NOTE:INTERNATIONAL SHIPPING IS LIMITED, PLEASE CHECK THE SHIPPING TAB TO SEE IF I AM SHIPPING TO YOUR COUNTRY.THANKS!
BEING THE MUSIC AND PROMOTION DIRECTOR FOR A NATIONAL RADIO NETWORK GOT ME ON MANY RECORD LABEL PRESS LISTS. I HAVE DECIDED TO CLEAR OUT SOME SPACE IN MY STORAGE UNIT, THIS PRESS KIT IS FROM MY TIME AT THE RADIO NETWORK.IT WILL MAIL OUT INSIDE A PROTECTIVE PLASTIC OUTER SLEEVE WITH CARDBOARD BACKING.
THE PICTURES ARE OF THE ACTUAL ITEM I AM SELLING, SORRY IF ANY OF THE PHOTO'S ARE BLURRY, OR A LIGHT GLARE, DUE TO THE LIGHTING IN MY APT. FEEL FREE TO ASK QUESTIONS. I HAVE A FEW FOR SALE. AND I DO COMBINE SHIPPING. THANKS FOR LOOKING! ....ALSO NOTE: EBAY IS NOT ALLOWING COPY & PASTE INFO THAT INCLUDES HYPERLINKS, SO THERE MAY NOT BE ARTIST OR OTHER INFO BELOW, PLEASE LOOK ONLINE IF YOU NEED MORE INFO OR MESSAGE ME. THANKS IN ADVANCE! BOB. NOTE I DO NOT ACCEPT “BEST OFFERS”.
NOTE: I ALSO RECEIVED A TON OF PROMOTIONAL PRESS KIT'S FROM THE LATE 90's TO AROUND THE LATE '00's
ARTIST: JACK INGRAM (VERS.#2) DIFFERENT HEAD SHOT!
PROJECT TITLE: “HEY YOU”+”ELECTRIC”
LABEL: LUCKY DOG RECORDS
YEAR: 1999 & 2002
CONTENTS: TWO VERY NICE 8”x10” B&W PUBLICTY PHOTOS. THE ONE WITH THE GUITAR ON HIS BACK FROM 1999, THE HEAD SHOT FROM 2002. (NOTE THERE'S A SIMILAR BUT DIFFERENT HEAD SHOT IN VERS. #2. WITH NO WRITING ON IT, AND SLIGHTLY LONGER (SEE PHOTOS). THERE'S A TWO PAGE PRESS RELEASE FOR “LUCKY DOG” AND THEN A THREE PAGE BIO FOR “ELECTRIC”.
PERSONAL NOTE: WAS LUCKY TO HANG OUT AND SEE JACK A FEW TIMES, THAT'S WHERE THE PHOTO OF THE TWO OF US COMES FROM, IT IS NOT A PART OF THIS LOT, BUT I WOULD BE MORE THAN HAPPY TO PM IT TO THE PERSON WHO PURCHASES THIS LOT.
ARTISTS INFO:
JACK INGRAM INFO/BIO-
Jack Owen Ingram (born November 15, 1970) is an American country music artist signed to Big Machine Records, an independent record label. He has released eight studio albums, one extended play, six live albums and eighteen singles. Although active since 1992, Ingram did not reach the U.S. country Top 40 until the late 2005 release of his single "Wherever You Are". A number one hit on the Billboard country charts, it was also his first release for Big Machine and that label's first Number One hit. Besides this song, Ingram has sent six other songs into the country Top 40: "Love You," a cover version of Hinder's "Lips of an Angel," "Measure of a Man," "Maybe She'll Get Lonely," "That's a Man" and "Barefoot and Crazy."
The late, great Guy Clark didn’t invite just anyone to coffee in his Nashville basement workshop. But if you were lucky enough to get the call, as did disciples like Lyle Lovett, Steve Earle, and Robert Earl Keen, you quickly learned the drill: Clark would ask you to play a song. If he didn’t like it, he’d say, “Play another one. What else you got?”
Jack Ingram, who dropped in on the Monahans native a few times a year, always had to play a second song. That was fine by him; earning a private audience with one of his idols was enough. But two years ago, Ingram played Clark something he’d been working on, a tune called “All Over Again.” Maybe Clark, who battled lymphoma, diabetes, and heart disease in his waning years, related to the line “It’s funny how dying is just living, we all do it one day at a time.” Or maybe he simply admired the universality of a song about fading without regrets, about how so many of us would happily make the same mistakes, live through the same pain, all over again. “When I finished, he just looked at me and said, ‘Good work,’ ” says Ingram. “That’s what Guy said when he dug a song. Those are the words every songwriter I know lives for, would kill for. It was one of those times I was grateful for how hard I’ve been on myself. It was validation.”
Another instance of validation came in May, when Ingram played the song at Clark’s private wake, which took place at the Santa Fe home of his old friend Terry Allen. A guitar was passed around, and Lovett, Earle, Keen, Vince Gill, Joe Ely, Rodney Crowell, Emmylou Harris, and a few others played the tunes they’d written that Clark liked best. Ingram was buoyed by the fact that in a room full of his heroes he could pull out a song that had earned a gold star from their hero. This was especially true because he knew that some people—perhaps turned off by his vapid top-ten country hits “Wherever You Are” and “Barefoot and Crazy”—had never thought he belonged in that august company. “I’m hyperaware that there are people quick to dismiss me as a country frat rocker, mainstream ass shaker, or wannabe Guy Clark,” Ingram says. “I’ve been all three. But nobody can say I didn’t put in my ten thousand hours, that I didn’t do the work. You can’t just pick up the guitar and try to do what I do. At twenty, that’s impossible. And at forty-five, you can’t take it away from me.”
That lightning-fast switch from self-doubt to braggadocio is classic Ingram. During every stage of his career, he’s shown the swagger of a prizefighter, the naked ambition of a tech entrepreneur. But press him on why he slips into big talk so often, and he admits that all the fightin’ words are a tool he uses to psych himself up for battle. “If you think I sound like an egomaniac, I’m good with that,” he says. “Because the worst thing you could ever say is that I could’ve been a contender but was too afraid to say I wanted it. That’s the thing that wakes me up at night. What if I got scared that people might think I’m delusional and I stopped pushing? What if I got embarrassed or got cold feet? I’d have nothing.”
Over the years, the intense pressure Ingram has put on himself has manifested in an equally manic work ethic. For much of his career, he logged upward of two hundred dates a year. In the same week he’ll headline a dance hall, play a big-dollar corporate gig, and then fly out for a weekend filled with festival sets. And despite all the smack talk, he’s built a reputation as one of country music’s most approachable stars; after each show, he’ll stay at the merchandise booth for hours signing autographs and chatting up fans. Radio programmers have a soft spot for him too: they respect how hard he’s worked at cracking their playlists and how in a heartbeat he’ll get on a plane and play their charity events. Ingram has seen his determination pay off in other ways. Willie is a friend and an admirer. Kristofferson too. And in Nashville, he’s built alliances with a new generation of songwriters, like Dierks Bentley, Miranda Lambert, Eric Church, and Kacey Musgraves.
The through line of most of his career has been a sense that there’s a war going on for the soul of country music and that he’s one of its righteous soldiers. Anyone who’s been to a Jack Ingram gig will remember the ritualistic part of his show when he addresses the crowd with a bit of church-revival banter over an instrumental break. His words are precisely crafted to elevate him over whatever flavor of the day is defining country music at the moment. “I’m Jack Ingram and I play country music,” he says. “It’s not that kind of country music. It’s this kind of country music. My name is Jack Ingram. And I play country music.”
Of course, that insistence obscures a queasier reality: for much of his career, Ingram has allowed himself to fall into the trap of playing that kind of country music. In 2005 he signed to Big Machine Records, which is home to Taylor Swift and helmed by Scott Borchetta, widely regarded as Nashville’s most powerful record executive. With Big Machine, Ingram scored a Billboard number one country single, “Wherever You Are,” and won Top New Male Vocalist at the 2008 Academy of Country Music Awards. Mostly, though, the two studio albums he recorded for the label were dominated by slick, shiny swings-for-the-fences written by A-list Nashville songwriters. His growing reluctance to cut those kinds of tunes—and, he says, Borchetta’s indifference to the songs Ingram was writing himself—led him and the label to part ways in 2011. “Borchetta, bless his heart—and I love him for what he did for my career—is unwilling to fail,” Ingram says. “And it’s been tremendously successful for him, and was, for a little while, for me. But great music only happens when the artist is willing to lay it all out there and fall on his face.”
Leaving the major-label system has allowed Ingram to follow his muse wherever it takes him. “I had a record in my head that I couldn’t shake,” he says. “And it’s a record that meant shoving commercial aspirations to the backseat.”
That record is Midnight Motel, his first new set in seven years and his inaugural album for the revered folk label Rounder Records. By design, it’s the most intensely personal record of his career. Ingram wrote or co-wrote nine of its eleven songs, mostly after midnight in his Austin home studio or in motel rooms across the country. To further reflect the midnight vibe, the arrangements are sparse, and every track was recorded live in a candlelit room at Austin’s Arlyn Studios with top-tier session players, including Bob Dylan guitarist Charlie Sexton and longtime Neil Young drummer Chad Cromwell.
And indeed, there’s a nocturnal bleakness enveloping Midnight Motel; almost every song is about weighing the things you did to hurt someone and the things you’ll have to do to win him or her back. Even on a first listen, it’s easy to hear how much of the seven years between records Ingram has spent laboring on these songs, working over each tightly wound line for maximum impact. This sounds like a record made by someone freed of the pressure to create hits and driven to write a set of songs he wouldn’t be embarrassed to play for Guy Clark. Fittingly, one track, “Nothing to Fix,” sounds like a not-so-thinly-veiled summation of his time at Big Machine: “Don’t try to sell what you wouldn’t buy . . . Don’t write a song that you wouldn’t sing. The only thing wrong is everything.”
Ironically, if Midnight Motel represents Ingram’s post-Nashville reset, playing ball in Nashville was itself something of an attempt to distance himself from the cottage business he’d built for himself in Texas. Ingram, who grew up in the Houston-area suburb The Woodlands, didn’t sing professionally or even pick up the guitar till his freshman year at Southern Methodist University, in 1989. After buying a pawnshop acoustic and the tabs for Willie Nelson’s greatest hits on a whim, he began writing his own songs within weeks. Open mics led to regular gigs at college bars in Dallas and Fort Worth, where the audiences were made up of his peers. And before long, he was playing fraternity houses and college pubs across the state. By 1996 he’d sold over 30,000 albums independently and could fill one-thousand-seat rooms throughout Texas. For better or worse, Ingram was the progenitor of what would become the “Texas country scene,” a subgenre fueled mostly by songs about beer and, for the artists, profitable beer sponsorships. Business was good: despite a primarily regional focus, Ingram was soon earning in the mid six figures. But artistically, he found it unfulfilling. “I always suspected that I had an audience that didn’t really like who I was ultimately going to be,” he says. “They were there for the party.
THIS WILL MAIL OUT WITH STURDY CARD BOARD BACKING INSIDE A PROTECTIVE PLASTIC OUTER SLEEVE.
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DUE TO THE RECENT INCREASE IN THE INTERNATIONAL MAILING RATES THAT WENT UP ON JAN. 2023,. I WILL NOT DO A FLAT RATE FOR ANY ITEMS, FROM NOW ON YOU WILL HAVE TO CALCULATE THE RATE BASED UPON YOUR COUNTRY. ALSO ADDITIONAL COMBINED ITEMS WILL MEAN A HIGHER SHIPPING CHARGED BASED ON EACH ITEM. SORRY ABOUT THIS, BUT THERE’S NOTHING I CAN DO ABOUT THAT. REGISTERED INTERNATIONAL MAIL WHICH ALLOWS FOR DOOR TO DOOR TRACKING IS AN ADDITIONAL $17.50.
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PLEASE PAY FOR ALL ITEMS WITHIN 7 DAYS, OR MESSAGE ME TO EXPLAIN WHY YOU CAN’T,(IF YOU ARE BIDDING OR PLAN TO BID ON OTHER ITEMS) I WILL DO A ONE WEEK WAIT FROM THE DATE OF THE END OF THE FIRST AUCTION WIN, TO COMBINE SHIPPING ON ITEMS, AFTER THAT I NEED PAYMENT IN FULL AND WILL MAIL OUT THE ITEMS , EVEN IF YOU ARE BIDDING ON OTHERS, THUS BEGINS A NEW BILLING/SHIPPING CYCLE. THIS CASH FLOW IS MY SOURCE OF INCOME FOR PAYING RENT/BILLS, ETC. IF YOU HAVE WON AN ITEM AND I DO NOT HEAR FROM YOU ONE WAY OR THE OTHER WITHIN 7 DAYS I WILL OPEN AN “UNPAID ITEM CASE”, IN ORDER TO FREE UP THE ITEM FOR A POSSIBLE RE-LISTING OR A “SECOND CHANCE OFFER”. PLEASE WHEN YOU WIN AN ITEM TRY AND PAY FOR IT IN A TIMELY FASHION OR LET ME KNOW YOU ARE LOOKING AT OTHER ITEMS I HAVE LISTED, I MAIL ITEMS OUT WITHIN TWO WORKING DAYS ONCE PAYMENT IS RECEIVED. DO NOT ASK FOR ITEM TO ME MARKED “GIFT” ON CUSTOMS FORMS, INTERNATIONAL BUYERS ARE RESPONSIBLE FOR ALL DUTIES AND CUSTOMS FEE’S! CHECK WITH YOUR POST OFFICE, I WILL NOT PAY THEM.
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