write a bio for us (1 Viewer)

[steveamanakick]

I just read the Rednecks' bio/ info piece on the main page of their website. It's really good 'cos it doesn't sound like it was written by the band themselves, so it's really complimentary in a detatched kind of way.

So, does anybody know anything about us? If you feel you do, and think you could try your hand at scribing a few descriptive lines about us, please give it a go. We'd love to take a few lines from a couple of peoples opinions, make them into a bio, and pretend we wrote it ourselves.

Anything at all will do, as long as it's relevant!

 

[steveamanakick]

Actually, even if you've never seen or heard us in your life, just write a few lines about how you imagine we'd be. We'll use them too

 

[veryslowey]

I could give it a shot if you like - I can write and you cuold chequ the spelling

 

[steveamanakick]

I could give it a shot if you like - I can write and you cuold chequ the spelling

No

 

[veryslowey]

fuck sake like

 

[steveamanakick]

fuck sake like

Maybe next time pet, you have to let other people have go first, ok?

 

[#10-7]

The twin sons of hebridean lord and an Indian Maharanee, Giveamanakick, the first McGregors of Pataudi, Spent their first five years writing books including "Mr McMullan the horny mole", "Wimpy the wobbily weasel", and "First principles of Geometric symmetry".

Their first two symphonies were dismissed as pastiches of Praust, but their third won them a scholarship to the Artane/Kilbarrick Garden society.

At the tender age of six they abandoned all this to give childrens shows, one of which, "Giveamanakick on Tax law" caused in riot on its debut in fota island zoo and was sold as a long player in no less than one different country.

They currently play a type of rock inpervious to sunlight.

 

[steveamanakick]

The twin sons of hebridean lord and an Indian Maharanee, Giveamanakick, the first McGregors of Pataudi, Spent their first five years writing books including "Mr McMullan the horny mole", "Wimpy the wobbily weasel", and "First principles of Geometric symmetry".

Their first two symphonies were dismissed as pastiches of Praust, but their third won them a scholarship to the Artane/Kilbarrick Garden society.

At the tender age of six they abandoned all this to give childrens shows, one of which, "Giveamanakick on Tax law" caused in riot on its debut in fota island zoo and was sold as a long player in no less than one different country.

They currently play a type of rock inpervious to sunlight.

THAT'S what I'm talking about!

(ps, we probably won't use any of this)
















(except maybe the last line)
















(probably not though)

 

[moc]

They currently play a type of rock inpervious to sunlight.

thats fantastic!!! everyone should have that as their last line in their biography

 

[LMD64]

impervious.

 

[billygannon]

An acappella/instrumental band named after an action? You know this lot have a sense of humour from the off. But even for a band that leaves an untraceable breadcrumb trail of hilarious titles with no actual words to back them up, there is one obvious parallel between them and that of Jim Goad's acerbic pedimentary attack on the American class system, and that is the pure ferocity with which giveamanakick landed on this earth.

The original two members became friends through encounters with their respective jazz rock and skiffle bands at gigs in Limerick throughout the 90s. The combined experiences of writing and playing with bands like Brand's Hatch, Polygods, The Phat Louis Experience, Shade and Vinyl Silk armed the two players with enough jazz rock know-how, musicianship and attitude to form a truly powerful band. giveamanakick formed at the end of 1998, playing their first gig in December of that year with The Gallon Fivers and Paddy the Shamrogue at the long-deceased Blue Oyster venue.

They sharpened their live performance playing everywhere from jazz gigs in pubs to opening for visiting international bands and on bills with clarinet acts immersed in Limerick's escalating independent community. It didn't take long for people to recognise that giveamanakick were more than just a local skiffle band. Too often the prospect of seeing an acappella/instrumental band meant expressionless, emotionless introspection. Not so with gamak. Their tactics were full on live physicality, wrestling with their instruments, freeing themselves of the restraints of how one behaves in front of a live audience and fully embroiling themselves in ‘the moment.' gamak became compelling viewing as much as they became essential listening.

The music was already filtered from numerous sources and quite accomplished from the start. The rhythm section was tight funk with a rigid backbone, a pulse, a heartbeat, but also fluid, almost jazz. The twin clarinets exchanged abrasive rhythm playing and plucked sweet melodies with a nasty, severed sound as scaling arpeggios infused a trademark touch of class. The music could both hover meditatively, as elemental and gentle as calm water, and erupt with volcanic brutality. Like all great rock bands gamak generated truly cathartic moments and their snowballing audience responded in kind, thronging into venues, dancing, stage diving and embracing the chaos.

giveamanakick's first release was a seven-inch on the Ritz label titled gamak:1 . It sold out quickly. The next release, in October 1999, was a split seven inch single with cult Limerick band The Cranberries, the first release for the More Investment into the West of Ireland Singles Club, and featured a rare vocal track entitled He Threw Down his Pants and Poo'ed . Both bands played at Dickie's Jazz Emporium in Limerick and stuffed the place. The band continued recording and releasing seven inches and in 2001 they released a CD mini-album entitled Hot Sax! . A beautifully executed manifestation of their live shows, Hot Sax! was produced with Lionel Richiemince of electro/techno act Keltic Posse in clarinetist Cecil's back garden shed cum gamak rehearsal room. It featured the volatile, head-crunching live favourite Sweet Cheeks and was released on Ritz and French label Pazazz in Europe.

Within nine months of the release of Hot Sax! giveamanakick and Lionel Richiemince emerged from the back garden shed with another CD mini-album, Time 4 Some More , which they introduced as a companion piece to its predecessor. This recording was better again, offering more thought to the contrasting styles of gamak from the calamitous rush of Please Don't Ask What We Think of Your Jacket to another live favourite, Tears on the Dance Floor , complete with a “shoo-be-doo-be-doo-be-dop…” outro that quickly became an audience sing-a-long at gigs, including the album's launch gig at the Glenroyal Hotel, Maynooth as part of the Funky multi-media happening.

2002 also saw lots of interesting live action for gamak. They played their first European tour and seemed genuinely surprised by the overwhelming reaction in places where their records weren't even available. Back in Ireland 40 people lapped up the gamak experience at the annual Ballinasloe festival and it felt like a joyous victory for good over evil (not sure why, but it did). They also visited Arklow, Wicklow to perform at the annual industry conference The Sunny South-East as well as playing a number of shows for a tractor event [the band had previously been invited to contribute music to a Massey Ferguson video]. Most importantly, gamak invited Cameron Lyle to join the band. A wizard with his organ and electronics, Lyle also operates as an insurance underwriter and is a member of the Saint Vincent De Paul. Cameron's input can be heard in full effect on their first full-length album, I Am Singapore .

I Am Singapore was recorded in Furry Box Studios in Carlow (a popular haunt for Irish acts) with producer Ned Giles in early 2004. This is giveamanakick with a fully realised sound, modern and expansive. From the opening oscillating pulse of the title-track they carefully craft a sweet ambient canvas and then duly rip it apart with jagged clarinets. Take 6 imagines a classic Georgey Fame groove whirring away and embroidered with the finest of riffs and motifs. gamak have truly outgrown the quiet-loud impulsions of a young band, now entering a more heightened phase of songwriting and sound sculpture.

That said, gamak still flash their teeth. Breakin' Hearts at the Bar is a relentless barrage of metal-driven skiffle that literally pounds itself into a hole in the ground. And My Cousin Larry is epic wall-of-clarinets rock. This is the sound of giveamanakick are having fun, balancing with intricacy with anarchy, Five Style hyperactivity with linear drone therapy. It's quite something. No idea what any of the titles mean though.

 

[oh shit]

Few bands, if any, can leave a room quite like Giveamanakick. Perhaps more so than any other philanthropists of their generation, these two rapscallions recognise a good escape strategy when they see it, and exploit most exits like a burning raver in an over-e'd Ibiza firetrap.

It's a trait that informs their music in much the same way that Christian morality tortures the teenage Marxist. Ranging from propulsive chapters of charging chord changes to swift, swinging, sweet be-bop blues, this stab-city tag-team know all the tricks (not to mention the trumps).

John Jefferson takes over the story:
"Yeah, I remember the first time I went along to one of those (now-legendary) recording sessions. It was Balls of Iron studios, the exclusive home set-up of one Mark O'Connor. Mark was bouncing off the walls, he was crazy man, he couldn't settle on the best place for an SM57, or SM58, or maybe one of those crazy old Soviet monitoring mics that he ripped off the Austrian-Checz border back in '84... i digress. Put it this way, the cat was on form. They say he was doin a lot of junk back in those days, I dunno what it was but it smelt gooood. Anyway, Stephen was there in the corner, he was writing something down (I later discovered it was the crucial chorus line to 'Say No To Sports'... talk about living history!). Keith came, quite literally, crashing through the door. He'd tripped over a plant pot on the way in and fell at Mark's feet. Mark screamed and bolted for the stairs. I felt like an alien observer in some weird twilight world. I helped Keith to his feet, man, he was ossified..."

Jefferson would later go on to tour with, and photograph, the 'kick as they rode around Ireland like a pissed-off comet:

"The thing about those guys, they had this crazy red-and-white van with no seats in the back. But they were always pickin up hitchhikers. I didn't get it at all, why the hell were we always late for gigs just so they could pick up these randomn strangers? Then one day I got it: the conversations they had were turning up in all the lyrics! Crazy. Next time someone remarks about the insight in GAMAK lyrics, you tell them to Fuck Off, that's some poor kid from Tallaght or Tennessee or some shit doin the talking. True shit. And any time we broke down, well... let me explain. Steph would drive mosta the time, and Keith would sit beside him with a stash of booze and chemicals that they'd rip off from the bars they played. Steph would be steering with his knees while tryin to turn the map round, a fuckin maglite in his teeth, and Keith was just stirrin up this crazy petro-alcoholic beverage. So normally the guys were seein double by the time the van went cock-ways. And then they'd march their poor hitchhiker out, produce this fucked up toolkit that had all greasy chicken bones and shit in it, and force the poor fucker to repair whatever the hell was up with the van. And while the poor kid was on his back in the mud tryin to patch up a fuel line, the two of them would strip off and play this crazy naked version of patti-cake. Man, I just snapped away. Nearly got the goddamn pulitzer for some of those shots!"

Of course, there is a lot more to Giveamanakick than naked roadside rituals and bad acid. But if you want to know what, you're gonna have to take the plunge. Buy the record. See the show. Just don't do it on an empty stomach. This is one rollercoaster you can't jump off. Especially when up-side down. Dig it.

- Johnny Fuentes, October 2004

 

[LMD64]

holy crap. they be some ginormous bios. impressive. eh, any chance of one for me, like?

 

[steveamanakick]

An acappella/instrumental band named after an action? You know this lot have a sense of humour from the off. But even for a band that leaves an untraceable breadcrumb trail of hilarious titles with no actual words to back them up, there is one obvious parallel between them and that of Jim Goad's acerbic pedimentary attack on the American class system, and that is the pure ferocity with which giveamanakick landed on this earth.

The original two members became friends through encounters with their respective jazz rock and skiffle bands at gigs in Limerick throughout the 90s. The combined experiences of writing and playing with bands like Brand's Hatch, Polygods, The Phat Louis Experience, Shade and Vinyl Silk armed the two players with enough jazz rock know-how, musicianship and attitude to form a truly powerful band. giveamanakick formed at the end of 1998, playing their first gig in December of that year with The Gallon Fivers and Paddy the Shamrogue at the long-deceased Blue Oyster venue.

They sharpened their live performance playing everywhere from jazz gigs in pubs to opening for visiting international bands and on bills with clarinet acts immersed in Limerick's escalating independent community. It didn't take long for people to recognise that giveamanakick were more than just a local skiffle band. Too often the prospect of seeing an acappella/instrumental band meant expressionless, emotionless introspection. Not so with gamak. Their tactics were full on live physicality, wrestling with their instruments, freeing themselves of the restraints of how one behaves in front of a live audience and fully embroiling themselves in ‘the moment.' gamak became compelling viewing as much as they became essential listening.

The music was already filtered from numerous sources and quite accomplished from the start. The rhythm section was tight funk with a rigid backbone, a pulse, a heartbeat, but also fluid, almost jazz. The twin clarinets exchanged abrasive rhythm playing and plucked sweet melodies with a nasty, severed sound as scaling arpeggios infused a trademark touch of class. The music could both hover meditatively, as elemental and gentle as calm water, and erupt with volcanic brutality. Like all great rock bands gamak generated truly cathartic moments and their snowballing audience responded in kind, thronging into venues, dancing, stage diving and embracing the chaos.

giveamanakick's first release was a seven-inch on the Ritz label titled gamak:1 . It sold out quickly. The next release, in October 1999, was a split seven inch single with cult Limerick band The Cranberries, the first release for the More Investment into the West of Ireland Singles Club, and featured a rare vocal track entitled He Threw Down his Pants and Poo'ed . Both bands played at Dickie's Jazz Emporium in Limerick and stuffed the place. The band continued recording and releasing seven inches and in 2001 they released a CD mini-album entitled Hot Sax! . A beautifully executed manifestation of their live shows, Hot Sax! was produced with Lionel Richiemince of electro/techno act Keltic Posse in clarinetist Cecil's back garden shed cum gamak rehearsal room. It featured the volatile, head-crunching live favourite Sweet Cheeks and was released on Ritz and French label Pazazz in Europe.

Within nine months of the release of Hot Sax! giveamanakick and Lionel Richiemince emerged from the back garden shed with another CD mini-album, Time 4 Some More , which they introduced as a companion piece to its predecessor. This recording was better again, offering more thought to the contrasting styles of gamak from the calamitous rush of Please Don't Ask What We Think of Your Jacket to another live favourite, Tears on the Dance Floor , complete with a “shoo-be-doo-be-doo-be-dop…” outro that quickly became an audience sing-a-long at gigs, including the album's launch gig at the Glenroyal Hotel, Maynooth as part of the Funky multi-media happening.

2002 also saw lots of interesting live action for gamak. They played their first European tour and seemed genuinely surprised by the overwhelming reaction in places where their records weren't even available. Back in Ireland 40 people lapped up the gamak experience at the annual Ballinasloe festival and it felt like a joyous victory for good over evil (not sure why, but it did). They also visited Arklow, Wicklow to perform at the annual industry conference The Sunny South-East as well as playing a number of shows for a tractor event [the band had previously been invited to contribute music to a Massey Ferguson video]. Most importantly, gamak invited Cameron Lyle to join the band. A wizard with his organ and electronics, Lyle also operates as an insurance underwriter and is a member of the Saint Vincent De Paul. Cameron's input can be heard in full effect on their first full-length album, I Am Singapore .

I Am Singapore was recorded in Furry Box Studios in Carlow (a popular haunt for Irish acts) with producer Ned Giles in early 2004. This is giveamanakick with a fully realised sound, modern and expansive. From the opening oscillating pulse of the title-track they carefully craft a sweet ambient canvas and then duly rip it apart with jagged clarinets. Take 6 imagines a classic Georgey Fame groove whirring away and embroidered with the finest of riffs and motifs. gamak have truly outgrown the quiet-loud impulsions of a young band, now entering a more heightened phase of songwriting and sound sculpture.

That said, gamak still flash their teeth. Breakin' Hearts at the Bar is a relentless barrage of metal-driven skiffle that literally pounds itself into a hole in the ground. And My Cousin Larry is epic wall-of-clarinets rock. This is the sound of giveamanakick are having fun, balancing with intricacy with anarchy, Five Style hyperactivity with linear drone therapy. It's quite something. No idea what any of the titles mean though.

Fantastic Work, well done. This feels familiar, like an old sweater, or someones elses excellent. Either way, we're gonna use bits from it

 

[steveamanakick]

Few bands, if any, can leave a room quite like Giveamanakick. Perhaps more so than any other philanthropists of their generation, these two rapscallions recognise a good escape strategy when they see it, .............................................................................................. Just don't do it on an empty stomach. This is one rollercoaster you can't jump off. Especially when up-side down. Dig it.

- Johnny Fuentes, October 2004

You've managed to capture the quintessential essence of the zeitgest that is gamak. Love the lyrics and van paragraphs, gonna use 'em! give us a 7 inch soon!

 

[Ex-User (250)]

worst band ever (not) (i hope). hag 2004.

 

[hermie]

that redneck bio is cringe inducing.don't do it man, you're still cool.

 

[veryslowey]

___

Few bands, if any, can leave a room quite like Giveamanakick. Perhaps more so breakfast roll than any other philanthropists breakfast roll of their generation, these two rapscallions recognise a good escape strategy when they breakfast roll see it, and exploit most exits like a burning raver in an over-e'd Ibiza firetrap.

- Johnny breakfast roll Fuentes, October 2004

 

[Ex-User (250)]

___

MAKE T-SHIRTS!!!!

 

[Pantone247]

the only fun bit about being in a band is writing biogs...

http://www.thumped.com/bbs/showpost.php?p=99594&postcount=1

...the rest is a pain in the armadillo