Randy Volin, The Sonic Blues - Waking Up With Wood (2000)
BAND/ARTIST: Randy Volin, The Sonic Blues
- Title: Waking Up With Wood
- Year Of Release: 2000
- Label: Rockin Daddys Records
- Genre: Blues
- Quality: flac lossless (tracks)
- Total Time: 01:00:18
- Total Size: 357 mb
- WebSite: Album Preview
Tracklist
01. Let's Work Together
02. Parchmen's Farm
03. Don't Look No Further
04. Personal Manager
05. I Can Tell
06. Walkin' Blues
07. Dust My Broom
08. Can't Take It With You
09. Sweet Talk
10. Shake Your Money Maker
11. Boom Boom
12. She Loves Me
Randy Volin was born in the late 50's in Detroit Michigan and his first memory memory of becoming hooked on pop music started the night the Beatles debuted on the Ed Sullivan Shoe. For some reason he still doesn't quite comprehend, Randy became totally enthralled with music, especially the Blues, but he didn't learn how to play an instrument until 1971. After Jimi Hendrix died, Randy bought his first guitar, a used Fender Jaguar (which he still has), and within 2 years he had acquired his first gig as a bass player. In 1977, Randy landed a record contract with A&M records with his band The Look, and toured extensively while releasing three albums. In 1986, Randy finally went back to his roots, and dedicated his life as a player to the Blues. From 1986 till now, Randy has played in the Tri State area of Michigan, Illinois, and Ohio continuously, while releasing 2 solo CDs. He has played with and opened for artists such as Joe Cocker, Stevie Ray Vaughan, Eddie Money, Koko Taylor, Junior Wells, Albert King, Lonnie Brooks, Cheap Trick, Steve Marriott, John Mellencamp, The Kinks, Greg Kihn, Peter Frampton, April Wine, Mitch Ryder, Sonny Landreth, Johnny Johnson, John Mayall, Jeff Healy, Hubert Sumlin, J. Geils and many, many others. Randy is a self-confessed gear head and has an envious stash of some of the most desirable vintage gear ever made.
Randy, tell us about your favorite gear setup for clubs, guitar, amp, speakers tubes, effects. Given the fact that you could use virtually anything that's ever been made, this should be interesting.
Most recently for club work I have been using my 1964 Super Reverb loaded w/JBL D 110s. I hired back my old pal, Richard Allen, a great southpaw drummer, who likes to hit his drums really hit his drums. So my 65 Vibrolux Reverb, also loaded w/JBL D 110's would get a little mushy trying to hold their own I am not a volume guy really. I like to hit the back wall but I don't play loud just to play loud. Regarding tubes, I gig so much that I dont want to spend $150 on NOS 6L6 tubes, just to have them banged around in my truck. So I've been using an older Sovtek GZ34, standard matched 5881XTs, and NOS 12AX7's. For years I've used Vintage II cloth cables from Horizon. I think they won the guitar cable shootout. Tortex picks, 1.14mm, the thicker the better. I also use Ernie Ball strings and have for 28 years. Can't change now. I make up my own sets. High to low its .11, .14, .18, .32, .44, .60, and I always tune to concert pitch, or A 440 .
My guitars vary. I usually use an original 1957 sunburst Strat, 100% original, an original 1960 sunburst Strat, 100% original, and a 1989 Squire Strat that I had routed for 50's Danelectro lipstick tube pickups. I use that for slide. The gauges on that are big. High to low, .15, .19, .22 plain, .36, .48, .60. For electric slide I use the Dunlop slide, #215. Love the combination of really thick glass on big strings.
On resonators or acoustic guitars, I use old Mighty Mite slides. On occasion, I'll play PAF loaded 335s or Sunburst Les Pauls. But I have to say this, it's getting rarer for me to bring those out than it used to be. A stupid mishap, or just the babysitting factor takes away from the part I like best, hitting the standby switch, and just taking off. These guitars see more action in the recording studio, because it's a lot more controlled and safer environment.
For effects, I have a few things. A prototype Fulltone Fat Boost, or a Zvex SHO, both just like the MXR Micro Amp, it's the original SuperHard On! A TS 9 (an original one with the 4558 chip), an Ibanez CS 9 for my whirly bird sounds. Its a lot easier on the back than a Leslie. And a RMC3 Wah that I've had since 1994. I am a fan of all kinds of boxes used correctly. Teese, Klon, MXR, Electro Harmonix, Fulltone, Fuzzfaces, Univibes, Zvex, you name it, I have 3 of each.
01. Let's Work Together
02. Parchmen's Farm
03. Don't Look No Further
04. Personal Manager
05. I Can Tell
06. Walkin' Blues
07. Dust My Broom
08. Can't Take It With You
09. Sweet Talk
10. Shake Your Money Maker
11. Boom Boom
12. She Loves Me
Randy Volin was born in the late 50's in Detroit Michigan and his first memory memory of becoming hooked on pop music started the night the Beatles debuted on the Ed Sullivan Shoe. For some reason he still doesn't quite comprehend, Randy became totally enthralled with music, especially the Blues, but he didn't learn how to play an instrument until 1971. After Jimi Hendrix died, Randy bought his first guitar, a used Fender Jaguar (which he still has), and within 2 years he had acquired his first gig as a bass player. In 1977, Randy landed a record contract with A&M records with his band The Look, and toured extensively while releasing three albums. In 1986, Randy finally went back to his roots, and dedicated his life as a player to the Blues. From 1986 till now, Randy has played in the Tri State area of Michigan, Illinois, and Ohio continuously, while releasing 2 solo CDs. He has played with and opened for artists such as Joe Cocker, Stevie Ray Vaughan, Eddie Money, Koko Taylor, Junior Wells, Albert King, Lonnie Brooks, Cheap Trick, Steve Marriott, John Mellencamp, The Kinks, Greg Kihn, Peter Frampton, April Wine, Mitch Ryder, Sonny Landreth, Johnny Johnson, John Mayall, Jeff Healy, Hubert Sumlin, J. Geils and many, many others. Randy is a self-confessed gear head and has an envious stash of some of the most desirable vintage gear ever made.
Randy, tell us about your favorite gear setup for clubs, guitar, amp, speakers tubes, effects. Given the fact that you could use virtually anything that's ever been made, this should be interesting.
Most recently for club work I have been using my 1964 Super Reverb loaded w/JBL D 110s. I hired back my old pal, Richard Allen, a great southpaw drummer, who likes to hit his drums really hit his drums. So my 65 Vibrolux Reverb, also loaded w/JBL D 110's would get a little mushy trying to hold their own I am not a volume guy really. I like to hit the back wall but I don't play loud just to play loud. Regarding tubes, I gig so much that I dont want to spend $150 on NOS 6L6 tubes, just to have them banged around in my truck. So I've been using an older Sovtek GZ34, standard matched 5881XTs, and NOS 12AX7's. For years I've used Vintage II cloth cables from Horizon. I think they won the guitar cable shootout. Tortex picks, 1.14mm, the thicker the better. I also use Ernie Ball strings and have for 28 years. Can't change now. I make up my own sets. High to low its .11, .14, .18, .32, .44, .60, and I always tune to concert pitch, or A 440 .
My guitars vary. I usually use an original 1957 sunburst Strat, 100% original, an original 1960 sunburst Strat, 100% original, and a 1989 Squire Strat that I had routed for 50's Danelectro lipstick tube pickups. I use that for slide. The gauges on that are big. High to low, .15, .19, .22 plain, .36, .48, .60. For electric slide I use the Dunlop slide, #215. Love the combination of really thick glass on big strings.
On resonators or acoustic guitars, I use old Mighty Mite slides. On occasion, I'll play PAF loaded 335s or Sunburst Les Pauls. But I have to say this, it's getting rarer for me to bring those out than it used to be. A stupid mishap, or just the babysitting factor takes away from the part I like best, hitting the standby switch, and just taking off. These guitars see more action in the recording studio, because it's a lot more controlled and safer environment.
For effects, I have a few things. A prototype Fulltone Fat Boost, or a Zvex SHO, both just like the MXR Micro Amp, it's the original SuperHard On! A TS 9 (an original one with the 4558 chip), an Ibanez CS 9 for my whirly bird sounds. Its a lot easier on the back than a Leslie. And a RMC3 Wah that I've had since 1994. I am a fan of all kinds of boxes used correctly. Teese, Klon, MXR, Electro Harmonix, Fulltone, Fuzzfaces, Univibes, Zvex, you name it, I have 3 of each.
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