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CruCon Cruise Outlet Main StagePAT BENATAR & BLONDIE
with Special Guest The Donnas
SECOND STAGE: KELLEY MORRIS AND THE FALLEN FREE (5:30 PM)
Extra InformationParking Opens: 5:00 PM
Doors Open: 5:30 PM
Audio Recording: No
Video Recording: No
Flash Photography: No
Food & Drink: No
Resale Allowed: No
Delivery Delay: No
*Non-Professional photography / no zoom lenses larger than 2 inches / no detachable lenses
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OnSales & PreSales
General Public Onsale: Saturday, April 18th, 2009 11:00 AM
Want to get in earlier?
Inner CircleBecome part of the Inner Circle and always be the first group to get in. Members also get their own entrance, own bar lounge and their own private restrooms!
|Reserved Seating (Covered Pavilion)||$49.00||$8.00||$57.00|
|Skyy Vodka Club Seating (Covered Including Cocktail Service)||$64.00||$9.50||$73.50|
|Upper Reserved (Uncovered Bench Seating -- No Seat Backs)||$35.00||$6.50||$41.50|
|Lawn Seating (Uncovered-General Admission)||$25.00||$6.00||$31.00|
|Lawn Party Pack (Lawn Admission + T-Shirt + Koozie)||$40.00||$7.25||$47.25|
Pat Benatar is a certified rock'n'roll superstar, a four-time Grammy winner with six platinum and four gold albums to her credit as well as such hit singles as "I Need A Lover," "Heartbreaker," "Fire and Ice," "Treat Me Right," "Hit Me With Your Best Shot," "Hell Is For Children," "Shadows of the Night," and "Love Is A Battlefield." Long acknowledged as one of the leading female rock vocalists in the industry, Benatar will be embarking on her first live concert dates in over two years before going into the studio to record her first album since '93's Gravity's Rainbow.
After capturing industry ears with her showcases at New York's Catch A Rising Star, Benatar signed to Chrysalis Records and released the million selling "In The Heat of the Night" in 1979, followed by the multi-platinum "Crimes of Passion" a year later. From 1980-83, she captured an unprecedented four straight Grammys in the category "Best Rock Vocal Performance, Female" for the Top Five album "Crimes of Passion" ('80) and the hit singles "Fire and Ice" ('81), "Shadows of the Night" ('82) and "Love Is A Battlefield" ('83). With the latter, she emerged as one of the leading stars of the emerging music video scene with a Bob Giraidi-directed clip which proved to be an MTV mainstay.
She followed with the most successful album of her career in "Precious Time" ('81), which topped the U.S. charts. Platinum records "Get Nervous" ('82), "Live From Earth" ('83) and "Tropico" ('84)-came next, succeeded by gold records "Seven The Hard Way" ('84) -- which featured "Invincible," the theme from the hit movie Legend of Billie Jean, starringHelen Slater -- "Wide Awake In Dreamland" ('88), "Best Shots" ('89) and "True Love" ('91), her critically-acclaimed blues album which had her covering B.B. King's "Payin' The Cost To Be The Boss." The record was a labor of love for Benatar and husband/producer/long-time collaborator Neil Giraldo and proved the rock vocalist was equally adept at belting out the blues. In addition, Pat has been an active participant in numerous charity and fund-raising events, including Artists United Against Apartheid in 1985, and recorded a version of "Please Come Home For Christmas" in 1990 especially for the Desert Storm coalition troops who served in the Mideast during the Gulf War.
Benatar and Giraldo have been a working couple since Neil penned the song, 'We Live For Love" from her debut album "In The Heat of the Night", and has continued to wear many different hats, including producer, guitarist, and songwriter as well as soulmate. "Musically, we're still in touch with each other. We like to play together," says Pat. "It's who's cooking dinner tonight that's the problem."
In 1985, Pat and Neil became the proud parents of a baby girl, Haley, but Benatar continued to record and tour right up until '93, when she was forced to come off the road after the release of "Gravity's Rainbow" to give birth to her second daughter, Hana. Benatar began to concentrate on her writing, which lead to more than two dozen new songs. Around the same time, she decided to leave the only label she'd ever recorded for, Chrysalis.
Finding herself free of any ties fueled her creative instincts. "It's like starting over," she admits. "It's pretty liberating, though, like getting another chance, a new lease on life."
Pat Benatar has always been best in a live situation and two recent concert tours have given a whole new generation of fans a chance to see one of the great rock belters of all time. As well as someone who's been a real influence on the latest crop of female Riot Grrrl rockers.
"It's great," beams Pat. "Whatever form it takes from generation to generation, people are still feeling it."
Inducted into the prestigious Rock and Roll Hall of Fame in 2006, Blondie emerged as the great pop icons of New York's celebrated late '70s new wave punk scene by defying easy categorization. They wrote great rock hooks and brilliant, ironic lyrics. They had the hippest clothes and the coolest hair. Debbie Harry went from the pages of Punk magazine to being on the cover of just about every mainstream publication on the newsstands.
The original Blondie was formed in 1974 by art student/guitarist Chris Stein and ex-folkie and ex-Max's Kansas City waitress, vocalist/songwriter Deborah Harry. Drummer Clem Burke and keyboard player Jimmy Destri joined in 1975. The band played the fabled New York downtown circuit of CBGB's, Max's Kansas City and Mothers, amassing a major following before recording their first album Blondie in 1976 for the Private Stock label. It was released in 1977 and was well received as the band toured in support of Iggy Pop and David Bowie.
In the summer of 1977, they released their second album, Plastic Letters, and toured Europe and Asia. In March '78, the single "Denis" hit #2 in the U.K. That summer, the band worked with producer Mike Chapman to hone their radio sound and create the album Parallel Lines, with the single "Picture This" going #12 in the U.K. and the follow-up, "Hanging on the Telephone," hitting #5. Blondie had their first #1 record in the U.S. with "Heart of Glass," which also sold over a million copies in the U.K., with the album moving more than 20 million copies worldwide. The fourth single from Parallel Lines, "Sunday Girl," also hit #1 in the U.K.
The fifth Blondie album, Autoamerican, produced the #1 U.K. smash, "The Tide Is High," which duplicated that feat in the U.S. The band appeared on the popular TV show Solid Gold, and soon the album was solid platinum. Debbie released her first solo album, Koo Koo, produced by Nile Rodgers and Bernard Edwards of Chic and featuring a cover by H.R. Giger, the Academy Award winning sci-fi artist who created the Alien creature.
The band produced The Hunter in 1982, which included the single "Island of Lost Souls," their final U.S. hit before Chris was felled by a rare and often fatal genetic disease, which led to a sudden hiatus for the group.
Debbie went on to appear in numerous films and plays and to create music in various contexts. In recent years she has been the featured vocalist of the Jazz Passengers. Jimmy left music for a while to become a family man and contractor. Chris produced various bands in New York. Clem continued to record and tour with top acts. Sixteen years later the band members were used to being apart, but miraculously they were still talking. The friendships were still there. The doors were ajar. Responding to a request, they reformed to play a concert and had so much fun and found so much chemistry remaining that they decided to try to make some new music. That worked out so well that they re-formed and made a new album, No Exit, the seventh Blondie studio album, produced by Craig Leon, who had actually produced the band's first single, "X-Offender," and worked on the first album assisting producer Richard Gottehrer.
No Exit was a perfect, up-to-date evolution of Blondie - a great collection of perfectly crafted pop songs. The trademark elements were still there: that perfect, propulsive beat; Debbie's unmistakable voice, seductive, soulful yet ironic; atmospheric keyboards, sometimes lush, sometimes eerie; and brilliantly articulated guitar lines. It was an auspicious return, highlighted by the hit "Maria," which went to #1 in 14 countries. The album sold more than two million units worldwide and, behind it, the band completed two tours of the U.S, the U.K. and Europe.
The band returned with The Curse of Blondie, their 11th album, featuring 14 powerful new songs - probably the most musically varied and experimental album in the group's history.
Blondie's Live By Request CD and DVD came out on September 14, 2004, and the band released their Greatest Hits: Sight and Sound CD/DVD in the U.K. (which quickly went gold) to coincide with a British tour in November-December 2005. The package came out in the U.S. in spring 2006 on Capitol/EMI Music Catalog Marketing. Aside from including the groundbreaking videos made by the group between 1977-1982, the CD/DVD features the bonus track and video of "Rapture Riders," a mash-up of "Rapture" and The Doors' "Riders on the Storm." The group's Capitol/EMI Music Catalog Marketing release, The Best of Blondie, has been certified double platinum by the RIAA for sales of more than two million. One of the plaques was auctioned off to raise money to help the legendary CBGB's club in an attempt to stave off eviction from its downtown location.
In 2008, EMI will celebrate the 30-year anniversary of Blondie's Parallel Lines with a re-release of the iconic album that gave the band their first #1 hit in the U.S., "Heart of Glass," and went on to sell over 20 million copies - an extraordinary feat achieved only by an elite club of artists. The reissue contains all the original classic tracks, along with instrumental versions, some vintage recordings previously available only on vinyl, plus exclusive video content. The timeless band that broke records and crossed boundaries with their unique style and music will hit the road again for a tour that will take them across the U.S. and Europe from summer through the end of the year. Debbie is rightfully proud of the band's hard work and accolades: "The guys have gotten really good at what they do. I mean, they always were good players and songwriters, but I think now you could say they're accomplished."
Yes, The Donnas are for real and they are here to stay. They are survivors in an industry known more for its comet casualties than career success stories. They are successful, smart, savvy, and sexy. They are the American Rock n' Roll Machine.
The legend begins in a Palo Alto junior high school in Northern California where four self-described "dorky pre-teen girls" form a rock n' roll band at the age of 13 in 1993. Over the course of the next 14 years, six critically acclaimed albums are released and The Donnas tour the planet several times over to an ever-expanding, international fanbase of "Donnaholics". From Palo Alto to the stages of Letterman and SNL and the pages of Rolling Stone and Billboard, The Donnas have grown to become one of the best female rock groups of all time.