In the course of his career Bators was involved with a variety of bands beyond those for which he was best known. These short-term bands included Hormones, with Dennis Comeau and Andre Siva, Frankenstein, The Wanderers and The Whores of Babylon (with Dee Dee Ramone and Johnny Thunders). He also recorded as a solo artist with Bomp! Records.
It was as the lead singer and driving force of the Cleveland, Ohio based Dead Boys, however, that Bators helped pioneer the punk rock sound, look and attitude. The band quickly became a popular staple at CBGB's, the music club in New York City's East Village. The Dead Boys were featured in the independent punk rock film Punking Out (1978), Live at CBGB's (1977) and Crash 'n' Burn (1977).
Following the demise of the Dead Boys in 1979, Bators began a tumultuous relationship with Bomp! Records and its president, Greg Shaw. According to Shaw: "[W]hat he craved most was to escape the fetters of his Dead Boy image and win respect as a singer of contemporary pop rock. . . . in other words, he wanted to be 'the thinking punk's Eric Carmen.'"[1] To this end, and usually with first-wave punk rock veterans in tow, he recorded several singles, many of which were unreleased, and an LP, Disconnected, which was released in 1980. A retrospective album released in 1994, L.A. L.A. documented Bators' efforts as a pop-punk singer.
After England's Sham 69 disbanded, Bators, now located in London, formed the Wanderers with Dave Tregunna, the Sham 69 ex-bass-player. The band came up with a concept album, called Only Lovers Left Alive (released in May 1981), along with two singles.
Bators formed The Lords of the New Church later in 1981 with Brian James of The Damned and Dave Tregunna of Sham 69. (Bators and Tregunna had also been in the Wanderers together). The Lords became notorious for their live shows. A devotee of Iggy Pop, Bators had developed a fearless reputation in his Dead Boys days and continued such antics with The Lords, the most famous being the time he reportedly hanged himself during a show. Bator's stunt went awry and he was pronounced clinically dead for several minutes. Nonetheless, Bator survived and The Lords recorded two more successful albums.
Later, the punk vocalist gained additional exposure through more mainstream film. In 1981, Bators co-starred in the satirical John Waters film, Polyester. Seven years later, Bators made a memorable cameo appearance as "Dick Slammer", lead singer of "The Blender Children", in the offbeat comedy, Tapeheads, starring John Cusack and Tim Robbins.
In December 1985 Bators flew to New York with his best friend Michael Monroe to work Artists United Against Apartheid music video.
The Lords of the New Church broke up in 1989, when Bators injured his back and guitarist Brian James secretly began advertising for a replacement singer.
In 1990, Bators was struck by a taxi while crossing a street in Paris. He was taken to a hospital but reportedly left before seeing a doctor because he had already been waiting several hours, was told to keep waiting, and he did not feel well and wanted to go home. Reports indicate that he died in his sleep as the result of a concussion. Unsubstantiated reports claim that Bators, a fan of rock legend Jim Morrison, had earlier requested that his ashes be spread over Morrison's Paris grave and that his girlfriend complied.
Swingin´ A Go-Go
Stiv Bators Lyrics
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None of us knows what to do
Take me and divide by two
Look at me I look at you
You ask me why I tell you I don't know
Ask me why I'm, feeling so so
Let's all go swingin' a go-go
All I want is you tonight
Violins and sax for two
Smile when they take you goodbye
The song "Swingin' a Go-Go" by Stiv Bators seems to be a reflection of confusion, uncertainty and dissatisfaction with life. The lyrics suggest that the singer is struggling to make sense of their current situation and emotions. The line "I'm afraid it's all confused" communicates a sense of helplessness and lack of control. The next line, "None of us knows what to do," further emphasizes the confusion and uncertainty the singer feels.
Despite this, the singer suggests a solution - to "go swingin' a go-go." This could be interpreted as a call to action, a desire to get out and experience life more fully, to engage in something exciting and fun. The phrase "swingin' a go-go" itself suggests a vibrant, carefree atmosphere of music and dancing. However, the line "Tear it up don't be shy" hints at a darker side to this idea, perhaps suggesting a reckless abandon and a willingness to take risks.
Overall, the song seems to express a sense of restlessness and a desire for something more, but without a clear path forward. The final line, "Smile when they take you goodbye," could be seen as a resignation to the fleeting nature of life and acceptance that nothing is certain.
Line by Line Meaning
I'm afraid it's all confused
I am feeling uncertain about the current situation
None of us knows what to do
No one is sure how to proceed
Take me and divide by two
Let us share the burden and divide the responsibility equally
Look at me I look at you
Let us make eye contact and acknowledge each other's presence
You ask me why I tell you I don't know
I am uncertain and cannot provide a definitive answer to your question
Ask me why I'm, feeling so so
You want to know why I am feeling mediocre or average
Let's all go swingin' a go-go
Let us have some fun together by dancing and swinging to the music
Tear it up don't be shy
Let us enjoy ourselves and be unreserved in our actions
All I want is you tonight
I desire your company and presence for tonight
Violins and sax for two
The sound of the violins and saxophone have a romantic and intimate effect on us
Smile when they take you goodbye
Keep a positive attitude and smile when it is time to part ways
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: GEORGE ALAN CABANISS
Lyrics Licensed & Provided by LyricFind