DRL
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Post by DRL on Feb 5, 2004 17:47:37 GMT -5
New Clapton Set Salutes Robert Johnson
Eric Clapton will salute one of his biggest musical influences, legendary blues guitarist Robert Johnson, on the upcoming album "Me and Mr. Johnson." Due March 23 via Duck/Reprise, the 14-track set finds the artist tackling such staples as "Traveling Riverside Blues," "Love in Vain" and "Stop Breakin' Down Blues."
Clapton has recorded Johnson's songs on several of his prior albums, including 1974's "461 Ocean Boulevard" and his 1992 "Unplugged" set. His 1988 boxed set "Crossroads" is named after another Johnson standard, which Clapton helped popularize with a rendition by Cream. "Me and Mr. Johnson" is the artist's first studio album since 2001's "Reptile," which debuted at No. 5 on The Billboard 200.
"Up until I heard his music, everything I had ever heard seemed as if it was dressed up for a shop window somewhere, so that when I heard him for the first time, it was like he was singing only for himself, and now and then, maybe God," Clapton says. "At first, it scared me in its intensity, and I could only take it in small doses. Then I would build up strength and take a little more, but I could never really get away from it, and in the end, it spoiled me for everything else."
Clapton is backed on the new album by guitarists Andy Fairweather Low and Doyle Bramhall II, bassist Nathan East, drummer Steve Gadd, keyboardist Billy Preston and harmonica player Jerry Portnoy. As previously reported, he will support the set with a spring European tour, beginning March 26 in Cournon, France, and wrapping in May with a run of six shows at London's Royal Albert Hall.
As reported earlier this week, Clapton guests on two tracks on Toots & the Maytals' "True Love," due April 6 from V2.
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DRL
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Post by DRL on Feb 18, 2004 19:59:29 GMT -5
Here is the track listing for "Me and Mr. Johnson"
1. When You Got A Good Friend 2. Little Queen Of Spades 3. They're Red Hot 4. Me And The Devil Blues 5. Traveling Riverside Blues 6. Last Fair Deal Gone Down 7. Stop Breakin' Down Blues 8. Milkcow's Calf Blues 9. Kind Hearted Woman Blues 10. Come On In My Kitchen 11. If I Had Possession Over Judgement Day 12. Love In Vain 13. 32-20 Blues 14. Hell Hound On My Trail
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Post by LS on Feb 18, 2004 23:49:50 GMT -5
I surely am looking forward to this one DRL.
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snizz
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I'm sure I'd be more upset if I weren't quite so heavily sedated
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Post by snizz on Mar 10, 2004 16:22:35 GMT -5
I've heard the first single several times already and this one sounds like it's going to be a winner. By the way the article above has the wrong release date. This one comes out on the 30th not the 23rd.
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Post by LS on Mar 25, 2004 22:41:47 GMT -5
Preaching Blues
Eric Clapton goes back to the music that first inspired him
By Austin Scaggs
In 2001, Eric Clapton announced his retirement from touring. It wasn't the first time he had turned away from the spotlight. After he quit the Yardbirds, in 1965, he did construction work for a while. In 1968, he disbanded Cream at the height of their popularity, did a stint in Blind Faith and scrapped that to tour as a sideman with Delaney and Bonnie. During each of these self-imposed exiles, Clapton found salvation, and rediscovered his purpose as a musician, by listening to the blues. "It became my comfort zone," he says. "I wasn't that happy at times in my childhood, but that made me happy. I figured out, on a very basic level, that music is a healing agent." At age fifteen, Clapton discovered Robert Johnson's King of the Delta Blues Singers. His first recorded lead vocal was a 1966 cover of Johnson's "Ramblin' on My Mind," with John Mayall's Bluesbreakers at age twenty-one. "I've listened to these songs my whole life," says Clapton, who will release an album of fourteen Johnson covers in classic Chicago-blues style, Me and Mr. Johnson, on March 30th. "It's the most enjoyable music I've ever listened to." Clapton, 58, has spent the last few years -- since the release of Reptile, in 2001 -- playing occasional dates and raising a family. He married Melia McEnery in a surprise ceremony after the baptism of their daughter Julie. Another daughter, Ella, followed. "I'm a quiet, close-mouthed guy, and I try to be a devoted father," says Clapton, looking relaxed in bluejeans and a black T-shirt in a midtown Manhattan studio. "My everyday life is deliberately ordinary."
In support of Me and Mr. Johnson, Clapton will hit the road for a summer tour of the U.S. And in support of the Crossroads Centre, the addiction-rehabilitation facility he founded on the Caribbean island of Antigua in 1998, Clapton will stage the Crossroads Guitar Festival in Dallas during the first weekend in June. "There will be guitar players that in my opinion, or in my experience, have made a difference to the world of music," he says, throwing in names such as Buddy Guy, B.B. King, Sonny Landreth, Brian May, Otis Rush and Robert Randolph. Hosting a festival like this has been Clapton's dream ever since he first saw Chuck Berry in the 1960 documentary Jazz on a Summer's Day, and he has reserved the right to sit in with whomever he pleases.
There's the famous myth about Robert Johnson selling his soul at the crossroads to play the blues. I feel like you may have had a similar experience.
There was a period of time where the only thing I did, the only thing that I was interested in and the only thing that motivated me was listening to and learning the blues. It was a short and intense period, around the time I joined John Mayall. Up until then I thought I was going to be an art student, then get a job or become a painter. I never thought of music as my vocation. The catalytic thing was getting thrown out of art school. It was a humiliating experience, and I was shocked into waking up, but I had nowhere to go and no idea what to do. I needed a call, and blues became it. John provided me with the perfect platform. I went to live with him for about two years, and I just studied his collection --- mostly Chicago blues, but he had everything. All I did all day long was listen and learn and play. So that was my crossroads.
Did listening to the blues contribute to your academic slide? You were ditching school and getting drunk, right?
I was convinced that drinking and drugs were part of that lifestyle -- that it was a necessary component to feel. The trouble with all that, as any recovering alcoholic can tell you, is that those things smother all of your feelings anyway. A lot of my growth was stunted by self-abuse, unfortunately.
What did you learn about the blues from performing with Muddy Waters?
How to have authority, and how to be a singer. There's something about a group of musicians playing -- when someone opens their mouth and starts to sing, the whole dynamic changes. Muddy was a leader because of the way he sang, and it has a lot to do with confidence and conviction. I thought that Muddy must have been a tribal chief in another life, like he descended from a king. He would walk in the room and command respect. When I'm on the floor with guys in my band and I have to sing, I have to be convinced about what I'm doing so that it commands respect.
I've heard Muddy was pretty hard on his band. Why was he so kind to you?
The only time I saw Muddy reprimand anybody when I was touring with him was one night when I was playing cards with some of the guys in the band. I was drinking a lot and not in full control of my senses, and he came in the room -- I think he suspected that they were cheating me, and he shouted at one of them. He was really upset that they were taking advantage of me, and I felt quite moved that he had me under his wing.
How much money did you lose that night?
Quite a lot [laughs].
After George Harrison died, you expressed regret that he hadn't played live more in his later years. Aren't you setting yourself up for something similar?
How so?
By announcing your retirement from the road.
I've been retiring my whole life.
Right, but why do you set these limits on yourself?
Because I need to feel like there's a road home. I don't like the idea of being out there the rest of my life. I need to be able to set my goal: "OK, at the end of this tour I'm going home, shut the door and stay there." I need something to look forward to. If I thought, "I'm gonna do this till I drop," then I'd get so depressed. All my life I've been saying things like, "I'm quitting because everything is so commercial. The scene is corrupt." It's a dissatisfaction with the status quo. Now I have more fundamental reasons. I want to be at home with my wife and kids. That's the only grounding thing I've ever had. By the end of next year I'm sure I'll be looking forward to the next tour. Either that, or announcing my retirement [laughs]. I think George suffered from a lack of live experiences. You get in touch with some really bonding experiences onstage with other great players. I think he deprived himself of that.
Recently you've been playing a crazy-looking guitar. Some of it was yellow, white with squiggly lines, and a circle intersected the fingerboard. Did you design that?
That was a signature Fender Strat of mine, painted by a graffiti writer named Crash, from the Bronx. He painted it with a spray can, and Fender treated and coated it.
So you collect graffiti?
About twelve or thirteen years ago I came to New York with a movie camera. I wanted to go around and film all of the beautiful graffiti sites. Someone introduced me to Crash -- he's one of the key figures in the original movement, with Churl, Lee, Haze and Daze. It's impossible to paint trains anymore. In order to survive and support their families, they've moved to canvas. I have a fairly good collection of American and English graffiti.
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Post by LS on Mar 25, 2004 22:42:18 GMT -5
What's your day like? When you wake up, do you put on music?
No. I don't listen to music in the house, because . . . it's funny, my kids don't like it. My two-year-old is just now allowing me to play guitar. She puts on her ballet outfit and dances when I play. It's beautiful. But she was against me playing guitar because I think she sensed that it was demanding more attention than she was.
After Cream's final U.S. tour, in 1968, you went to Woodstock to visit the Band and Bob Dylan. What happened on that trip?
It was a funny feeling. I was so disenchanted with Cream and my role in it and my view of English music. Do you know that term "giving away your power"? It's like self-help or recovery-speak, giving away your power. It's a good term. I wanted to give my power to the Band -- I went and knocked on their door, and I was ready to be a groupie. I was drooling about what they had going on: They were all equal, they all took turns and, to me, it looked like integrity. There was no hierarchy. They were all doing it from the heart. So I was completely in awe. On the same visit I went to see Bob, and he was wearing Timberlands, a checked shirt, and he was chopping wood. And I'm a drug-crazed psychedelic. The sad part was that it made me feel like what I was doing was worthless. I was ready to give up and become their road manager.
Did you get to jam at Big Pink?
No! I said, "It'd be great to play," and you know what Robbie [Robertson] said? "We don't jam." It was like he was telling me off, or he was saying they were above that. God bless him. That's the way it was. Big Pink was their clubhouse, and they worked there -- they wrote. So for a guy to come over with pink trousers and a perm and say, "Let's jam!" -- they weren't into that. Not at all.
Have you ever met a genius?
I met the genius of that outfit, who was Richard Manuel. He was a drunk like me -- a real practicing alcoholic, and he'd slunk off with me. He was as close to genius as I've ever met in a white guy -- all the other geniuses I've met have been black blues players, like B.B. and Buddy Guy. The reason I say they're geniuses is that they do what they do effortlessly with a gift that is so powerful that they don't need to engage in any kind of thinking to pursue it.
When you were inducted into the Rock & Roll Hall of Fame as a solo performer in 2000, you said, "I'm the messenger, and I carry the message." That could imply that you are a conduit, putting yourself in the company of the geniuses you just mentioned.
Well . . . [long pause] Have you seen the film The Natural?
Sure.
It's a great movie. In the beginning there's a scene where his dad is telling him how to throw the ball. The kid is obviously a gifted pitcher, but his dad says that it's not enough to have a gift, you need to develop it. That says it all. Maybe the definition of genius is someone who recognizes he has a gift and works hard to develop it. I don't know how I feel about that word, genius. For myself, I don't see it. I have to work bloody hard, and my ability hasn't taken off in a way that others have.
Is there a musical interlude of your life that you miss the most?
I have about ten or fifteen -- there was a blackout. I'm trying to convince myself that regret is useless and pointless, but it's unavoidable. My biggest regret is that good portions of my professional and private life are gone. I have no recollection. There is film footage that I do see from time to time, which I find very embarrassing. But it's real, it's factual, and I have to live in acceptance of it.
How do you explain the fact that you've cheated death so many times?
I don't know. I'm often very confused about why I was spared, when there's a lot of people who seem to be more deserving. When each one of those guys would go down -- like Jimi, or Freddie King -- I would think, "I wish it was me." I was really annoyed and angry. And that's a very selfish point of view. Like, "How could they do this to me?" It's a childish way of looking at life. I honestly believe that there is a plan somewhere, and therefore I need to be respectful of what I'm doing and to enjoy being responsible for my life.
After you're long gone, how do you think people will remember you?
I'd like to believe that I may have opened the door -- like you said, about being a messenger or a conduit. I hope that I was able to let people know what had gone on before, that I was able to bring great music to the attention of people who otherwise might not know about it.
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DRL
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Post by DRL on Mar 29, 2004 15:50:01 GMT -5
AH Yes the joys of pre-ordering! Sometimes you get a bone thrown early to your mailbox. I'm half way through it as I write this and so far it's great.
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DRL
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Post by DRL on Mar 30, 2004 21:36:55 GMT -5
Eric Clapton plays the devil's music Guitarist pays tribute to blues legend Robert Johnson
Eric Clapton has recorded several Robert Johnson songs through the years -- including "Crossroads" with Cream -- but never a whole album's worth. NEW YORK (AP) -- Of course, Eric Clapton remembers the first time he heard Robert Johnson's music.
He was 15. Already an aspiring blues guitarist, he would play a limited repertoire in the corner of a pub. Clapton and a friend used to buy blues albums, unheard, simply because they were intrigued by pictures on the cover.
One day, his friend brought a copy of Johnson's "King of the Delta Blues" album to the pub. The friend didn't particularly like it.
"I didn't know quite what to make of it, either," said Clapton, who nearly 45 years later has recorded an album solely composed of the late Johnson's songs. The CD, "Me and Mr. Johnson," was released Tuesday.
"It was the first record I'd heard that didn't have any kind of attempt to be entertaining," he said. "It was just simply what it was. As I listened to it more and more, it got stronger each time I would go back to it. It was my first experience of music happening that way, that each time you listened to it something more would be revealed."
He heard the attributes of adolescence -- low self-esteem, loneliness, sexual desire and frustration -- expressed in raw form through Johnson's voice and guitar.
"It became like a beacon to me, that album," Clapton said in an interview with The Associated Press.
It still is.
Throughout his career, Clapton has repeatedly turned to Johnson -- the composer of "Hellhound on My Trail" and "Crossroads," who, according to legend, sold his soul to the devil in exchange for his musical talent -- when he found himself drifting musically.
"I get in touch with the little boy, the adolescent, again and I find that very invigorating," he said. "It's like when people tell me, 'My wife and I got married to `Wonderful Tonight.' I mean, from my point of view, `Wonderful Tonight' is a nice little song, but for someone else, it has tremendous significance. It all has to do with what they experienced."
'I kind of intuitively knew'
Clapton had his band record a Johnson song every time it reached an impasse in the studio. The Mississippi-born Johnson recorded only a few dozen songs in the 1930s, but became the prototype blues legend when he died at 27 under mysterious circumstances.
Nearly two years ago, Clapton and his band went into the studio to lay some groundwork for a new album. They worked on a few original compositions and some covers, including one Johnson song, "Travelin' Riverside Blues."
When Clapton brought a CD of the session's highlights home, he found that all he wanted to listen to was the Johnson song.
The band returned to the studio last summer, again with the intent to make a conventional album. But Clapton had a little exercise in mind. Every time the band reached an impasse in recording, he'd suggest they play a Johnson song. For fun.
"All the time, I kind of intuitively knew that I was going to make a Robert Johnson album," he said.
For Clapton, it was almost a case of now or never for paying tribute to his childhood idol. He's turning 60 next year and, he said, "I'm not sure when I'm going to be on the decline."
One of the reasons it took him so long is that he was unsure of an approach. Do you try to stay true to Johnson's original recordings or use them as a starting point for new interpretations?
"It has taken me to this stage in my career or my life to be man enough to tackle it," he said.
He told his band to perform the compositions as if they were in a bar playing an ordinary blues song, and the words were all they knew.
"That way, the album gets to have some different flavors," he said. "Otherwise, everything would wind up sounding pretty much the same."
Normally, a record company would recoil in horror when a big star wanted to make a cover album. But Clapton's history with blues obviously runs deep. When he's explored it, most notably with the "From the Cradle" album, his fans have responded.
Raising awareness The cover of "Me and Mr. Johnson." Clapton is preoccupied with two other projects this spring. He's organizing a three-day guitar festival, planned for June 4-6 in Dallas, to raise money for Crossroads Centre Antigua, the drug and alcohol treatment center he founded in 1997. Clapton is also auctioning off guitars as another fundraiser for the Crossroads Centre.
Clapton will perform at his own guitar festival, of course, along with Carlos Santana, Steve Vai, Robert Cray, B.B. King, Brian May, Joe Walsh, Jimmy Vaughan and others.
Clapton has mentioned, during his 2001 "Reptile" tour, that it might be his last extended concert tour. But with the Dallas festival on the horizon, he and his band will hit the road.
"I can't just do that (the Dallas performance) because I'd no way be able to play well," he said. "We've got to be in pretty good shape. We've got to do a tour first just to get ready. We're touring Europe through March and April to warm up."
Then, following Dallas, he'll do a tour of the United States "to kind of wind down."
The guitar auction will take place on June 24 in Christie's, the New York auction house. Clapton is donating more than 50 of his own guitars, with other instruments donated by Vai and Pete Townshend.
It includes a cherry red Gibson Clapton bought "with my first real money from the Yardbirds," that has the case with Cream stamped on it.
"I've used it all through my career," he said. "It's the first proper electric guitar I ever had. That one is probably the most valuable."
He'll hold back a couple of guitars to work with and then build up his collection again.
"You're talking about people coming out (of the treatment center) with a new life," he said. "What's a guitar?"
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Post by LS on Mar 30, 2004 22:56:54 GMT -5
AH Yes the joys of pre-ordering! Sometimes you get a bone thrown early to your mailbox. I'm half way through it as I write this and so far it's great. Way to go DRL!! ;D (Also doesn't hurt to be really friendly with the local indie music store owner who's willing to slip you a copy a few days before release date. ;D ) I agree- it's great...been splittin' my time between Mr. Johnson and a little Honkin' On Bobo.
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DRL
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Post by DRL on Apr 8, 2004 15:39:23 GMT -5
He ain't done yet!!
Eric Clapton Sets Summer Tour Plans
Although he said he was through spending months at a time on tour, Eric Clapton continues to be visible on stages throughout the world. The guitarist has confirmed a two-month North American tour of arenas and outdoor amphitheaters, kicking off June 9 in Oklahoma City and wrapping Aug. 2 in Los Angeles.
Beforehand, Clapton has European dates on tap through a May 11 show at London's Royal Albert Hall. After a short break, he will then host and perform at the previously announced Crossroads Guitar Festival, set for June 4-6 in Dallas. The event will feature myriad legendary axemen, including Buddy Guy, B.B. King, Queen's Brian May, Carlos Santana and Joe Walsh.
On June 24, famed New York auction house Christie's will host the Crossroads Guitar Auction, featuring 50-plus guitars from Clapton's collection as well as instruments donated by Pete Townshend and Steve Vai. Fans can see select items up for sale at the Crossroads Festival, in Los Angeles (June 8-12) and New York (June 19-24). Proceeds from the concert and auction will benefit Clapton's Crossroads Centre Antigua chemical addiction treatment facility.
Clapton will be touring in support of his just-released Warner Bros. album "Me and Mr. Johnson," which debuted yesterday (April 7) at No. 6 on The Billboard 200. The set features new interpretations of songs immortalized by late blues legend Johnson.
Here are Clapton's North American tour dates:
June 4-6: Dallas (Crossroads Guitar Festival) June 9: Oklahoma City (Ford Center) June 11: Little Rock, Ark. (Alltel Arena) June 12: New Orleans (New Orleans Arena) June 14: Tampa, Fla. (St. Pete Times Forum)I've seen Him three times the closest I've been is 20th row I'd give almost anything for front row seats June 15: Ft. Lauderdale, Fla. (Office Depot Center) June 16: Jacksonville, Fla. (Veterans Memorial Arena) June 18: Atlanta (Phillips Arena) June 19: Greenville, S.C. (Bi-Lo Center) June 21: Washington, D.C. (MCI Center) June 23: Albany, N.Y. (Pepsi Arena) June 26: Philadelphia (Wachovia Center) June 28-30: New York (Madison Square Garden) July 3-4: Mansfield, Mass. (Tweeter Center) July 7: Toronto (Air Canada Centre) July 9: Buffalo, N.Y. (HSBC Arena) July 10: Cleveland (Gund Arena) July 12: Columbus, Ohio (Nationwide Arena) July 13: Auburn Hills, Mich. (Palace of Auburn Hills) July 15: Indianapolis (Conseco Fieldhouse) July 17: Chicago (United Center) July 18: St. Paul, Minn. (Xcel Energy Center) July 20: Milwaukee (Bradley Center) July 22: Omaha, Neb. (Qwest Center) July 24: Denver (Pepsi Center) July 27: Seattle (Key Arena) July 28: Portland, Ore. (Rose Garden Arena) July 30-31: San Jose, Calif. (HP Pavilion) Aug. 2: Los Angeles (Hollywood Bowl)
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DRL
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Post by DRL on Apr 17, 2004 13:08:16 GMT -5
June 14: Tampa, Fla. (St. Pete Times Forum) I've seen Him three times the closest I've been is 20th row I'd give almost anything for front row seatsI got 7th row for the Tampa show.....
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Post by LS on Apr 28, 2004 21:38:16 GMT -5
June 14: Tampa, Fla. (St. Pete Times Forum) I've seen Him three times the closest I've been is 20th row I'd give almost anything for front row seatsI got 7th row for the Tampa show..... Lucky dog DRL... Ticket prices here gave me heart failure ...closest I could afford are seats at the curb. ...Just don't seem right- I coulda bought tickets for all 3 days of the Crossroads Fest (with that major awesome and endless linup!!) for less than what one seat's goin' for for just Clapton here.
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DRL
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Post by DRL on Apr 29, 2004 16:54:01 GMT -5
Lucky dog DRL... Ticket prices here gave me heart failure ...closest I could afford are seats at the curb. ...Just don't seem right- I coulda bought tickets for all 3 days of the Crossroads Fest (with that major awesome and endless linup!!) for less than what one seat's goin' for for just Clapton here. WOW! How much are they running up there? Tickets here are running $85 here for good seats and they go lower for the rest of the building. I wish I could go to the show in Texas Oh well maybe one day will have one of those big shows like that. I know I'm lucky dog, I counted my tickets stubs not long a go and I had 250 of them so if you figure in clubs, fairs and festiviles and the ones I've lost. I've probably been to over 300 concerts since I was 8. So every once in while when I get tickets for a show I get lucky and get in the first twenty rows but I've been an awful lot nose bleds as well.
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Post by LS on Apr 30, 2004 15:53:50 GMT -5
WOW! How much are they running up there? Tickets here are running $85 here for good seats and they go lower for the rest of the building. I wish I could go to the show in Texas Oh well maybe one day will have one of those big shows like that. I know I'm lucky dog, I counted my tickets stubs not long a go and I had 250 of them so if you figure in clubs, fairs and festiviles and the ones I've lost. I've probably been to over 300 concerts since I was 8. So every once in while when I get tickets for a show I get lucky and get in the first twenty rows but I've been an awful lot nose bleds as well. $125 - (not counting an additional $20 or so for various 'surcharges' & 'convenience' fees ) ... 'cheap seats' (and they're the really bad ones) work out to about $75 with all the additional fees tacked on. Yeah everything costs more here- but it's getting ridiculous...like last time I saw Alan Jackson- top tickets were $60 (and no opening act)- a couple weeks later (same tour) my Mom saw him (another state)- top ticket price was $38 (with an opening act)!! But the Garden is by far the worst- average ticket price runs between $85 to well over $100... I usually hold out & wait till (and hope) whoever I want to see plays the Meadowlands...it's worth the extra 1/2 hour trip to save almost 1/2 the ticket price... I hear ya on all those concerts...I've been going since I was a kid too. Only it's pretty sad when I look at the old stubs- $8 to $10 for seats that ranged in the first 4 to 25 rows for shows like Zeppelin, Skynyrd, Sabbath, Springsteen, The Allmans, Metallica etc...and today most tickets in 'nosebleed country' cost better than $60.
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DRL
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Post by DRL on May 1, 2004 19:11:34 GMT -5
$125 - (not counting an additional $20 or so for various 'surcharges' & 'convenience' fees ) ... 'cheap seats' (and they're the really bad ones) work out to about $75 with all the additional fees tacked on. Yeah everything costs more here- but it's getting ridiculous...like last time I saw Alan Jackson- top tickets were $60 (and no opening act)- a couple weeks later (same tour) my Mom saw him (another state)- top ticket price was $38 (with an opening act)!! But the Garden is by far the worst- average ticket price runs between $85 to well over $100... I usually hold out & wait till (and hope) whoever I want to see plays the Meadowlands...it's worth the extra 1/2 hour trip to save almost 1/2 the ticket price... I hear ya on all those concerts...I've been going since I was a kid too. Only it's pretty sad when I look at the old stubs- $8 to $10 for seats that ranged in the first 4 to 25 rows for shows like Zeppelin, Skynyrd, Sabbath, Springsteen, The Allmans, Metallica etc...and today most tickets in 'nosebleed country' cost better than $60. OUCH!! $125 I wouldn't that much either I happened to luck out and have some "sock money" so I bought the 85 dollar seats. AHH!! The good old days when shows were that cheap. I once saw Hank, jr.,Merle Haggard,Ricky Skaggs and John Anderson for $ 12.50 7th row.
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