TooSkin BlooSkin was a collective formed in 2002 by , Eamon O’Malley and Alan Shanahan. The group would be comprised of musicians who were all doing separate projects with other bands and the purpose of the collective was to record and perform original material written by Neil McGrath and Eamon O’Malley. This began with the recording of Mo Chairde Go Leir in August of that year and continued with live performances until early 2003. At this point the collective parted ways with their original bass player and returned to their individual solo projects. In 2004 TooSkin BlooSkin re-gathered, this time with Jim O’Brien and John Clancy sharing bass duties. 2004 saw more performances and recordings such as “Pull Me Up”, “Charles” and “Vision Inc.” which were well received and given regular airplay on Beat 102. Other notable items from 2004 include a favourable mention in Hot Press magazine, a national television performance by Neil on TG4’s Pop4 and several interviews with Beat 102.
Yeah, we play pubs mostly. Anywhere we can get a gig. It's good when the crowd are into it, and much better when we're into it. It's special when Neil makes mistakes, or when I get to moon the audience.
Well until we manage to play as the undead yes we always play live, in the pubs and the clubs and once in a tent...Do you like it? not so emotionally starved that we love it but its always nice to do stuff with Thor our sound engineer/eccentric German...not in a gay way
though (cough, splutter)
The time the warrior Macedonian woman wents nuts in the second part of our set and started bitch slapping and scraping the face off her jelous boyfriend always stands out for me
We do play live yeah, I been doin acoustic gigs on my own since I was about 15. Nowadays we're taking whatever comes our way. What we so BADLY need is someone to manage, promote and get us shows to play. We all work full time so its a nightmare trying to organise this band as a second job. HELP. We won't let you down.
Yep. I gig a lot with a Cabaret / heavy rock / sideshow / thingy called Big Paulie Kool and the Mental Institution. I also do some acoustics sessions with a Waterford singer songwriter named Graham Harte, who's music is Reggae / Ska type stuff, we occasionally expand that to include drums, guitar and sax and gig as "The Imposters", mainly Festivals and stuff.
I grew up playing tradition Irish music and being taught the mandolin, banjo and tin whistle by my uncles.
At about 13 I experienced two revelations: The first was Sgt. Peppers Lonely Hearts Club band which my 7 yr old brother found in the shed and put on the old dusty record player at home. We both sat there wondering how in the name of God these sounds were possible. Since then I have become infatuated with every genre of music and the way the same notes can be presented in so many ways with different instruments, tempos and music styles.
Secondly I discovered that lyrics could actually mean something. I mean obviously I knew and understood that people were writing about their experiences and whatever else but it just didnt all click together. One man is responsible for this: John Prine. Tho I have to rate Dylan as the best songwriter ever, I learnt every single word John Prine ever said on record, and to this day (and so many songwriting influences later) his approach to conveying things through lyrics is coursing through the majority of what I do...
Tough question...frankly I dunno...as the guitar player/songwriter dynamic Johnny Marr, John Squire, Robbie Robertson..songwrters Jimmy Webb Burt BACHarach, too many to mention (but I shall) Stevie Wonder, Jim O'Rouke, Miles Davis, Steve Reich and Chopsticks
Good technical, energetic music hits me right here. Rush, early Genesis, Pearl Jam, Yes, Foo Fighters, Gary Numan/Tubeway Army, even the underrated Boomtown Rats, who seem to be the only 70s/80s band not to have reformed recently. But not Bob's music, that's shite (won't someone talk to him?) Also, odd time signatures that work (not for its own sake). 11/9, even plain old 5/4. Lovely.
Bassically speakin (Arf, arf) for Jazz, I would say Ray Brown, Paul Chambers and Ron Carter have been the most important to me. For everything else the incomparable James Jamerson.
Well if we're gonna be technical..A guitar..some shiny boxes and an an amp. Hope I didn't alienate anybody with my techno-babble
Top gear question: Roland V-Drums - best electronic kit known to man. If only I could match them for talent. "Yeah, but they play themselves." Horse-cooks!
I use an acoustic guitar and my voice. I dont sound like anyone when I sing...but people seem to like my voice...easy to pull the wool over peoples ears these days...lol
Fender Jazz Bass for its versatility. You can comfortably play in just about any style or musical situation with it. A real working bass. I also have an acoustic bass for home use, practicing etc. My current amp is an Ashdown MAG series.
THANKS HARRY!
In olden days a glimpse of stocking was looked on as something shocking but now God knows, anything goes (with Angus McNally)
I love curry, anything with curry. Sometimes cider is nice.