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Many, many thanks to all the people who helped me put this album together. While I have album credits listed below, I feel like I should expand a little bit.
The album was mastered by 'A. W. (Skip) Brown' a local musician, recording engineer, and all around audiophile. I was a bit of a 'nervous Nelly' as this was my first album, but Skip was super patient with me as we mastered, edited and assembled the album. I met Skip through my work at Stage Sound. Skip is still in the business, running Final Track Studios in Roanoke, VA.
The cover design was done by my friend Richard McNeace. I had known Richard since our days in the 'Nelson Bond Society', a science fiction club in Roanoke, Virginia. Richard was also working at Book, Strings, and Things on the downtown mall, and along with Chris Henson helped with sales of 'Picture This.' Chris Henson is an amazing musician, and was kind enough perform with me in 1988 at 'Festival In The Park', where we jammed on Bill Frisell's 'Strange Meeting'.
Richard McNease also put me in touch with Michael Allen, who provided the artwork for my album. We drove over to Michael's house, where he had a number of wonderful paintings, and we had to make the tough choice of selecting which one to use for the album cover.
My father, Dr. William W. Joness, was very supportive of me when I was working through the recording of this album. My mom had passed away on December 12, 1987, and I recall the morning I finishing the mixing of 'Picture This'. I had moved my recording gear in to the family room, the den, and I was pretty sure he could hear the music all night. I apologized to my Dad, asking if I had kept him awake while mixing the album. He said no, and told me he thought my mother would be proud of me for all the work I put into seeing the album completed. I think that was about the best thing he could have said to me.
Buffy Lyon was another associate from the circle of audiophiles that hung around Stage Sound. Buffy loaned me his Sony PCM-F1, which was one of the few digital recorders available at the time. This made 'Picture This' was one of the few artist produced projects at the time to be recorded almost entirely in the digital domain. I kept the digital master Beta tapes, and was lucky to work with a technician in the early 90s who also owned a PCM-F1, allowing me to access the original digital masters from 1989.
I do not know where to start with the mighty Marty Irish. We have been good friends since I started working at Stage Sound. Folks warned me that Marty, our lead sound technician and live sound engineer, might be a little 'prickly'. But I had an Ibanez SDR-1000 that needed a new ROM chip installed to update the operating system. When I approached Marty he did seem as disagreeable as I had heard...but when I picked the unit up from him at the repair shop later that day, and asked Marty what I owed him, his response was, 'Well, why don't you buy me a beer and we'll call it even...' Great answer! We have been best friends ever since, and my wife Mie and I always visit Marty and his wife Patrice whenever we are in the Roanoke area. I have been so lucky to have so many great friends in my life, and the always erudite and entertaining Marty Irish is at the top of the list! Marty and I also spent time together on the road traveling with the Jane Powell Band in the late eighties, but I have not the room nor discretion to share the stories of those adventures.
Jane Powell was one of the top performers on the College circuit, and I was so honored when I was invited to join her band. I spent about a year and a half with the band, before leaving to record this album and later move to Los Angeles. I was eclipsed by the awesome talent in the band, everyone was top notch, and I could barely keep up. Working with Jane and her band gave me invaluable experience as a professional musician, and a lifetime of memories. We traveled up and down the east coast, from Florida to Maine, and as far west as Lincoln, Nebraska.
Reid Henion is the president of Stage Sound, the premier sound company in Southwestern Virginia area and beyond. Reid did one of the best things anyone can for someone: he gave me a job! I had talked my way into teaching a class on Recording Arts at Virginia Western Community College. I was not completely confident in my abilities as a teacher, so I contacted some of the local professionals in the Roanoke area, and asked them if they would consider being a 'guest lecturer' at my class. I asked Reid, and he immediately said 'Yes!'. The topic was microphone selection, and he brought along a flight case packed with valuable microphones to share with the class. He was very knowledgeable on the subject, and a huge asset to the curriculum. Anyway, we sat down for lunch to talk about the class, and Reid said, "You seem to know what you are doing...would you like to come work at Stage Sound?" I was still not sure about myself, but I figured this was an offer too good to turn down. I was working as a waiter at Billy's Ritz on the downtown mall at the time, so this was a real step up. I put in my notice, and was working night and day for a while. As an added bonus, my neighbor and childhood friend Jeff Moore also worked at Stage Sound. Stage Sound gave me lots of opportunities to learn on the job, and I am so grateful that Reid believed in me.
Jeff Hunt is the man who put my music on the radio! After college my best friend Stuart Wamsley and I lived in London, England, trying our best to become rock stars. This did not pan out as we planned, and after nearly a year, I returned home to help care for my mother, who was diagnosed with stage four cancer. While I was at home, I was determined to continue with my music career in any way possible. I almost immediately began writing new music and recording demos. I sent one of these demos to Jeff Hunt of WVTF Radio in Roanoke, Virginia. To my amazement, Jeff not only liked my music, but asked me to appear on his show to play my demos and talk about my music. I later learned that this was not that unusual: Jeff is a big supporter of local musicians, always doing what he can to foster local talent. In all I made three appearances on the Jeff Hunt show, the final being on November 17, 1989, the official premier of 'Picture This'.
Elma Swain, my piano teacher of ten years, is included in the 'special thanks' list. Elma taught me to play music, and to this day I am grateful for the gift of music she gave me. I did not practice regularly, and would be a much better musician if I only showed more discipline. I truly frustrated her, and she was often not happy to have me as a pupil, but I begged each year to continue with the lessons. I knew that discipline was my weakness, and I needed someone like Elma to crack the whip and to set deadlines.
Kate Daniels. I started at the University of Virginia in the Engineering program, as a Computer Science major, with my 3.5 GPA earning me a spot on the Dean's list for my first semester. While I loved programming, and work now as a full-time programmer, I was not as keen on the rest of the engineering curriculum, especially Chemistry, advanced Mathematics, etc. After my first year I had enough, and I transferred to the College of Arts and Sciences, but had no idea what I wanted to major in. In the fall of 1981 I took ENWR 230, Introduction to Poetry Writing, taught by Kate Daniels. This class changed my life. Kate remains an inspiration to me, and I changed my major to English, and was frequently published as a poet during my time at UVA, winning the Martha Richford-Roberts Prize in April of 1983. Kate was a teacher, mentor, and friend, always encouraging me to be the best artist I could be.
On December 12, 1987, my mother Elizabeth Joness passed away from metastatic breast cancer. Mom had been dealing with cancer since I was in the seventh grade, for twelve years, and I always believed that she could fight cancer and make a come back, but in the end cancer took her life way too early. I don't think there is enough room to write about what my mother meant to me, but I know that she instilled in me a confidence and belief in myself that no doubt exceeded my actual talents. When I look over these notes, I see that time and time again I stepped out of my comfort zone to move forward in life, and this is the gift my mother gave me.
All music written, performed and produced by Wayne Scott Joness.
All tracks recorded at Cinder Block Sound, September 1989, and engineered by Wayne Scott Joness, except "Never You Fear," recorded at Threshold Recording and engineered by Harold Thompson.
Digitally mastered by A W (Skip) Brown at Location Digital Recording, 2234 Sourwood Street, Roanoke, Virginia 24012.
Cover art "Altamira #2" by Michael Allen.
Cover Design by Richard McNeace.
Special thanks to Dr. William Joness, Buffy Lyon, Marty Irish, Jane Powell (and her legendary band), Reid Henion (Stage Sound), Jeff Hunt (WVTF). Elma Swain and Kate Daniels.
For further information or bookings, call or write Wayne Scott Joness.
This album was artist financed. If you would like to share this music with your friends, please do not make copies, but purchase another tape to help make this music possible.
This album is dedicated to Elizabeth Joness.
All music ©1989 Wayne Scott Joness.