BEEHIVE CANDY

This is Gary Moore live at the Hammersmith Odeon, London back on the 11th February 1984. As no doubt you will be aware Belfast born Gary Moore sadly passed away last month at just 58 years of age. In a career dating back to the 1960s, Gary Moore played with artists including Phil Lynott and Brian Downey during his teens, leading him to membership with the Irish rock band Thin Lizzy on three separate occasions. Gary Moore shared the stage with such blues and rock luminaries as B.B. King, Albert King, Colosseum II, Greg Lake and Skid Row (not to be confused with the heavy metal band of the same name), as well as having a successful solo career. He guested on a number of albums recorded by high profile musicians, including a cameo appearance playing the lead guitar solo on "She's My Baby" from Traveling Wilburys Volume Three. Since his death, many fellow musicians have commented on Gary Moore's talents including Ozzy Osbourne, Tony Iommi, Bob Geldof, Roger Taylor,

Background: Dub Is A Weapon Make Psychedelic Studio Sounds Breathe Fire on Vaporized and on Tour, April 2011 - "It can't be done, man!" That's what Dave Hahn, mastermind behind Dub Is A Weapon, heard when he first floated the idea of a live dub group, as he and his mates listened to some prime 1960s King Tubby cuts in the band van. "Everyone seemed to think you could only do dub in the studio," Hahn recalls. Hahn set out to prove them wrong, with skills learned live and on the road, and with help from a Jamaican beatnik percussionist, an old high school friend, and young upstarts from the Brooklyn scene. Together they've honed their live take on the genre's spaced-out grooves, a sound felt in full force on Vaporized (Harmonized Records; April 26, 2011) and on stage on their upcoming March/April tour. Hahn had been kicking around the New York music scene for a while. He'd played ska with The Slackers and the Stubborn All-Stars, and Afrobeat

This is Barclay James Harvest live in concert in Amsterdam, Holland back on the 25th May 1984. After signing with EMI's Parlophone in the UK for one single in early 1968, they moved to the more progressively inclined Harvest label. Their self-titled debut album was released in mid 1970 to positive reviews, but few sales. Their second album Once Again gained more favourable reviews, and the tour that followed was conducted with a full orchestra under the guidance of Robert John Godfrey. Their third album Barclay James Harvest and Other Short Stories was an even greater achievement, though Martyn Ford was brought in to supervise the orchestral work after Robert John Godfrey departed over writing issues behind "Mockingbird" - one of the group's most consistently popular tracks. By the release of their fourth album, Baby James Harvest, in 1972, the pressures of touring were beginning to have an impact on the band, and the album's inconsistency was noticed by both

This is another Pink Floyd concert that is hardly an exclusive for Beehive Candy, however the quality of this specific remastered version, the songs performed and the unique nature of this bootleg make it a must feature as far as we are concerned. Copying from the notes that have been circulated with this remastered version we quote - M-502 is the matrix number of the original 2-LP vinyl set that was made in Europe sometime in the 70's (performance Grosser Saal Musikhalle, Hamburg, West Germany February 25, 1971). Although there are many different versions of this show, all of them are sourced from a M-502 vinyl copy. Some sound better than others, none of them sound anything like this. (Take Linda Surfin' was a popular one). This 2-CDR set comes from a mint condition original LP, and has been beautifully remastered by the Digital Floyd Archives. Not only is this one of the best sounding recordings (especially of this era), this is one of the best vinyl remastering jobs I ha

Background: yourfeetstoobig (or yftb) is 22 year old Chicago resident Kevin Benishek. Currently working under the moniker yourfeetstoobig, Kevin Benishek is a artist/musician who has in the past dabbled in everything from hip-hop beats to lo-fi experimental projects. "My methods are constantly changing and evolving" as Kevin puts it. What was once an electronic bedroom project (started in 2009) has quickly grown into live shows. Blending a multitude of different genres, everything from pop, shoegaze and freak-folk finds its way into the yourfeetstoobig soundwaves. Since the release of his first self-released EP, Hunter/Gather (released January 19th), his lo-fi, pop tracks have been featured on SIC Records 100th release, loveSICdisco, with the likes of Memory Tapes, Memory House and Niva. Tracks have also been released through the digital singles label Beko-DSL. yourfeetstoobig's tracks are upbeat, but engaging and beautiful to listen to anywhere. The dance pop-inf

Rather than just rewrite the liner notes that accompanied this I have just copied and pasted them in full, the story behind this is all there and reads as follows. As early as in the late ’60s, Frank Zappa was already planning a big box called The History & Collected Improvisations of the Mothers of Invention. Among the discs in the collection (it has been reported as a 12-record set, then a 10-LP set and later a nine-disc set) is The Weasel Music. Some tracks from this big box found their way to Weasels Ripped My Flesh in 1970. According to one review on the internet, “This is Zappa’s most avant garde work. If Ornette Coleman, Albert Ayler and Peter Brotzmann got together and made a rock album, it would sound like this.” The wikipedia notes: “Weasels Ripped My Flesh mostly captures the Mothers on stage, where they employ frenetic and chaotic improvisation characteristic of avant-garde free jazz.” The Weasel Music Acetate would fit right at home on Weasels Ripped My Flesh.

This is Supergrass live at Rock City, Nottingham, England back on the 18th January 1998. The band split up last year (2010) siting musical differences however during their eighteen years together a legacy of energised, excuberent performances both live and recorded will I am sure be remembered with great fondness by many. In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local (Oxford) label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes' experience of being arrested and cautioned by police in possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week. "Mansize Rooster", released in February 1995, peak