Groovebug Throwback Pick:
Paul McCartney - RFK Stadium (Washington, DC) July 4, 1990
John was the cynic, George was the quiet one, Ringo the clown, and Paul the cute one. These traits were commonly accepted, but belied the depth of character possessed by each of the four members of the Beatles. Once free of the burdens of being Fab, each in his own way shed these images and came into his own as an individual in the public eye, and none more successfully than Paul McCartney.
As his creative influence had come to dominate the Beatles in the studio while the others’ interest waned, Paul was poised for a smooth transition into a solo career. From his early homespun releases to the bombastic pop of Wings and beyond, “the cute one” has proven himself consistently to be a world class singer, musician, composer, producer and, most of all, entertainer.
Sir Paul’s excellence is well on display in this 1990 performance. Graciously celebrating American independence in the nation’s capital, McCartney and band offer a comprehensive survey of his entire career. The set list is of course heavy with classic Beatles’ numbers like “Hey Jude” and “Let It Be”, and the lesser-known but no less outstanding “Things We Said Today.” He also includes a few other gems like Wings’ “Band on the Run” and a smattering of songs from his then-current album, Flowers in the Dirt.
Though a couple songs here may be better left forgotten, the jaunty pop of “This One” and “My Brave Face” (the latter co-penned with Elvis Costello) prove that Paul’s still got the gift for sweet melodies. Also forgiven is the rather sterile ambient quality of the proceedings: it’s likely that his early touring experiences before suitable P.A. systems were capable of making anything other than adolescent howling audible has left Paul with a preference for clarity above all else in his live mix.
There were not many opportunities to see or hear the Beatles performing live, much less with any sort of reasonable fidelity, making documents like this all the more exciting. Here’s an opportunity to hear a bona fide legend perform the songs that changed music forever.
The Groovebug Throwback Pick is chosen from the Concert Vault iPad App - hundreds of thousands of exclusive live audio and video performances from the ’50s to the present day - available for you to play whenever, wherever.
Download the app for free and sign up for a free trial at http://smarturl.it/CViPad
[video]
Today, we are proud to announce the launch of the iPhone/iPod touch version of our popular iOS app, Blue Note by Groovebug.
Developed by Groovebug, the new Blue Note by Groovebug app for IPhone, iPod touch, and iPad, delivers a rich experience for both jazz aficionados and newcomers alike, providing an immersive way of discovering and enjoying classic jazz recordings from the world’s premiere jazz music record label. It features a deep catalogue of seminal tracks to stream and a wealth of interactive content from iconic Blue Note artists such as Wayne Shorter, Dexter Gordon and Art Blakey, as well as exclusive features such as Blue Note vocalist José James’ new 11-song playlist of his favorite classic Blue Note tracks from Donald Byrd, Jimmy Smith, Lee Morgan, and others.
The new the new Blue Note by Groovebug app for IPhone, iPod touch, and iPad, available exclusively on the iTunes App Store in the US and the UK, is free to download and features 30 second clips of all the music contained in the app. For a monthly subscription charge of $1.99/£1.49 all of the app’s tracks can be enjoyed in full.
Existing Blue Note iPad app users may share their subscription between their iPhone, iPod touch, and iPad devices, with Favorites and Playlists automatically synced between devices via iCloud. Music can be easily shared to Facebook or Twitter and users can discuss tracks with fellow jazz fans from right inside the app.
You can click here to email yourself a link, and then open that link in your iPhone. You can also email that link to your friends who may be interested in the new Blue Note App.
The iPhone/iPod touch version features the same quality content and features as the iPad app, released last year, but now conveniently optimized for an iPhone interface (iOS5 / iPhone 3GS upwards, as well as iPod Touch 3). The iPhone/iPod touch app now features a sidebar menu that allows easy access to featured artists, playlists and editorial content, artist navigation, user favorites, user playlists, and settings. The Featured Content screen has been redesigned, and a “Now Playing” bar at the base of all screens allows quick navigation back to music.
High quality audio streams are available (up to 320kbps) via wifi or 3G/4G/LTE networks, however users can choose to limit their streaming quality at 128kbps to reduce data usage. Featured articles, playlists and editorial are available from the Home screen. Artist discographies, biographies, videos, news, and similar artist recommendations are presented on unified and easily navigable Artist pages. All screens are presented within an interface designed for the iPhone.
Don Was, President of Blue Note Records said: “As a label, Blue Note is not only dedicated to pushing boundaries musically, but also to developing new ways of connecting the label’s music with fans around the globe. Groovebug has developed an innovative way to discover and showcase Blue Note music in a way that is consistent with our tradition of uncompromising artistic excellence.”
Neil Tinegate, VP Digital Projects said: “Following on from the success of the iPad version, and listening to our customer’s wishes, we are very excited to bring Blue Note to the iPhone in this way. Once again Groovebug have done superb work in creating a compelling and intuitive way of exploring this great catalogue.”
Jeremiah Seraphine, CEO of Groovebug, said: “We designed the Blue Note by Groovebug iPhone/iPod touch experience from the ground up. It is important to our users to quickly play music, navigate with one hand, and still enjoy the immersive and visually stunning experience we achieved with the iPad app. We’re excited to get this in front of jazz fans everywhere.”
To download the app please go to: http://www.appstore.com/bluenotebygroovebug
~The Groovebug and Blue Note teams
Groovebug Throwback Pick:
Elvis Costello & The Attractions - Heatwave Festival (Ontario, Canada) Aug 23, 1980
Canada’s legendary 1980 Heatwave Festival was the brainchild of concert promoter John Brower, who was based in Toronto. Brower established his reputation a decade prior, as the man behind the 1969 Rock and Roll Revival concert at Varsity Stadium (AKA “Live Peace In Toronto,” which featured John Lennon’s debut live performance outside The Beatles) and the three-day Woodstock-esque Strawberry Fields Festival held at Ontario’s Mosport Park the following summer. For Canadians, as well as thousands of Americans and Europeans who traveled to this event, Brower’s Heatwave Festival would become one of Canada’s most memorable musical events.
Held at Mosport Park, a 500-acre auto racing facility located approximately 100 kilometers east of Toronto, the aptly named Heatwave Festival took place on a hot August Saturday and presented the cream of the crop of post-punk new wave bands, just as many were breaking big internationally. Promoted as the “New Wave Woodstock” or as the poster for the event proclaimed, “The 1980s Big Beat Rock And Roll Party,” nearly 100, 000 fans would converge that day to witness some of the greatest American, British and Canadian bands to emerge in recent years all on the same stage.
The first major outdoor new wave musical event to be held anywhere, nearly 85,000 fans would purchase the $20 tickets to hear the likes of Rockpile with Nick Lowe and Dave Edmunds, The B-52s, The Pretenders, Talking Heads, Elvis Costello and The Clash, along with Canada’s own Teenage Head and The Kings and with lesser known groups like Holly and the Italians and The Rumour (Graham Parker’s former group) also performing that day.
Like the original Woodstock Festival, Heatwave presented an incredible roster for that moment in time, but was likewise fraught with logistical and legal problems and would end in financial failure. When headliners, The Clash, pulled out at the last minute, rumors began spreading about the integrity of the festival. During this pre-Internet era, mass communication was difficult at best and wild speculation was running rampant about who else might cancel or who might replace The Clash. Lines were also being drawn, with the inevitable cries of “sellout” being aimed at some of the bands on the bill. On the plus side, unlike Woodstock, Mother Nature was quite cooperative and the festival took place under sunny blue skies on a hot summer Saturday, with thousands camping out the night before and already settled in by sunrise on the day of the concert. Other than the heat, for the audience it was a relatively comfortable experience for most of the day, until Brower himself became responsible for one of the logistical issues. During a backstage radio interview with his friend, Dan Aykroyd (in character as Elwood Blues), Aykroyd humorously encouraged Brower to put all the radio listeners on the guest list. Going with the flow, Brower laughingly agreed that it was a bright idea and within 90 minutes, another 15,000 ticketless fans turned up, swelling the crowd to estimates of 100,000 by sundown, just as Talking Heads were taking the stage.
During the late 1970s, many of these bands had developed and diversified considerably. Another generation of serious talent was emerging, but they were still experiencing only modest commercial impact. Prior to 1980, most of these groups were heard only on college radio stations and had little experience performing beyond the college and club circuit. Few had ever performed before a crowd of this magnitude and several had never even played outdoors! Much had changed in the past several months; The Pretenders were now scoring Top 10 singles and Elvis Costello, Talking Heads, The B-52s and Teenage Head also had albums and singles charting. Within the next year, MTV would also begin championing videos by many of these groups while significantly altering the music industry landscape.
These Heatwave Festival master recordings capture the zeitgeist during this transitional moment in music history and present inspired performances by all of these groups, several of which remain career highlights to the present day.Following the sunset debut of Talking Heads’ expanded lineup, Elvis Costello and The Attractions next took the stage. Costello’s only North American appearance that year, his set not only encapsulates the early phase of his career but also captures an artist moving beyond the expectations of his established audience.
The set places a heavy emphasis on material from Costello’s first four albums, which were fueled by angry, vengeful songs about failed relationships and nonconformity. However, the newest material from the albums Get Happy, and the forthcoming Trust find Costello widening the scope of his music and revealing his influences more clearly than ever before.
The set begins with Costello accompanied only by Steve Nieve’s piano as he delivers “Shot By His Own Gun,” a surprisingly tender and moving ballad of simplicity and compassion. This unusual opening sets the audience up, making the fiery strike of The Attractions kicking into “Accidents Will Happen” and “The Beat” all the more powerful by contrast.
Two examples of Costello’s musical growth and increasingly crafty wordplay follow with “Temptation” (featuring Nieve’s organ work paying direct homage to Booker T & The MG’s “Time Is Tight”) and the ominous “Green Shirt,” which is taken at a faster clip than the Armed Forces studio recording.
A number destined for the Trust album follows with the self-deprecating “You’ll Never Be A Man,” which segues directly into the manic verve of “(I Don’t Want To Go To) Chelsea.” Drummer Pete Thomas propels the latter song with an incredibly insistent drumbeat, fueling one of Costello’s greatest nonconformist anthems with power and punch.
Two additional new songs follow with the Get Happy track “Secondary Modern” and “Lover’s Walk” which would surface on Trust the following year. Both songs convey Costello’s increasing brilliance as a lyricist and The Attractions fully hitting their stride.
The remainder of the set is a tour-de-force, beginning with “Less Than Zero,” the first line of which was immortalized on Costello’s now legendary Saturday Night Live appearance, followed by the b-side of the “Pump It Up” single, “Big Tears.” Heading in a moodier direction, up next are the Get Happy track “High Fidelity” and then “Alison,” the first indication of Costello’s undeniable talent.
One of the peak moments of this set comes next in the form of “Lipstick Vogue,” which shifts from a dark brooding to a frenzied close. With standout contributions from Nieve, a preview of the Trust track “Clubland” is next, followed by the pop-influenced “Oliver’s Army,” featuring piano flourishes not unlike those found in ABBA’s “Dancing Queen.”
The next four numbers focus on classic early material, beginning with a savage take on the reggae-inflected “Watching The Detectives,” followed by three high-energy workouts in a row, all sourced from This Year’s Model: “You Belong To Me,” “Radio, Radio” and “Pump It Up.” All three songs are highly compelling, as Costello ruminates on the corruptive nature of being hip and the vapid culture that more often than not engulfs celebrity. All are marked by Costello’s sharp wit and attention to melodic detail, with The Attractions contributing impressive musicianship and raw energy to these fiery performances.
The set concludes with a pair of well chosen covers, beginning with Nick Lowe’s hard rocking “(What’s So Funny) About Peace, Love And Understanding” and ending with an up-tempo arrangement of Sam & Dave’s R & B classic “I Can’t Stand Up For Falling Down.”
Throughout this remarkable recording, the elements that made Costello’s early material so distinctive are obvious. All of these songs contain clever, carefully constructed lyrics and convey an attention to arrangement and melodic detail. These elements clearly set him apart from the punk scene with which he was initially identified. Above all else, Costello was a crafty songwriter of immense talent. His subject matter was often allied with the Punk ethic of nonconformity, but as this performance clearly proves, Costello had far more to offer. -Written by Alan Bershaw
The Groovebug Throwback Pick is chosen from the Concert Vault iPad App - hundreds of thousands of exclusive live audio and video performances from the ’50s to the present day - available for you to play whenever, wherever.
Download the app for free and sign up for a free trial at http://smarturl.it/CViPad
[video]
Groovebug Throwback Pick:
Leonhard Cohen - Royal Albert Hall (London, England) Jun 5, 1988
American musical icon Leonard Cohen performed “Tower Of Song” at his appearance during the Prince’s Trust Rock Gala in 1988, and although he was among an army of rock heroes who had worshiped at Cohen’s musical altar over the years, he seemed a bit out of place in this grouping of commercial superstars.
Cohen rarely performs, and performs in England even less frequently, so it was very special when he made an appearance at the event. His music is timeless, and Cohen’s legacy only seems to gain more momentum with each passing year. Indeed, having Cohen at this event gave it a weight that many other charity concerts are not as fortunate in securing.
This performance from the 1988 Prince’s Trust Rock Gala included an all-star cast of the biggest names in the business. Included in the show were Eric Clapton, Elton John, Mark Knopfler of the Dire Straits, Joe Cocker, Queen’s Brian May, the Bee Gees, Howard Jones, Ultravox’s Midge Ure, Rick Astley, Wet Wet Wet, T’Pau, Peter Gabriel, Leonard Cohen, and Phil Collins.
All in all, there was incredible music made at this show. The performers were backed by two all star bands, which played alternatively. The Midge Ure All Star Band featured such players as Queen’s Brian May on guitar; Howard Jones on keyboards; Phil Collins and Mark Brzezicki (from Big Country) on drums; and Mick Karn on bass, among others. The Eric Clapton All-Star Band features “Slowhand” himself on guitar, Elton John on piano, and Mark Knopfler on guitar, along with mostly members from Clapton’s band at the time.
Musically, it was a mix of legendary songs and current Top 40 hits of that time. There are a number of especially memorable moments from the 1988 Prince’s Rock Trust, among them Peter Gabriel’s stunning take on “Sledgehammer”; Joe Cocker’s soaring version of “The Letter” (backed by the Midge Ure All-Stars); and Clapton’s biting version of “Cocaine.” The show ends with the entire cast backing Joe Cocker on his spastic version of the Beatles classic, “With A Little Help From My Friends.” The entire show was broadcast on the King Biscuit Flower Hour in 1988, and was released as a home video some years later.
The show was an overwhelming success both artistically and financially, helping to raise over £48 million for charity.
The Groovebug Throwback Pick is chosen from the Concert Vault iPad App - hundreds of thousands of exclusive live audio and video performances from the ’50s to the present day - available for you to play whenever, wherever.
Download the app for free and sign up for a free trial at http://smarturl.it/CViPad
[video]
Hamburg-based DJ, musician, and remixer DJ Koze has been a force on the electronic music scene for some time, and has built a legion of fans with his skills at live shows. His latest album is Amygdala, which you can stream the album in full via the Groovebug iPad app. Fans of Caribou, Matthew Dear and Ricardo Villalobos should all check out the album.
Q: Introduce your sound in five words:
A: Warm, organic, detailed , colourfull, genius.
Q: What can fans expect from DJ Koze in 2013?
A: I just released my album Amygdala and will play a lot DJ gigs around the world in 2013. This is all i can offer in the moment.
Q: Which places or people inspired the songs on the Amygdala album?
A: Most of the Album was composed in a small village in the north of Spain. Isolated from urban influences, walking with the drafts of my songs over the mountains was inspiring me more than anything else from the modern world.
Q: What is the most fun you’ve ever had writing a song? Either actually writing it or the situation that inspired it?
A: I can’t remember, my brain gets old. Fun writing a song? I’d actually say that is always both pain & pleasure for me.
Q: Who has encouraged you the most to pursue a career in music?
A: Well… the music career chose me I’d say.
Q: What advice could you give a new musician wanting to pursue a music career?
A: Try to be unique and keep on doing your own thing: the muse never visits an empty studio.
Q: What impact has touring had on your career?
A: A big one, because I was able to travel through different countries all over the world, meeting nice people and see so many other cultures. These kinds of experiences are always enriching me, which as a result directly influences my music. The borders really are disappearing.
Q: Which do you enjoy most - performing live or recording in the studio?
A: I like both, but suffer from both in the moment. I’m stuck in one and wish i could do the other.
Q: What’s the best piece of advice you’ve ever been given?
A: To let go. That’s a difficult one though.
Q: Which historical musical moment do you wish you were present for?
A: Gorillaz performing the song ” Hong Kong” live in Manchester. Or, a Beatles concert.
Check out Groovebug for iPad for DJ Koze music, news, videos and more. Also, Like Groovebug on Facebook to receive music and news artist, and Groovebug updates and recommendations.
Singer-songwriter Josh Krajcik has performed solo, in groups, and formed his own band - all showcasing his unique gravelly voice and musical talent over the last 14 years. Then in 2011, he reached a new audience by being the runner up in The X Factor USA, and never looked back. His latest album, Blind, Lonely, Lovely has just hit the stores, and showcases a mix of rock n roll, R&B, and soul music. You can stream the album in full via the Groovebug iPad app. Fans of Sam Cooke, Bob Dylan and Bill Withers should all check out the album.
Q: Introduce your sound in five words:
A: Honest, bluesy dark soul music.
Q: What can fans expect from you in the coming months?
A: Well I’m extremely excited to get out on the road. Playing in front of people is my favorite thing. I’m also gonna keep trying to film little videos and keep as much on the road content as possible.
Q: Which places or people inspired the songs on the new album?
A: I think just being on my own inspired me a lot. Being a stranger in a strange city can do a lot for the creative process.
Q: What is the most fun you’ve ever had writing a song? Either actually writing it or the situation that inspired it?
A: I had so much fun writing “Don’t Make Me Hopeful” ,”Nothing”, and “When You Go” with Eg White. His process was chaotic and I like that. We really clicked.
Q: What advice could you give a new musician wanting to pursue a music career?
A: It’s not an easy job. Be prepared for that. Always remember why you do it. For me I love people seeing me perform for the first time.
Q: What impact has touring had on your career?
A: I had the opportunity to tour in my mid 20s Really taught me a lot about hard work and perseverance. Life on the road is good, but its tiring.
Q: Some fans may know you for your extraordinary performances on The X Factor USA. Talk us through what goes through your mind before performing on a TV show?
A: For me I didn’t think of it that way. I had an audience in that studio. I played to them. That was a comfort zone for me, made it easy.
Q: Would you like to do any other kind of TV work?
A: Sure. I’d enjoy that maybe.
Q: Which do you enjoy most - performing live or recording in the studio?
A: I love them both, but performing is why any artist does it. In the studio you’re like the prep cook. Playing live you are the chef.
Q: What’s the best piece of advice you’ve ever been given?
A: If you can’t afford six of them you can’t afford it.
Q: Which historical musical moment do you wish you were present for?
A: Beethoven’s premiere of his 9th symphony in Vienna.
Check out Groovebug for iPad for Josh Krajcik music, news, videos and more. Also, Like Groovebug on Facebook to receive music and news artist, and Groovebug updates and recommendations.
Groovebug Throwback Pick:
Pink Floyd - Fillmore West (San Fransisco, CA) Nov 24, 1981
Recorded on Pink Floyd’s third American tour, this show introduced San Francisco to some of the newer material from the Ummagumma LPs, and a taste of things soon to come on the Atom Heart Mother LP, to be released later that year. This San Francisco audience is particularly quiet and attentive, a fact that seems to have facilitated a more intimate, unique and focused performance than other dates on this tour.
This show begins in a quiet, pastoral manner and continues to build in intensity as the sets progress. Of particular note in the first set are “Cymbaline” and the unreleased “Embryo,” as well as the entire suite of “Atom Heart Mother.”
After the acoustic opener to the second set, “Green Is the Colour,” the band takes off into the outer realms of musical exploration for the rest of the evening. The last three compositions, in particular, show the band in an adventurous mood with standout performances of tracks from their first two albums. Following the marathon, 22-plus minute encore of “Saucerful of Secrets,” the audience brings them back for a rare second encore of “Interstellar Overdrive.”
Earlier this same day, the band had taped a memorable live performance for KQED TV in San Francisco. This tour met with disaster a few weeks later when the band’s equipment was stolen during a multi-night engagement at the Warehouse in New Orleans. The rest of the tour was cancelled.
Fortunately for fans of Pink Floyd, however, this recording remains - an earnest, unique perspective of the band in a formative time of their career.
The Groovebug Throwback Pick is chosen from the Concert Vault iPad App - hundreds of thousands of exclusive live audio and video performances from the ’50s to the present day - available for you to play whenever, wherever.
Download the app for free and sign up for a free trial at http://smarturl.it/CViPad