2014 JOHN MARK NELSON SINGS THE MOON INDEPENDENT LABEL 33 RECORD FOLK FUN CROONER

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John Mark Nelson – Sings The Moon

Label: Not On Label – none

Format: Vinyl, LP, Album

Country: US

Released: 2014

Genre: Folk, World, & Country

Style:

Tracklist

A1 Sings The Moon

Double Bass – Benjamin Kelly

Electric Guitar – Jeremy Ylvisaker

Piano, Accordion, Percussion – John Mark Nelson

Vibraphone – Nic Eggert

Vocals – Charlie Pears

A2 A Place Of My Own

Double Bass – Benjamin Kelly

Drums – Nate Babbs

Electric Guitar – Matt Patrick (4)

Pedal Steel Guitar – Aaron Fabbrini

Trombone – John Cushing (2)

Vocals – Grace Keating

Vocals, Piano, Acoustic Guitar, Mandolin, Organ, Percussion – John Mark Nelson

A3 Drowned

Bells [Belle Plates] – John Mark Nelson, Matt Patrick (4)

Electric Guitar – Jeremy Ylvisaker, Matt Patrick (4)

Piano – John Mark Nelson

A4 Shorebird

Bass Guitar – Benjamin Kelly

Cello – Ben Rosenbush

Electric Guitar – Matt Patrick (4)

Pedal Steel Guitar – Aaron Fabbrini

Vibraphone – Zach Miller

Vocals – Kara Laudon

Vocals, Acoustic Guitar, Electric Guitar, Drums, Percussion – John Mark Nelson

A5 When We Grow Old

Organ, Electric Piano [Rhodes] – John Mark Nelson

A6 Boy

Double Bass – Benjamin Kelly

Drums – Nate Babbs

Fiddle – Josh Misner

Mandolin, Electric Guitar, Percussion – Matt Patrick (4)

Piano – Jim O'Neill (12)

Vocals, Acoustic Guitar, Harmonium, Percussion – John Mark Nelson

A7 To Belong

Bass Clarinet – Kenni Holmen*

Cello – Ben Rosenbush

Glockenspiel – Nic Eggert

Marimba – John Mark Nelson

Vibraphone – Zach Miller

A8 The Moon & The Stars

Bells, Percussion, Vocals – Nic Eggert

Double Bass, Vocals – Benjamin Kelly

Drums, Vocals – Nate Babbs

Electric Guitar, Vocals – Matt Patrick (4)

Piano, Vocals – Jim O'Neill (12)

Vocals – John Cushing (2)

Vocals, Guitar, Accordion, Mandolin, Marxophone – John Mark Nelson

A9 Awash

B1 Far From Here

Cello – Ben Rosenbush

Electric Guitar – Jeremy Ylvisaker

Glockenspiel – Nic Eggert

Violin, Viola – Josh Misner

Vocals, Piano, Acoustic Guitar, Accordion – John Mark Nelson

B2 Oh, Light Within Us!

Cello – Ben Rosenbush

Electric Guitar – Jeremy Ylvisaker, Matt Patrick (4)

Violin, Viola – Josh Misner

Vocals, Acoustic Guitar, Piano, Percussion – John Mark Nelson

B3 All You Are

Baritone Saxophone, Clarinet – Kenni Holmen*

Double Bass – Benjamin Kelly

Drums – Nate Babbs

Trombone – John Cushing (2)

Vocals – Jeremy Messersmith

Vocals, Acoustic Guitar, Electric Guitar, Piano, Organ, Percussion – John Mark Nelson

B4 Ernest

Bells [Bell Plates] – John Mark Nelson, Matt Patrick (4)

Vocals, Piano – John Mark Nelson

B5 Cigarettes & Postage Stamps

Double Bass – Benjamin Kelly

Drums – Nate Babbs

Electric Guitar – Jeremy Ylvisaker

Pedal Steel Guitar – Aaron Fabbrini

Piano – Jim O'Neill (12)

Vocals – Emma Whicher

Vocals, Acoustic Guitar, Mandolin, Electric Piano – John Mark Nelson

B6 Deep In The Night

Bells [Belle Plates] – John Mark Nelson, Matt Patrick (4)

Vocals, Harmonium, Acoustic Guitar, Piano – John Mark Nelson

Mixed At – The Library Recording Studio

Mastered At – Rare Form Mastering

Published By – John Mark Nelson Music

Recorded At – The Library Recording Studio

Recorded At – First Covenant Church, Minneapolis

Recorded At – Excelsior Elementary School

Recorded At – Carver Park Nature Reserve

Artwork By, Illustration – Heather Weideman

Backing Vocals [Group] – Ann Nelson (2) (tracks: A2, A6, B2, B3, B5), Beckie Lonnes (tracks: B6), Benjamin Kelly (tracks: A2, A6, B3, B5), Elizabeth Nelson (tracks: B6), Emma Whicher (tracks: A2, A6, B2, B3, B5), Grace Keating (tracks: A2, A6, B2, B3, B5), John Cushing (2) (tracks: A2, A6, B3, B5), Matt Patrick (4) (tracks: B3), Michelle Price (tracks: A2, A6, B2, B3, B5), Nate Babbs (tracks: A2, A6, B3, B5), Nic Eggert (tracks: A2, A6, B3, B5), Sandy Olson (tracks: B6), Steven Eiler (tracks: A2, A6, B3, B5), Terry Owens (tracks: B6)

Layout, Design – Matthew Custar

Mastered By – Greg Reierson

Mixed By – Matt Patrick (4)

Producer – Matt Patrick (4)

Recorded By – Bruce Balgaard (tracks: B1), Matt Patrick (4) (tracks: B1)

Written By, Arranged By, Producer – John Mark Nelson

Includes DL card and picture insert.

A5: Field Recordings captured at Excelsior Elementary School

B1: Piano recorded at First Covenant Church by Matt Patrick and Bruce Balgaard.

B4: Field Recordings captured at Carver Park Nature Reserve, MN

Barcode: 707541758796

Matrix / Runout (Etched side A): JMN STM A RFM

Matrix / Runout (Stamped side A): 99718 1A

Matrix / Runout (Etched side B): JMN STM B RFM

Matrix / Runout (Stamped side B): 99718 1B

SOUND TESTED - BUYER APPROVED
RECORD PLAYS VG > VG+
https://www.youtube.com/watch?v=N4_OKWQfp0M&ab_channel=JohnMarkNelson-Topic

https://www.youtube.com/watch?v=J8cFdo3G1-o&ab_channel=JohnMarkNelson-Topic

(EXAMPLES, NOT ACTUAL)

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FYI

John Mark Nelson (born November 23, 1993) is an American songwriter and producer based in Minneapolis, Minnesota. John Mark Nelson released his debut album Still Here in 2011. His second release, Waiting and Waiting, was released in August 2012. In June 2014, Nelson released his third album, Sings The Moon, thanks to a successful Kickstarter campaign that helped him fund the project. His fourth full-length album, I'm Not Afraid, was released in September 2015 on GRNDWIRE Records.

Nelson was born in Laguna Beach on November 23, 1993. He attended Minnetonka High School and graduated there in 2012.

On January 17, 2013, Nelson launched a Kickstarter campaign to fund his third album production. The campaign was funded on February 7, 2013 with the goal of $16,735. The album was produced by Matt Patrick with co-production of Nelson. One of the songs on Sings the Moon, titled "The Moon and the Stars," was featured as his first music video and aired on MTV on August 13, 2013. On June 24, 2014 he released the album Sings The Moon. For this effort, rather than playing and engineering everything at his home, Nelson opted for a professional studio recording and chose the Library Recording Studio in Minneapolis. Sings the Moon was co-produced by The Library Studio's owner/operator Matt Patrick (producer). He employed his live band; Nate Babbs, Benjamin Kelly, Nic Eggert, Grace Keating but also brought in several guest musicians; Jeremy Messersmith, Jeremy Ylvisaker, Matt Patrick (producer), Aaron Fabbrini, Ben Rosenbush, Kara Laudon, Anne Hartnett, Zach Miller,Jim O'Neill, John Cushing, Josh Misner, and Kenni Holmen. Nelson released the album's second single "Boy" was directed by Mairin Hart and released on YouTube on October 22, 2014.

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In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History
The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).

The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.​


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