Tom Holland, blues guitarist

Tom will perform some of his original compositions like “Worry and Wonder” and “Zeb’s Blues” as well as some tried and true blues standards. In addition to his performance, Tom will discuss his guitar and what he looks for in an instrument. He’ll also take questions from the audience so come prepared. This will be a listen and learn session.

All Fat Tone After-Hours events are free however we ask that attendees email us to confirm attendance as seating is limited. In appreciation for coming, all attendees will receive a $25 gift certificate good at Fat Tone Guitars.

About Tom Holland

Tom started playing professionally in Chicago at age 19, landing his first gig with L.V. Banks, in a beauty salon on Chicago’s south side. Tom worked with L.V. Banks on and off for four years. It was also during this time that Tom was introduced to Muddy Waters last guitarist, John Primer. Tom toured the United States and Canada for 2 years with John as a member of his band, the Real Deal Blues Band.

In late 1999 Tom was asked to join Chicago blues guitarist Eddy “The Chief” Clearwater’s band. Tom toured with Eddy Clearwater for three years as bandleader, and toured across the U.S., Canada, and made his first trip to Europe. It was during this time that his status as one of Chicago’s top sidemen was solidified, also freelancing with Carey Bell, Phil Guy, A.C. Reed, Atlanta vocalist Sandra Hall, and countless other Chicago bluesmen and women.

In November of 2003, Tom was approached by harp legend James Cotton, who was in need of a guitar player. Tom accepted and has been touring with James now for over a year. In July of 2004 Tom toured Japan for the first time with James Cotton, as well as Switzerland.

Tom also tours extensively with his own band The Shufflekings.

Fat Tone Guitars (Northbrook, IL)

This is Fat Tone Guitars first after-hours showroom performance. Fat Tone after-hours events are designed to allow local artists to showcase and discuss their music as well as their tone AND their gear. All after-hours events will be held at Fat Tone’s showroom in Northbrook, IL and begin at 7pm. Events are free and light food and drink will be served.

Fat Tone Guitars
1857 Janke Dr.
Northbrook, IL 60062
847-272-5117
info@fattoneguitars.com

Fat Tone Guitars (Northbrook, IL)

Dealer Profile: Fat Tone Guitars (Northbrook, IL) from MyRareGuitars.com

I pride myself on only keeping equipment that I play, – I don’t have any collector’s-only pieces. Still, I have the cool gear disease. I did some quick math. “Five,” I said.

“What does your wife think?”

“Well, she has three amps,” I said.

“So, you only have two?”

“No,” I said. “Those are in addition to mine. She’s a bass player, so she doesn’t need as many. I have five.” Whoops. I’d forgotten my Deluxe Reverb. “Actually, six.” I said.

This non-guitar player turned to the other player. “How many do you have?”

He shrugged. “Four,” he said. “Right now, I think it’s four.”

The non-player looked confused.

“You need at least three,” I said. “You need your single-ended, your mid-power and your high-powered amps.”

“Right,” my guitar-playing new friend said. The third person shook his head, laughed and walked away.

“They all sound different,” I called after him. “You don’t understand!”

1966 Lectrolab S 400 Guitar Amplifier

But you, dear reader with several amplifiers, you understand. And this month, I sing the praises of another obscure and beautiful amplifier, in this case a 1966 Lectrolab S 400. I’ve seen a few Lectrolabs over the years and they are all pretty cool amps. The 400 series seem to be (and this is based only on observation and scattered information. No one seems to know very much about these) all single-ended small amps with a single EL84 for output and one or two eight inch speakers. The 600 series are more in the 15-20 watt range with either two 6V6’s or two EL84’s (driving a twelve inch speaker), depending on the year. And the 800 series, which I’ve never seen in person, I haven’t been able to find much about, other than that they seem like later versions of the 600’s. The 900 series are El84-equiped heads (very rare).

So who was Lectrolab? As I say, there isn’t a lot of information out there about these. The chassis/labels tend to read “Lectrolab: Sound Projects, Chicago, Illinois/Venice, Florida.” The Chicago location leads some people to speculate that Lectrolab had something to do with Valco. And they do have a sonic texture much like the great Valcos (big midrange, great distortion, slightly dark sound). Yet, the rectifiers in these are usually a 6X4’s (not used much, if at all, in Valcos). The preamp tubes are frequently 6EU7’s (again, not often in Valcos), and the output tubes are often EL84’s (which most American amp companies didn’t use in the 1960’s’Gibson being the notable exception).

So, whoever Lectrolab was, we don’t know. But they probably were their own company, and almost certainly not Valco, or Gibson or any other well-known maker.

1966 Lectrolab S 400 Guitar Amplifier

Whoever made these, they knew how to make an amp sound good. I have never heard a bad sounding 60’s Lectrolab. My S 400 has become my number one practice amplifier. I’m so in love with its tone, I added a ‘line out’ so that I can use it as a preamp for rehearsals and gigs. Coupled with a Magnatone 213, and it’s an awesome gig amp (and you get the added bonus of tremolo and vibrato’rad!).

This S 400 is from late 1966 and had two CTS 8″ alnico speakers. It’s got the 6X4 rectifier, a 6EU7 for the preamp and a single EL84 for output A 6AU6 takes care of the deep, pulsing tremolo. The control panel has four knobs: Volume, Tone and Speed & Intensity for the tremolo. This is a superb recording amp’a rich, complex overdriven tone that sounds huge with a mic. It reacts really well to the picking attack and cleans up as you roll off the volume. The tremolo is very musical and thick. For a small practice amp, it has a very nice bottom. With an overdrive pedal, it thickens and deepens even more and nails tones from the early 50’s Hubert Sumlin to the early 70’s Ronnie Wood Faces’ tone (one of the great, underrated guitar tones of the 70’s).

If you can find an original 60’s Lectrolab, you should snatch it up. I’ve played this next to a Supro Twin Eight and it held its own (and the Valco-made Supro Twin Eight is an awesome little amp). The twin eight inch speakers sound much fuller than your traditional single eight (like a Champ), and it’s got a superb tone for guitar or harp. A hard-to-find sleeper of an amp, but worth the hunt. And happy hunting!

1966 Lectrolab S 400 Guitar Amplifier from MyRareGuitars.com

Vintage 1950's Kay Solo King K4102 Electric Guitar

Believe it or not, Kay was probably the first company to produce an electric guitar. The Kay Musical Instrument Company began in Chicago in 1890 as the Groehsl Company, changing its name to the Stromberg-Voisinet Company in 1921. (It changed to Kay-Kraft in the early ’30s, then just Kay.) While there are unsubstantiated reports that Gibson’s Lloyd Loar experimented with electricity in the early 1920s, it’s hard to imagine what he could have done. Electronic recording and amplification were not invented until 1924-25. Lyon & Healy reportedly had an electronic bass in 1923, but unfortunately it electrocuted players. Bummer. In October of 1928 S-V introduced the Stromberg Electro, a flattop with an electro-magnetic transducer that was played through an amp with no controls. A few Chicago radio players embraced the new technology, but the technology wasn’t there yet and only a couple hundred Electros were made. Modern-style electrics didn’t appear until 1931. Except for lap steels, and perhaps the early bakelite Rickenbacker Spanish guitars, Depression-era electrics were mainly archtops.

Vintage 1950's Kay Solo King K4102 Electric Guitar

After the War, Fender’s Telecaster didn’t seem to get much attention from mass manufacturers, but the Gibson Les Paul did, and by 1953 Kay, Harmony, and Valco were producing solidbodies. Kay’s, interestingly enough, were unibody construction, which basically means neck-through-body.

It was this concept that still shaped the Solo King, but what were they thinking?! It’s really hard to get your mind around this thing. It also appears to have unibody construction: one piece of wood. With the meat-cleaver head and BuckeyeState profile, it’s like no other guitar before or since. The effect is further enhanced by a – shall wee say – chocolate brown finish. The pickguard is made of a speckled formica. These single-coil pickups, while primitive, are actually not that bad, with a clean, crisp ’50s sound. A single-pickup version was also produced. The archtop-style bridge makes intonation a challenge and the fret job is a bit sloppy, but otherwise this doesn’t play that badly……. If, that is, you have the moxy to appear in public holding one! Can you see in the hands of Duane Eddy or the Ventures?

Vintage 1950's Kay Solo King K4102 Electric Guitar

Needless to say, the Kay Solo King didn’t catch on. The following year someone took a band-saw to the design and rounded off the lower bout to be more like a Les Paul. These were sold through Montgomery Ward. Another even weirder version had the upper shoulder and cutaway lopped off, and was sold as a Spiegel Old Kraftsman.

All these guitars were gone after 1961 and are particularly rare. I’ve seen guitars shaped like New Jersey, Texas, even the United States, but none really come up to the bad taste of the State of Ohio. Like I said, ugliest guitar in the world.

The Buckeye State of the Art (1950’s Kay Solo King K4102 Electric Guitar) from MyRareGuitars.com