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The DWHQ: DWHQ Bio

The DWHQ

 

The DIGNUS Whirled Headquarters was established in 1997 to provide organization for the Nashville band DIGNUS, formed by Randall "Diggy" Perkins. As "Diggy" expanded his musical endeavors, The DWHQ became an "umbrella" organization that includes DIGNUS and other related recordings; Diggy as a performing solo singer/songwriter and his 5 bands including Diggy Band, The DOG & PONY Show (duo), the powerful 7-piece tribute CRAZY FACE: The music of Van Morrison, the Christian based The VERY STONE, and The EARLY RIDERS (a tribute to the originators of Country-Rock music 1965-1975); Drop of Rain Publishing - BMI; and Talking Donkey Productions (music and video).

 

Since the age of 11, singer/songwriter Randy Perkins has performed as, first, a drummer and then a guitar-playing frontman. He has worked with some of the music industry's very best artists like Tim Reynolds (Dave Matthews), Keith Howland (Chicago), Mark W. Winchester (Emmy Lou Harris & Brian Setzer), John Jackson (Bob Dylan), George Marinelli (Bruce Hornsby & Bonnie Raitt), Garry Tallent (Bruce Springsteen), Keith Horne (various), Jeff Coffin (Dave Matthews/Bela Fleck) and he has shared the stage with musical greats like The Wallflowers, Keb Mo, Chris Whitley, Tori Amos, Chris Hillman, Gov't Mule, Jars of Clay and many, many more.

 

defy mediocrity

TALKING DONKEY MUSIC & VIDEO PRODUCTIONS 

ARE YOU THINKING ABOUT MAKING A RECORD?

Music production seems to be a dying art form. Either musicians are doing demo quality work in their bedrooms or "producers" are delivering cookie-cutter recordings that sound as though little thought was put into the lyrics and the instrumentation that should accompany them. They charge a lot of money, too.

I’m a modern guy with an old-school approach to producing. Old-school as in when they were making records like Revolver, London Calling, Blonde on Blonde, The Joshua Tree, Sticky Fingers, Eat a Peach, Songs in the Key of Life in studios like Abbey Road, Fame, Olympic, Criteria or Columbia Nashville.

The next time you want to record your music to be sold commercially or you want a first-class representation of your songs and musical abilities to show the grand kids in a few years, I would appreciate it if you would allow me to produce you. Though I have recorded hundreds of hours in the studio and the musicians I use have played with some of the best on some pretty famous records, I am just getting off the ground. This means my costs are low, especially for the quality.

My desire is to take an artist’s songs and their musical abilities, study the lyrics, call the best musicians I know, apply my good taste and deliver a fully mixed and mastered unique recording. A recording that can compete in the marketplace. I love the sound of a great recording and I will release nothing until it meets my standards.

I believe one of the reasons the music industry and music in general has been doing a downward spiral in the past few years, is because great artists are cutting corners and settling for mediocre results. They piece together their songs a little at a time without the synchronicity of real musicians all playing together and hammering out the feel. Gone are the chance mistakes that we’ve all read about that created a new direction for a song and lead to greatness.

I know, people can buy some gear, put it in their bedroom, sit in their jammies all day and work on a guitar solo until they think it is "right". They might be cutting costs, but they are missing out on the collective mind and fresh, unbiased, ears to tell them the 4th take was much better than the 44th.

Lots of pre-production keeps my costs down and allows me, with the artist and musicians, to suss out the songs before going into the studio. I’d love to meet with you, listen to your songs and decide where we want to go with them. I am a songwriter, too, so I can help you with the form of your songs that will keep a listener’s ear glued to them instead of drifting. That is not easy, these days.

You can contact me through this website or call   615-...

Thank you and I hope we work together,

Diggy

 

 

Randy "DIGGY" Perkins

 

Born and raised in Portsmouth, Ohio, DIGNUS/DIGGY BAND/CRAZY FACE/THE VERY STONE frontman and solo artist Diggy (aka Randy Perkins) has performed music for fun and profit since the age of eleven. He began as a drummer, but after three years, changed to bass and then guitar. With his soulful 3 ½ octave voice, Diggy was always the designated lead vocalist. A Nashville, Tennessee DJ once introduced Diggy to his SRO NEW MUSIC FESTIVAL audience as "the white Jackie Wilson".

From Ohio, Diggy headed out for the eastern USA and Canada eventually taking up residence in Richmond, VA where he quickly built a musical name for himself. Diggy’s songwriting and performing skills attracted many of the area’s top musicians. Tim Reynolds (Dave Matthews), Keith Horne (Trisha Yearwood), and Keith Howland (Chicago) performed in Diggy’s highly acclaimed "Randy Perkins Project", but after viewing the more direct and less cumbersome concerts of Bob Dylan in his "Don’t Look Back" video, Dig set the band aside and began performing solo three hours a night/four nights a week. He became a favorite college circuit performer and frequently requested solo opener for shows such as The Wallflowers, Tori Amos, and Chris Whitley.

At the urging of his ex-bandmate Keith Horne, who was now in Nashville playing bass for Tanya Tucker, Diggy traveled west to Nashville to investigate the town’s burgeoning Folk/Rock - Pop scene. After only 9 months of constant performing in Music City, Diggy caught the ear of Tim Coats who was forming a new record label with veteran Bruce Springsteen bassist Garry Tallent and songwriter Ron LaSalle. Garry, Tim, and Ron signed Diggy to a multi-record deal with their D’Ville Record Group. Diggy named his band DIGNUS ( hence his nickname . . . hey, it just stuck ) and IN YOUR WORLD, 12 Diggy songs produced by Garry and featuring George Marinelli (Bruce Hornsby and the Range/Bonnie Raitt) on additional guitars, was released in the Spring of 1996 to positive national reviews.

 

The soulful and tight "Folk-Funk" trio burned up the eastern United States performing for The MacFEST in New York City and touring with The Screamin’ Cheetah Wheelies. DIGNUS would open shows for headliners such as GOV'T Mule, Duncan Sheik, Jars of Clay, and headline medium-sized venues throughout the East. Just as things were looking up, D’Ville was "going down", unable to survive a devastating financial setback. The promising Indie label closed leaving Diggy without the muscle needed to continue promoting his recording.

Since the D’Ville demise, Diggy has continued to build his name by writing and performing his own brand of soulful, "thought-provoking" music and releasing it through his website and most on-line stores. Though the majority of Diggy’s performances are solo/acoustic, he has followed his tradition of forming DIGNUS variations with musical luminaries like John Jackson (Bob Dylan/Lucinda Williams/Shelby Lynn), George Marinelli, Terry Thomas (The Cheetah Wheelies), and Mark W. Winchester (Emmylou Harris/ Brian Setzer) when the notion arises. His November 1999 release LOOKING FOR A NEW WAY, featuring an appearance by Dave Matthews/Bela Fleck sax man Jeff Coffin, also earned great reviews and Nashville airplay. As host and performer for both the 2001 and 2002 TIN PAN SOUTH (Nashville’s premiere annual songwriter showcase) and a featured BMI performer at the 2002 Folk Alliance, the Nashville music community continued to hold Diggy and his music in high regard.

An all acoustic DIGNUS CD, Mudhouse Serenade, was released in March of 2002. It featured 12 new Diggy songs performed with all the soul and passion that he is known to deliver. Diggy's relentless one-man "Mudhouse Tour" started in November of 2001, earning him repeat invitations to Chicago, New York City, Atlanta, Charlotte, Annapolis, Cleveland, Morgantown, Bryn Mawr and many other great towns and cities east of the Mississippi. The tour successfully created a devout grassroots following, as designed, and delivered opening slots for Keb Mo, Alejandro Escavedo, Chris Whitley, legendary folk singer Eric Andersen, The Maryjanes, and Those Darn Accordions.

 

Winston-Salem/Greensboro ESP Magazine writer Anise Cerra wrote "What keeps (Mudhouse Serenade) jumpin' is that Diggy never quite lets the ear rest. There's always some little hairpin turn musically to catch the breath or a fine lyric to stick in the mind." In the April 2002 Music Row Magazine contributor and music historian Robert K. Oermann said the benefit of the all-acoustic production of Mudhouse Serenade " . . . is that you get to hear how cool (Diggy's) lyrics are." In the May 2002 issue, Music Row Magazine's record reviewer John Hood said Diggy "is in fine voice throughout (Mudhouse Serenade), cementing his status as one of Nashville's most compelling vocalists."

 

defy mediocrity