Oh get over it.abezontar wrote:And if he isn't this post needs to be deleted!
I knew Jack in school, and even went to a couple of games with him.
Jack Ingram
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by PK » Tue Jun 13, 2006 11:22 am
That criteria does not apply...this is the "Around the Hilltop" board where athletic content is optional.abezontar wrote:MustangStealth wrote:He went to SMU, got a psych degree, and used to play down at Adair's.
But does he meet the second criteria of somehow relating to the athletic department?
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by jtstang » Tue Jun 13, 2006 11:54 am
PK wrote:That criteria does not apply...this is the "Around the Hilltop" board where athletic content is optional.abezontar wrote:MustangStealth wrote:He went to SMU, got a psych degree, and used to play down at Adair's.
But does he meet the second criteria of somehow relating to the athletic department?
This is a website dedicated to SMU--by definition, athletic content is optional.
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by Kappas Are Yummy » Tue Jun 13, 2006 12:31 pm
jtstang wrote:PK wrote:That criteria does not apply...this is the "Around the Hilltop" board where athletic content is optional.abezontar wrote:MustangStealth wrote:He went to SMU, got a psych degree, and used to play down at Adair's.
But does he meet the second criteria of somehow relating to the athletic department?
This is a website dedicated to SMU--by definition, athletic content is optional.
Just my two cents.
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by MrMustang1965 » Tue Jun 13, 2006 3:19 pm
Found out the other day that Jack Ingram is also a member of Alpha Tau Omega from S.M.U. Did not know that. He's listed on the ATO National Headquarters web site under 'Entertainers'.
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by MrMustang1965 » Thu Jun 15, 2006 11:20 pm
By Michael Corcoran
Wednesday, June 14, 2006
Jack Ingram was alone in the back of his tour bus, coming back to Austin from a solo acoustic gig in Dallas in late April with the radio tuned to a country station. He was waiting to hear his single, not for an ego stroke, but because it meant a late vote.
See, the staff of Big Machine Records label had been following closely the airplay numbers and found that Ingram's "Wherever You Are" was in a dead heat with Jason Aldean's "Why" as the No. 1 Billboard country single of the week. The songs were fewer than 100 total spins apart — that's including every country music station in the United States — with just an hour or so before No. 1 was to be determined.
Just as "Wherever You Are" came on the radio ("yes!"), Ingram's cell phone buzzed. It was Big Machine head Scott Borchetta saying, "We got it." Numero uno. Ingram fell back in a relaxed heap and saluted his good fortune. Just three years ago, he'd been dropped by Sony's Lucky Dog label, but now the Houston native — who made his name in Dallas, then moved to Austin last year — was on top of the world that had rejected him. What a sweet ride it was back to Lakeway, where Ingram, 35, lives with his wife, Amy, and three kids, none older than 3.
Ingram, who will open for Sheryl Crow at the Bass Concert Hall on June 22, had felt that kind of euphoria another time, he recalls over coffee at Ruta Maya. It was 13 years ago, in Dallas, and he was listening to Abby Goldstein interview his songwriting idol Guy Clark on KERA-FM. Ingram was driving down Lover's Lane toward Southern Methodist University, where he was a student, and after the Clark interview, Goldstein played "Drive On" from a demo that would become the first album by Ingram (backed by his Beat-Up Ford band). "It was an almost surreal moment," he says. The radio legitimized his dreams. He imagined people all over town listening to the song. "It sounds weird, but it was the exact same feeling back then as when they told me I had the No. 1 single," he says.
As an upstart, as well as someone coming into his own as an artist, Ingram has always taken his career seriously. His main talent, he'll tell you, is getting up earlier and working later than the competition. Way back in 1995, when he was the predecessor to Pat Green, drawing thousands of college kids to each gig, everyone told Ingram he was going to be a superstar. Kid had the looks, the songs, the drive. "Jack Ingram" was the name of a star.
Warner Bros. certainly thought so, reissuing the singer's first two indie albums in '96. Those records failed to catch on outside Texas, so Ingram was shipped off to the idealistic Rising Tide Records, a haven for quality singer-songwriters that was founded by Lyle Lovett's manager, Ken Levitan. But that label folded soon after releasing Ingram's critically praised and publicly ignored "Livin' Or Dyin'." Ingram, who was subsequently dropped by Sony two months before the birth of his first child, just couldn't catch a break.
But even as Nashville seemingly had stopped believing in the sandy-headed songsmith, Ingram never gave up on himself. "I can sell a million records," he'd say during label-shopping times. "I really believe that."
Meanwhile, he was relegated to repackaging older material for self-release and putting out one of those "Live At Billy Bob's" CDs that have been the fork in many "done" careers. Thankfully, he was able to pay the bills by going out on the road.
Ingram convinced George Couri of Capital Sports & Entertainment that there was still plenty of fuel in his beat-up Ford, and the pair set their sights on another Nashville deal. On the strength of a self-released — and self-unleashed — stellar "Live At Gruene Hall" album, there was renewed interest in the former castoff. Ingram thought he'd gotten close with Universal, "but the wheels stopped turning," he says, and someone at the label told him that then-Universal executive Borchetta, who had a reputation for feeling the pulse of country radio, just didn't hear it with Ingram. Not one to take rejection in a position other than fully upright, Ingram called Borchetta to hear what the "radio genius" had found lacking. Instead, he discovered that his music had been a buck passed.
"Scott said that he was actually one of my big supporters at the label," Ingram recalls.
A few weeks later, Borchetta was fired by a new regime, filed the dismissal under "blessings in disguise" and started his own label. Ingram was the first artist he signed. "Oh, what a difference it makes to have a label fully committed to you," says Ingram. "Big Machine had a game plan going in, and they've executed it perfectly."
Borchetta felt that Ingram needed to reintroduce himself to the country-music business with some radio candy. This meant bringing in outside writers and glossing up the production. "If a label sends you 100 songs to consider and one of them is perfect, they've done you a favor," Ingram says. "With Lucky Dog, they'd send me one song and I'd pass on it and they'd tell the boss, 'He won't do outside material.' "
The song Borchetta and Ingram settled on as the Nashville calling card was "Wherever You Are," a catchy, midtempo rocker that sounds little like the other material on "Live Wherever You Are," which is basically the Gruene Hall album with two new studio cuts attached.
"We threaded the needle with 'Wherever You Are,' " says Borchetta. "I don't think Jack's ever been given a real shot at making it as a national artist. He's always been seen as a Texas artist, but he's got the energy and charisma to go all the way."
Although Ingram previously had written almost all of his own material, he was willing to follow Borchetta's suggestion of recording another writer's radio-aimed song, so long as he could identify with the sentiments. "Wherever You Are," an ode to renewed commitment, was lyrically right up his alley. "I don't have to just wear suits from my own closet," Ingram says. "If someone hands me one that fits and feels nice, why not put it on?" Then he laughs and says, "As long as it doesn't make me look like a clown."
As an album track, "Wherever You Are" is not the strongest thing on a record that's more about sweat than sweetness. But hear it on the radio, hear it when you're 22 and in love, hear it in your pickup on the way home from a job you hate, and you'll want to crank it up.
It took 32 weeks — a marathon run — to hit No. 1. Several times Ingram predicted that the single had peaked and soon would be heading back down. "I remember when it hit No. 27 and I thought, 'Well, at least you had a top 30 hit,' " he says, having expected the song to drop the next week. But it kept on climbing.
"Wherever You Are" was replaced at No. 1 after just a week. But having a No. 1 single is something that can't be taken away. When he recently was tapped to sing the national anthem before Game 1 of the Dallas Mavericks-Miami Heat NBA finals, it wasn't some bone thrown to a homeboy. Ingram had earned that time in the big, international spotlight.
Ingram's next record, a studio album produced by Doug Lancio (Patty Griffin), is finished and shelf-bound for late August. In July, he'll jump in the middle of mainstream country, embarking on a tour of arenas with Brooks and Dunn.
"When I was starting out, I had all these expectations hung on me, like I was going to save country music," Ingram says. "I was just trying to get better as a songwriter. I knew I had a long way to go."
So, now that he's had a No. 1 record, does Ingram feel like he's there yet? "Not even close," he says with a laugh. And he's right. "Wherever You Are" was just a foot in the door. Now it's Ingram's time to work the room.
http://www.austin360.com/music/content/ ... cover.html
Wednesday, June 14, 2006
Jack Ingram was alone in the back of his tour bus, coming back to Austin from a solo acoustic gig in Dallas in late April with the radio tuned to a country station. He was waiting to hear his single, not for an ego stroke, but because it meant a late vote.
See, the staff of Big Machine Records label had been following closely the airplay numbers and found that Ingram's "Wherever You Are" was in a dead heat with Jason Aldean's "Why" as the No. 1 Billboard country single of the week. The songs were fewer than 100 total spins apart — that's including every country music station in the United States — with just an hour or so before No. 1 was to be determined.
Just as "Wherever You Are" came on the radio ("yes!"), Ingram's cell phone buzzed. It was Big Machine head Scott Borchetta saying, "We got it." Numero uno. Ingram fell back in a relaxed heap and saluted his good fortune. Just three years ago, he'd been dropped by Sony's Lucky Dog label, but now the Houston native — who made his name in Dallas, then moved to Austin last year — was on top of the world that had rejected him. What a sweet ride it was back to Lakeway, where Ingram, 35, lives with his wife, Amy, and three kids, none older than 3.
Ingram, who will open for Sheryl Crow at the Bass Concert Hall on June 22, had felt that kind of euphoria another time, he recalls over coffee at Ruta Maya. It was 13 years ago, in Dallas, and he was listening to Abby Goldstein interview his songwriting idol Guy Clark on KERA-FM. Ingram was driving down Lover's Lane toward Southern Methodist University, where he was a student, and after the Clark interview, Goldstein played "Drive On" from a demo that would become the first album by Ingram (backed by his Beat-Up Ford band). "It was an almost surreal moment," he says. The radio legitimized his dreams. He imagined people all over town listening to the song. "It sounds weird, but it was the exact same feeling back then as when they told me I had the No. 1 single," he says.
As an upstart, as well as someone coming into his own as an artist, Ingram has always taken his career seriously. His main talent, he'll tell you, is getting up earlier and working later than the competition. Way back in 1995, when he was the predecessor to Pat Green, drawing thousands of college kids to each gig, everyone told Ingram he was going to be a superstar. Kid had the looks, the songs, the drive. "Jack Ingram" was the name of a star.
Warner Bros. certainly thought so, reissuing the singer's first two indie albums in '96. Those records failed to catch on outside Texas, so Ingram was shipped off to the idealistic Rising Tide Records, a haven for quality singer-songwriters that was founded by Lyle Lovett's manager, Ken Levitan. But that label folded soon after releasing Ingram's critically praised and publicly ignored "Livin' Or Dyin'." Ingram, who was subsequently dropped by Sony two months before the birth of his first child, just couldn't catch a break.
But even as Nashville seemingly had stopped believing in the sandy-headed songsmith, Ingram never gave up on himself. "I can sell a million records," he'd say during label-shopping times. "I really believe that."
Meanwhile, he was relegated to repackaging older material for self-release and putting out one of those "Live At Billy Bob's" CDs that have been the fork in many "done" careers. Thankfully, he was able to pay the bills by going out on the road.
Ingram convinced George Couri of Capital Sports & Entertainment that there was still plenty of fuel in his beat-up Ford, and the pair set their sights on another Nashville deal. On the strength of a self-released — and self-unleashed — stellar "Live At Gruene Hall" album, there was renewed interest in the former castoff. Ingram thought he'd gotten close with Universal, "but the wheels stopped turning," he says, and someone at the label told him that then-Universal executive Borchetta, who had a reputation for feeling the pulse of country radio, just didn't hear it with Ingram. Not one to take rejection in a position other than fully upright, Ingram called Borchetta to hear what the "radio genius" had found lacking. Instead, he discovered that his music had been a buck passed.
"Scott said that he was actually one of my big supporters at the label," Ingram recalls.
A few weeks later, Borchetta was fired by a new regime, filed the dismissal under "blessings in disguise" and started his own label. Ingram was the first artist he signed. "Oh, what a difference it makes to have a label fully committed to you," says Ingram. "Big Machine had a game plan going in, and they've executed it perfectly."
Borchetta felt that Ingram needed to reintroduce himself to the country-music business with some radio candy. This meant bringing in outside writers and glossing up the production. "If a label sends you 100 songs to consider and one of them is perfect, they've done you a favor," Ingram says. "With Lucky Dog, they'd send me one song and I'd pass on it and they'd tell the boss, 'He won't do outside material.' "
The song Borchetta and Ingram settled on as the Nashville calling card was "Wherever You Are," a catchy, midtempo rocker that sounds little like the other material on "Live Wherever You Are," which is basically the Gruene Hall album with two new studio cuts attached.
"We threaded the needle with 'Wherever You Are,' " says Borchetta. "I don't think Jack's ever been given a real shot at making it as a national artist. He's always been seen as a Texas artist, but he's got the energy and charisma to go all the way."
Although Ingram previously had written almost all of his own material, he was willing to follow Borchetta's suggestion of recording another writer's radio-aimed song, so long as he could identify with the sentiments. "Wherever You Are," an ode to renewed commitment, was lyrically right up his alley. "I don't have to just wear suits from my own closet," Ingram says. "If someone hands me one that fits and feels nice, why not put it on?" Then he laughs and says, "As long as it doesn't make me look like a clown."
As an album track, "Wherever You Are" is not the strongest thing on a record that's more about sweat than sweetness. But hear it on the radio, hear it when you're 22 and in love, hear it in your pickup on the way home from a job you hate, and you'll want to crank it up.
It took 32 weeks — a marathon run — to hit No. 1. Several times Ingram predicted that the single had peaked and soon would be heading back down. "I remember when it hit No. 27 and I thought, 'Well, at least you had a top 30 hit,' " he says, having expected the song to drop the next week. But it kept on climbing.
"Wherever You Are" was replaced at No. 1 after just a week. But having a No. 1 single is something that can't be taken away. When he recently was tapped to sing the national anthem before Game 1 of the Dallas Mavericks-Miami Heat NBA finals, it wasn't some bone thrown to a homeboy. Ingram had earned that time in the big, international spotlight.
Ingram's next record, a studio album produced by Doug Lancio (Patty Griffin), is finished and shelf-bound for late August. In July, he'll jump in the middle of mainstream country, embarking on a tour of arenas with Brooks and Dunn.
"When I was starting out, I had all these expectations hung on me, like I was going to save country music," Ingram says. "I was just trying to get better as a songwriter. I knew I had a long way to go."
So, now that he's had a No. 1 record, does Ingram feel like he's there yet? "Not even close," he says with a laugh. And he's right. "Wherever You Are" was just a foot in the door. Now it's Ingram's time to work the room.
http://www.austin360.com/music/content/ ... cover.html
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by A-town Pony » Wed Jul 12, 2006 9:54 am
He used to play at Rhythm Room (early/mid 90s) aka Stone Pony aks Home Bar last time I was in Dallas. I spent many a Wednesday night for "penny pitcher night" listening the him. I liked his older music much more than his current offerings - 'Beat Up Ford' still a favorite.
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