For information about how to use this forum please check out forum help and policies.
I finally get Matt Clifford's part.
TR: Matt sort of bridges the rhythm section because he's got two or three keyboards on his rack, and he can play piano sounds, he can make organ sounds, like a Fender Rhodes, he can make string sounds or make it sound like a low brass or a trumpet. So he kind of does a lot of different sounds. So there's times he's playing with Chuck and while Chuck's playing an organ sound, he'll play a piano sound or vice versa. Or if Karl and I are playing a horn part, he'll join us and play a horn part. What Matt does is an integral part of the band; it's a bridge between the horns and the rhythm section.
That's what I was hoping for, thanks!
When this got published, it was trimmed to fit. Unfortunately, the meat was trimmed, leaving out the comments of The Stones' promoter, John Meglen out. What he had to say about Ticketmaster and the whole mechanism of choosing show locations, ticket dumping, etc was in some ways more relevant than the band.
What Goes Into A Stones Tour (Un-edited)
Anyone know what Darryl said to the press that pissed Mick off?
Like the insights into the Lucky Dips.
The overall number sold seemed like it would vary, but sounded like 1000 + at least. 100 Pit tix is generous, especially when even more are given out to fill space.
Seems that number may have risen over the years as the first few years they were much more rare and the last tour I was almost surprised when my tix weren't pit
"JM: Paul Gongaware came up with that idea. What we do is we take the last couple of rows up in the top of the building, maybe three or four rows, whatever it may be. Those are our really cheap seats. I forget how much we sell lucky dip for, but it's really cheap. We always know we're going to have production kills, things like the need for camera positions, sightlines, all that type of stuff. The fact is when you open up that many production holds, it can be a thousand seats or so when you get your production loaded in. You're not necessarily going to sell those at the last minute because everybody thinks the show is sold out.
So what we do is we take like a hundred seats from the pit, we take these other good seats that end up being from production kills, and we mix them all together, right? And then you put them in envelopes. So when people show up, they get an envelope. Most of them are going to end up in the nosebleeds, right? With the cheap seats. But some of them are going to end up in the pit and some of them are going to end up down there. So what it does, it allows us to make sure the house is completely full. It's a good way to clean up those seats at a cheap price. But it's really cool because a lot of people end up getting great seats. That's all it is. You know, it's nothing more than that. There’s no scam, nothing like that involved. It's just lucky dip. You may get lucky and end up in the pit. You may end up in a row in front of a mixer that we didn't think we could sell. It's really a cool program. I love it."
The Lucky Dip, a process that exists where fans that have bought “nosebleed” or otherwise obstructed seats can show up at the box office to pick up these tickets, and completely at random they’ve been upgraded to the front of the stage.