drove the band with his bass. Playing along with Cream’s live recordings was a huge part of my initial self-training, and I never looked back.

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A reverb-based pedal for exploring the far reaches of sound.

Easy to use control set. Wide range of sounds. Crush control is fun to explore. Filter is versatile.

Works best as a stereo effect, which may limit some players.

$299

Old Blood Noise Endeavors Dark Star Stereo
oldbloodnoise.com

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The Old Blood Dark Star Stereo (DSS) is one of those pedals that lives beyond simple effect categorization. Yes, it’s a digital reverb. But like other Old Blood designs, it’s such a feature-rich, creative take on that effect that to think of it as a reverb feels not only imprecise but unfair.

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Owning a guitar shop, your brain is full of to-do lists, questions, and plenty of compulsive thoughts over details. And when you run a shop that specializes in custom builds that you spec out from boutique companies, the ideas for these guitars often come at the most random times of day (and night). While I don’t subscribe to the notion of fate, the following makes a case for its existence.

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