Name: To the Toppermost of the Poppermost (w SpaceRobots) by MrJones&HisVisionsOfPearl in cloud.selector volume 13
Duration: 3 min 20 s
Description: Also done in Ashland Oregon, during those last innocent days of the summer of 2014...the SpaceRobots worked as consultants and deserve an executive producer credit.

Quirky and kinda cute! Added to playlist 2

my SoundCloud marks in a playlist...no special order..newest additions at the end.
a new volume every 101 titles. this is the volume 13.

cloud.selector volume 13

Trouble With Poetry by Lavon

Music written for the Amelia Community Theatre performance of Men on Boats.  Song title and lyrics by Jaclyn Backhaus, author of Men on Boats.  Accordion by Dominique, harmony by Nancy, and mix by Vic!

Dry Dry Dry

Also done in Ashland Oregon, during those last innocent days of the summer of 2014...the SpaceRobots worked as consultants and deserve an executive producer credit.



To the Toppermost of the Poppermost (w SpaceRobots)

Featuring Janelle Monáe, Deep Cotton, St. Beauty, Jidenna, Roman GianArthur, and George 2.0.

Hell You Talmbout

Track from the new Carter Tutti Void studio album f (x). 
Released 11th Sept 2015.
Pre-Order Now UK: http://cargorecordsdirect.co.uk/products/carter-tutti-void-f-x
Pre-Order Now USA: http://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=CARTER%20TUTTI%20VOID

Details at http://www.industrial-records.com
YouTube link: http://youtu.be/zsRL5xUC-c0

f (x)

2.6.2 (edit)

Carter Tutti Void - f=(2.6.2) (edit)

Artist: I.B.M. (Insane Black Man)
Album: From The Land Of Rape & Honey (The Suppressed Tapes) 1995 - 2005 
Label: Interdimensional Transmissions
Catalog: IT 35

Jamal Moss (aka I.B.M. - Insane Black Man) is a lost warrior of sonic truth. We first uncovered his music through his own Mathematics Records, where we were shocked to find a unique permutation of the Chicago Jack gene. We came to find out that Jamal was educated in the biz by Adonis and Steve Poindexter, and the last of the line of producers directly inspired by two pillars of influence: Ron Hardy at the Muzic Box and the club Medusa’s. This makes him uniquely qualified to write a new chapter of Chicago's history.
 
Digging through shoe boxes of cassettes, video tapes, and mini discs, we have collected the secret tapes of one Insane Black Man. This is an archive of the impetus of his genius, containing perhaps the holy grail of all Jamal Moss tunes “The Land of Rape and Honey” and “Tribal Retribution”. Artists on labels like LIES are still searching for these originals. We have taken them from their dusty and damaged condition and painfully & meticulously restored them, using the mastering labs of Neel’s Enisslab Studio in Rome, and for the few that even he couldn’t do, we had Carl at TruTone finish the restoration. Now we can present these fragile raw and pure visions with the greatest level of quality. Finally the full impact of these ideas can be felt. 

Jamal describes his music as “post industrial angst in an urban environment.” His first experience at the Muzic Box was standing outside the warehouse space on 326 Lower Michigan Ave just watching people come outside to catch air, fascinated by the energy he was experiencing. At a later location he was finally able to get in and describes the experience as “overstimulating, I never saw anything like that, you could see the heat, it was like a sauna of raw sweat.” Later, he would spend much of his formative years at Medusa’s experiencing the city’s more alternative culture. Many people may find this surprising, going from the Muzic Box to Medusa’s, from the roots of House Music (and Techno) to the home of the Industrial sound that perhaps Wax Trax best represents. But that kind of stereotypical thinking doesn’t allow for the truth of what actually happens, people cross boundaries, experience other scenes and cultures, absorb them and add to them. No one should be prescribed a set of interests because of where they are from or what race they are born.

Jamal reminds me that Duane Buford, creator of the first record on Dance Mania and co-writer with Jesse Saunders and sometimes Vince Lawrence of such early house songs as “Funk-U-Up” (Jes’say 1984) and Le’ Noiz’s horror house bad trip jam “I’m Scared” (Trax 1985), was also a member of the Revolting Cocks and Ministry. Before Mathematics took off, Jamal was in talks with 4AD to make an industrial record for the label. These towers of influence collide easily in the mind of the Insane Black Man. Why must we call him insane? That may be society’s futile view, which would prefer to put everyone in easy boxes, whereas we would be more likely to call him a visionary. 

In his own words:
Purpose & Reasoning of Collection of Works None just for therapeutic purposes 2 Exercise The Demons 2 keep oneself from going over The edge. 
All material collected from various cassette tapes / VHS / Mini Disc stored Away in Old grey shoe boxes.
Genre : Industrial / Experimental / Art / Tribal Noise / EBM / Social Distortion 

All Compositions created between 1995 - 2005 


09 Hate The Truth And Live The Lie

Wall Erected Side A

Music and lyrics by Ricky Wascher
All instrumentation and arrangements by Ricky Wascher
Lead vocals by Ken Tomerlin
Produced, recorded and mixed by Ricky Wascher at Cimamusic Mix & Mastering, Tucson, Arizona
Mastered by Brian J. Poole at Moon Tree Mastering, Sacramento, California

©Copyright 2018. All Rights Reserved.

ABOUT HOMEBOUND
Homebound was born from a request to support a local Tucson-based Country singer. Ricky first penned “So Long (and Stay Gone) as a “gift” for the artist; but when that project failed to come to fruition, he was determined to see the song through to the end regardless. As a result, the creative juices began flowing, giving birth to two additional songs: “What about Love” and “Breathe.” Ricky recorded these songs at his home-based recording studio, Cimamusic Mix & Mastering, and recruited two local singers, Gabi Montoya and Ken Tomerlin, to take on vocal duties for “So Long (and Stay Gone)” and “What about Love” respectively. (Ricky took over lead vocal duties for Breathe.) Not only are these the first songs Ricky has written in over 5 years, but they are also the first he has written in the Country Pop genre. Homebound pays homage to Ricky’s Southwest roots and is inspired by a myriad of local, talented singer/songwriters that make up Tucson’s musical landscape.

Homebound

What About Love by Homebound

Thank you so much Mark @theweightytree for all your guitars and your Kindness <3

Mark: guitars
Me: vocals, bass, guitar and beats

The Weighty Tree & Butipreferrominapower - Shoot Colors To All This Gray

my cover of the beautiful "Shenendoah" <3

Shenendoah  (COVER)

"Bittersweet" By Lavon

I wrote "The Twitch" after reading Robert Penn Warren's All the King's Men.  Here's part of the passage that inspired the song:  "The only thing remarkable about him [the older hitchhiker the protagonist Jack had given a ride to] was the fact that while you looked into the sun-brittled leather of the face, which seemed as stiff and devitalized as the hide on a mummy's jaw, you would suddenly see a twitch in the left cheek, up toward the pale-blue eye.  You would think he was going to wink, but he wasn't going to wink.  The twitch was simply an independent phenomenon, unrelated to the face or to what was behind the face or to anything in the whole tissue of phenomena which is the world we are lost in.  It was remarkable, in that face, the twitch which lived that little life all its own."  (William Penn Warren)

The Twitch By Lavon

(Jazz or swing vocal in the style (hopefully) of the 1940s or 1950s).        "Tonight's the Night" was inspired by the title and feel of a Ruth Brown song called "Table for Two."  It features the virtuosic Sylvain Carton on tenor saxophone and the amazingly talented Nancy Heiges on vocal harmonies.  Thanks to Sylvain and Nancy, and of course to Vic Cook, master mixer par excellence, "Tonight.." becomes a song.

"Tonight's The Night" By Lavon

Avignon Farewell / Departure By Lavon

Hey, Thanks for checking out my page.  December 2011, I was given, kind of randomly,  a ukulele, and it was easily the best gift I've ever received.  I've been writing songs (and poorly playing guitar and ukulele) ever since then...they get recorded on my ipod, often sitting in my car so I don't wake up my roommates...so there are no delusions of grandeur...its just the process of making them and getting to be creative that I like so much.  I'm currently looking for creative people in Portland, or even the various internets, to make music with.  Send me a message if you're interested.  Thanks for stopping by!  And you know, if you're in the market for a mobile recording studio, I think the acoustics in a '94 Accord aren't bad...I mean it's not Abbey Road but still...not bad.


What The Critics are Saying about Mr. Jones and His Visions of Pearl:

"Breath-taking." Oxygen magazine.

"It's like an imagined collaboration of what Kafka and Modigliani would have created had they been musicians in the 21st century. So refreshingly unpretentious." Pitchfork

"A ragged howl unleashed deep from America's secret soul reminding us that like Vader at the end of Jedi, there is still some good left in our collective heart." Chewbacca

"Seek not the favor of the multitude; it is seldom got by honest and lawful means. But seek the testimony of few; and number not voices, but weigh them."  Immanuel Kant after hearing Mr. Jones and His Visions of Pearl's SoundCloud.  

To the Toppermost of the Poppermost (w SpaceRobots)

MrJones&HisVisionsOfPearl

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