Steve Swindells. Keyboards and vocals. Jon Moss. Drums. Winston Blissett. Bass. Jerry Richards. Guitars. Leap Of Faith, The Prequel, is now a DOUBLE Album and will remain at the bargain price of £7.99 for a limited period in 2009. Or grab yourselves some of the free dow
Friday, August 28th, 2009 Steve Swindells joins Hawklords for benefit gig PRESS RELEASE
The Hawklords Headline An All-day Barney Bubbles Benefit Memorial Concert
The 229 Club, 229 Great Portland Street, London, W1W 5PN
Sunday 29th November, 2009 from 2 – 10pm
On 14th November 1983, the art and music worlds lost one of their most important and innovative figures with the death of the legendary graphic designer Barney Bubbles. His work as Hawkwind’s cover artist and stage-set creator established him as key figure in the Ladbroke Grove/Notting Hill counter-culture scene, whilst his subsequent work with Stiff Records (including his designs for Elvis Costello’s album covers and his fractured Kandinsky-esque cover painting for The Damned’s Music For Pleasure LP) established his relevance to the punk/new-wave generation. He directed the seminal video for The Specials’ ‘Ghost Town’ single, worked as art director at Friends magazine and was an early champion of Pennie Smith, who was to become one of rock’s most lauded photographers.
“Barney was, as far as media direction of the youth of this country, probably the most important artist of our generation.” Douglas Smith, interviewed by Jonathon Green, ‘Days In the Life: Voices From The English Underground’.
“...one of the most important graphic artists of his time.” Will Birch, ‘No Sleep ‘Till Canvey Island – The British Pub Rock Scene’.
Barney Bubbles’ long-time friend and admirer, former Hawkwind saxophonist Nik Turner, has been instrumental in organising this memorial concert celebrating the life and achievements of this most singular of multi-media artists, with a view to setting up a foundation/annual award for innovative album cover design, and a memorial plaque for him...
Headliners THE HAWKLORDS, featuring Adrian Shaw, Alan Davey, Harvey Bainbridge, Jerry Richards, Martin Griffin, Nik Turner, Ron Tree, Steve Swindells and Terry Ollis will perform Hawkwind’s 1973 stage extravaganza, Space Ritual, up-dated to 2009, supported by The New Bubblettes dancers and lighting designs inspired by Liquid Len & The Lensmen.
The day’s extensive line-up also features key 70s Notting Hill band QUINTESSENCE, The Damned founder-member Brian James, fronting his own BRIAN JAMES GANG, Nik Turner’s INNER CITY UNIT and the band created by Barney Bubbles, THE IMPERIAL POMPADOURS.
Pentameters Players will perform their acclaimed staging of ROBERT CALVERT’s play, ‘The Stars That Play With Laughing Sam’s Dice’.
Also appearing during this memorial concert: JERRY FITZGERALD/LOL COXHILL’S ‘FRE-EX, TRIKIMIKI’S ‘3-D SPACE-WARP’, and D.J. JEFF DEXTER
www.hawklords.com
The 229 ticket hotline 0207 323 7229 * £20.00 advance, £25.00 door
For further information and interviews please contact: Ian Abrahams - 07722519266
Here"s DanMingo"s first, ever YouTube video. It"s of "More Noise"(complete with the odd mistake LOL), the opening song at our debut gig at The Cafe De Paris on 7.9.07. Winston was busy recording in NYC, so Alec from Dirth stepped-in at short notice to play bass! Many thanks to Karmen and Andre for their stirling camera work, Paul and Micky at The Cafe for the sound and the MCing and to Jerry Richards for the editing. Enjoy!
Words & music (c) Steve G Swindells.(c) DanMingo - all rights reserved.
More Noise
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Steve Swindells. Keyboards and vocals. Jon Moss. Drums. Winston Blissett. Bass. Jerry Richards. Guitars. Leap Of Faith, The Prequel, is now a DOUBLE Album and will remain at the bargain price of £7.99 for a limited period in 2009. Or grab yourselves some of the free downloads! Steve's classic 1980 album 'Fresh Blood' is being released for download on iTunes etc and CD for the first time on July 27th, 2009 (http://cherryred.co.uk/atomhenge/product.php?display=ATOMCD1015). Steve & Jerry have also rejoined punky space-rock legends Hawklords (www.hawklords.com). Check out DanMingo's live You Tube videos on www.youtube.com/danmingo
The lyrics and credits, links to creatively related websites and Steve's full biography are all in the Blogs. DanMingo's triumphant debut at London's Cafe De Paris can be seen in its entirety on www.youtube.com/danmingo. This album is dedicated to the memory of its co-producer, John 'Boffin' Waterhouse, who passed away on August 30th, 2008.
Without Boffin, this album would have never happened.
Singer Steve Swindells' new double solo album 'Demos For The Departed' is also now listenable/downloadable at www.isound.com/steve_swindells_gb
Friday, August 28th, 2009 Steve Swindells joins Hawklords for benefit gig PRESS RELEASE
The Hawklords Headline An All-day Barney Bubbles Benefit Memorial Concert
The 229 Club, 229 Great Portland Street, London, W1W 5PN
Sunday 29th November, 2009 from 2 – 10pm
On 14th November 1983, the art and music worlds lost one of their most important and innovative figures with the death of the legendary graphic designer Barney Bubbles. His work as Hawkwind’s cover artist and stage-set creator established him as key figure in the Ladbroke Grove/Notting Hill counter-culture scene, whilst his subsequent work with Stiff Records (including his designs for Elvis Costello’s album covers and his fractured Kandinsky-esque cover painting for The Damned’s Music For Pleasure LP) established his relevance to the punk/new-wave generation. He directed the seminal video for The Specials’ ‘Ghost Town’ single, worked as art director at Friends magazine and was an early champion of Pennie Smith, who was to become one of rock’s most lauded photographers.
“Barney was, as far as media direction of the youth of this country, probably the most important artist of our generation.” Douglas Smith, interviewed by Jonathon Green, ‘Days In the Life: Voices From The English Underground’.
“...one of the most important graphic artists of his time.” Will Birch, ‘No Sleep ‘Till Canvey Island – The British Pub Rock Scene’.
Barney Bubbles’ long-time friend and admirer, former Hawkwind saxophonist Nik Turner, has been instrumental in organising this memorial concert celebrating the life and achievements of this most singular of multi-media artists, with a view to setting up a foundation/annual award for innovative album cover design, and a memorial plaque for him...
Headliners THE HAWKLORDS, featuring Adrian Shaw, Alan Davey, Harvey Bainbridge, Jerry Richards, Martin Griffin, Nik Turner, Ron Tree, Steve Swindells and Terry Ollis will perform Hawkwind’s 1973 stage extravaganza, Space Ritual, up-dated to 2009, supported by The New Bubblettes dancers and lighting designs inspired by Liquid Len & The Lensmen.
The day’s extensive line-up also features key 70s Notting Hill band QUINTESSENCE, The Damned founder-member Brian James, fronting his own BRIAN JAMES GANG, Nik Turner’s INNER CITY UNIT and the band created by Barney Bubbles, THE IMPERIAL POMPADOURS.
Pentameters Players will perform their acclaimed staging of ROBERT CALVERT’s play, ‘The Stars That Play With Laughing Sam’s Dice’.
Also appearing during this memorial concert: JERRY FITZGERALD/LOL COXHILL’S ‘FRE-EX, TRIKIMIKI’S ‘3-D SPACE-WARP’, and D.J. JEFF DEXTER
www.hawklords.com
The 229 ticket hotline 0207 323 7229 * £20.00 advance, £25.00 door
For further information and interviews please contact: Ian Abrahams - 07722519266
Sunday, August 31st, 2008 John 'Boffin' Waterhouse John Waterhouse, better known as Boffin, lost his battle with Cancer on August 30th. We grew up to together in the Village of Saltford, near Bristol, in England.
He co-produced most of DanMingo's 'Leap Of Faith - The Prequel' with myself at Christchurch Studios in Bristol, and we will all miss his wit, charm, self-deprecatory humour, minute attention to detail, and, most of all, his brilliant engineering and production skills.
RIP Boffin, your suffering has gone the way of the angels. Enjoy that vintage Neve mixing desk on the other side!
Sunday, December 23rd, 2007 Men Don't Cry Men Don't Cry
When you hold your cards close to your chest
you're at best a bag of nerves.
Then you take a shot at those who care,
with the anger you reserve.
If you're critical of everything
then you need to look at you.
It's a sure-fire way to feel alone
if you don't give up the blues.
Men don't cry, they just fly away,
to a lonely place that's cold and hard and dry
Men don't cry, they just rue the day,
then carry on just staring at the sky.
By and by - it's just water from the soul,
you can look into the fire and feel you're gifted.
When you cry - you are climbing from a hole,
you're releasing all the hurt and then you're lifted...
Men don't cry. Men don't cry.
You have something in you, buried deep:
it's the need to show affection.
So you act like you don't need to show
what you feel about connection.
There is someone out there with a plan,
there is something that you need.
The child is father to the man,
but the sun will never bleed.
Men don't cry, they just fly away,
to a lonely place that's cold and hard and dry
Men don't cry, they just rue the day,
then carry on just staring at the sky.
Bye and bye.
Words & Music: Steve G Swindells (c) Copyright Control. 20.4.03
Recorded at Cabin Studios, Coventry,England. Produced by Steve Swindells. Engineered by Alf Hardy.
You found just what you needed
and it wasn't me.
I don't know why you came back.
You take me for a ride,
to ease the hurt inside
But there's someone that you lack.
I've been thinking how it seems,
lost in a field of dreams.
What lonely road led you astray?
Could you lead me into heaven,
would you need me like you say?
Could you lead me into heaven,
would you need me like you say?
Why should you stay?
Why should you stay?
I don't believe you know the way.
You found that magic feeling,
with someone else.
Then you tried to cause them pain.
You're losing everything
and I can only sing
of the feelings that remain.
I've been thinking how it seems,
lost in a field of dreams.
What lonely road led you astray?
Could you lead me into heaven,
would you need me like you say?
Could you lead me into heaven,
would you need me like you say?
Could you lead me into heaven,
would you need me like you say?
Why should you stay?
I don't believe you know the way.
Words & Music: Steve G Swindells (c) Copyright Control. 3.8.03
Recorded at Cabin Studios, Coventry. Produced by Steve Swindells. Engineered by Alf Hardy.
When the fickle finger beckons you don’t seem to have a choice,
then you’re taken in a second by a different kind of voice...
It says listen to the wisdom, listen to the angels,
listen to the spirit of the age.
Returning from a black hole - now the world has spun its web, it’s a fly on the wall documentary.
Returning from the black hole - all the memories turn to dust and they’re dancing in the dark for your re-entry.
Now Voyager... now voyager, the universe is in your soul.
Now Voyager... now voyager, returning from the black hole.
Don’t you lose control. Now Voyager. Don’t you lose control. Now Voyager.
There are theories about chaos, there are theories about hate,
but the thoughts that really matter are the one’s that come too late...
They say listen to the wisdom, listen to the angels,
listen to the spirit of the age.
Returning from a black hole - now the world has spun its web, it’s a fly on the wall documentary.
Returning from the black hole - all the memories turn to dust and they’re dancing in the dark for your re-entry.
Now Voyager... now voyager, the universe is in your soul.
Now Voyager... now voyager, returning from the black hole.
Don’t you lose control. Now Voyager. Don’t you lose control. Now Voyager.
Listen to the wisdom, listen to the angels,
listen to the spirit of the age.
This is a finished mix produced by Steve Swindells & Zeus B Held at his old studio in WIllesden Lane in North West London. This was the first DanMingo track, although Jon Moss was the only other musician - Steve played and sang everything else. We think it would sound great live.
I don't know where you are,
you keep me waiting -
sending signals from afar.
Dark star.
And the doors are left ajar, but something fated -
makes you hard to reach as Mars... Dark star.
Dark star - so many hidden mysteries,
Dark star - so tell me what is your history?
Dark star.
We have been through something heavenly, we have been through something deep, dark star, dark.
We have felt the closest passion, but was it ever ours to keep?
Dark star, dark, dark star.
Dark star - so many hidden mysteries,
Dark star - so tell me what is your history?
Dark, dark, dark,, dark star.
All your hidden dreams, all your pain and suffering, everything you seemed to be.
You're my saviour, you're my curse - is there anything worse than denial? No, no...
I'm still waiting for you to open up your thoughts - is there anything, anything, anything I ought to know?
Dark... dark... dark star.
Words & Music: Steve G Swindells (c) 2002. Copyright Control.
This is a rough mix of the first song that DanMingo recorded at Christchurch Studios in Bristol, England, in 2002. Produced by John Waterhouse and Steve Swindells. Backing vocals: Mooz.
Friday, December 7th, 2007 Killing You With Kindness As 'Leap Of Faith' expands into a DOUBLE
ALBUM, here's another new song. The double will be complete by the time DanMingo are featured on the iSound homepage for a week over Xmas from Dec 24th. And the band's Xmas gift to YOU is that you can download the whole shebang for just £7.99 for a limited period! Enjoy!
Killing You With Kindness
Thinking about leaving you, you know it’s on the cards.
Wonder if I’d you’d really mind if I caught you off your guard.
It seems that you don’t like you don’t like me; acting mean to keep me keen?
But how much do you like yourself, could you wipe the memory clean?
I’m killing you with kindness, to see if you’ll come through.
Killing you with kindness, but I don’t know what to do.
What to do... about you... what to do.
What to do... about you... what to do, what to do...about you.
We’ll have to talk about it, I can’t just drift away.
If you were seeing someone else, I’d say ‘goodbye, that’s OK.’
‘Cos then I’d be let off the hook that I’d hung myself upon,
the easy way out of a book that I’ve read for much too long.
I’m killing you with kindness, to see if you’ll come through.
Killing you with kindness, but I don’t know what to do.
What to do... about you... what to do.
What to do... about you... what to do, what to do...about you.
Words & MusicSteve G Swindells (c) Copyright Control
DanMingo frontman Steve grew up in the Bath/Bristol area and briefly attended The West Of England College Of Art before dropping out to join local band Squidd (http://www.rodneymatthews.com),playing keyboards and singing backing vocals. The band toured extensively in the obligatory Transit van, supporting bands such as Deep Purple, Wishbone Ash, David Bowie (actually the van broke down, so they never made their slot, but got to see Bowie performing Ziggy Stardust live at the end of Torquay pier), Slade, Roxy Music, Black Sabbath and many more. They also appeared on some obscure TV show on BBC Bristol in '72 in which Mr Swindells wore football boots, fish-net stockings, sequined knickers, a black cloak and an afro wig whilst playing his colourful Farfisa organ!
Having moved to London to live in a squat in Camden in '73, Steve landed his first music publishing deal with Chappell Music (now Warner Chappell) and his first solo record deal as a singer/songwriter with RCA, which resulted in the album Messages, which is now something of a collectors item. It is not, however, particularly noteworthy, due to the dreadful production by Mark Edwards, who was a posh, gay, alcoholic junkie who was obsessed with Steve (who was not exactly ugly) and who was also a violent, control freak. Edwards' constant advances and alcohol and drug-fuelled, violent outbursts were spurned and Steve was kidnapped from his evil clutches by his best friends Tim Clark (who was more recently the Executive Editor of Wallpaper* magazine before his untimely death from cancer in 2006) and Tim's then girlfriend Caroline Guinness, after Edwards had blown Steve's deal with RCA by sweeping everything off the managing director's desk with his umbrella in a drunken/druggy rage. Steve's second album 'Swallow' was therefore shelved. WELL DONE Mark (the words 'karma', 'bastard' and 'die' spring to mind), but Steve does possess what is possibly the only surviving copy - a test pressing with a printed label. Could be worth a few quid one day! On hearing of his plight, Steve's phenomenal mother Audrey jumped on a train to London from Bath, grabbed Steve's copy of his management 'contract', went straight to a solicitor and was reassured that it was totally invalid and not worth the paper it was written on. So fuck you Mark-Gandalf-Edwards!
In '76, after a couple of years of abject poverty, Steve landed the job of keyboard player in the hugely successful band Pilot, who'd had number one singles with the songs Magic and January. This was because his friend Billy Lyall (formerly with The Bay City Rollers) had decided to leave Pilot and had recommended Steve for the job. He suddenly found himself being picked-up from his bedsit in Notting Hill by limo to perform in front of thousands of screaming girls and to record the album Three's A Crowd (produced by Alan Parsons) in Abbey Road, Studio Two (where some obscure group called The Beatles had been known to record occasionally). Unfortunately, this was to be Pilot's swan song, which didn't really bother Steve, as they seemed to be more interested in their expensive sports cars than serious songwriting, passion, or artistry. They were, at least, excellent musicians.
Sadly, Billy Lyall died from AIDS in the eighties. A large number of Steve's close friends, lovers and acquantances also died from AIDS. Thank god for the combi drugs of these last few years - enough grief already.
In '78, Steve's best girl friend Caroline Guinness found herself running the office of the management company who looked after Motorhead and Hawkwind, amongst others. Hawkwind needed a keyboard player; so Steve went to audition in Devon, got the job on the spot and went straight into recording the 'Hawklords' album 'Twenty Five Years On' with them, which was followed by a major UK tour. Steve left the band in late '79 because they no longer had a record deal and had no money. He subsequently discovered that Dave Brock (the self-appointed main-man of the band) had mixed loads of secretly recorded 'jam sessions' and had released them as tracks by himelf or under various pseudonyms on albums on obscure, indie labels. Classy! All written and performed by you were they Dave? One does not think so. Steve was at least able to get his bona fide 100% writing credits for 'Shot Down In The Night, which he wrote for Hawkwind and which has appeared on loads of Hawkwind CDs. Steve's version on his 1980 album 'Fresh Blood' is waaay harder, more dramatic and simply better than Hawkwind's version. In both the battle of the butch and the artistic, the queer won. Curiously, two of the same musicians played on both versions! Clue: it wasn't the bassist.
Slight rewind…. in '79, Steve had recorded some demo's with Simon King (drums), Hugh Lloyd Langton (guitar) and Nic Potter (bass) and was taken to New York for his first visit by an Italian Count (as you do). Caroline Guinness was by now running the offices of Trinifold, the management company that looked after The Who. Steve phoned Bill Curbishley - the boss of Trinifold - when he arrived in New York, to ask him to 'open a few doors' for him, and was signed to Atco/WEA by Doug Morris, the president of the company, within three days (Morris was until recently president of Universal Music) for a massive sum of money… on paper. Trinifold then took on Steve's management. David Bowie (himself), Bruce Springsteen's and Meatloaf's producers all offered to produce the album but Steve ended-up producing it himself (were the mega-producers' fees too high?) at Sawmills Studio in Cornwall. It was re-mixed by Bill Price, who'd worked extensively with one of Steve's favourite bands, The Clash. Entitled 'Fresh Blood', it was released worldwide in 1980 and garnered rave reviews internationally and reached number three in the US airplay charts in its second week of release, with no marketing at all. Why was there not a marketing and publicity blitz on the back of such a massive radio response? The word 'useless' springs to mind. Unfortunately, the following week was also the US radio 'ratings period', so the album subsequently sank without trace and that was that, apart from Roger Daltrey recording four of Steve's songs over three of his solo albums in the next few years. Steve's option with Atco was not taken up, which, strangely, coincided with him being dropped by Trinifold managment, despite having recorded some excellent demo's with what was to later become the legendary Live Aid rythmn section (from Big Country), and Simon (Pete's brother) Townsend on guitar. Nice.
So, totally disillusioned with the music mafia (although he never stopped writing and recording songs), Steve decided to become a club promoter, having visited the Gargoyle Club at 69 Dean Street in London's Soho on several, memorable occasions in '82 and '83. This was a hotbed of visionary, ground-breaking, one-night clubs like The Language Lab, The Mud Club, The Batcave, The Dirt Box, The Comedy Store and Steve's very own Lift Club, which opened there in late '83 with DJs Mel and John Richards. The Lift was the first-ever gay club in the UK to play streety, black music to a genuinely mixed black/white/gay/male/female/funky crowd and it became a major success story, evolving into a legendary landmark throughout the '80s, ending up at The Embassy club in '89.
Steve soon teamed-up with Kevin Millins (who promoted the wildly successful Asylum club night at Heaven) to bring their quintissential one-nighter Jungle to the world in late '83. This was held at Busby's (now Mean Fiddler 2) on Charing Cross Road every Monday and was an instant hit, attracting more than a thousand people every week, with Kiss FM's Colin Favor and the infamous Fat Tony on the decks (in his first-ever, proper, long-term DJ job). Jungle became another benchmark of gay/mixed, 80's cool and attracted a whole host of artists, pop stars, media-types, fashionistas and movers n' shakers including Culture Club, Frankie Goes To Hollywood, Vivienne Westwood, Bronski Beat, Mica Paris, Sade, Erasure, Dylan Jones, Sheryl Garrett, Pam Hogg, Robert Elms, Steve Strange, Marilyn, Paul Gambaccini, MP Chris Smith, Peter Tatchel, Marc Almond, Jellybean Benitez, John Maybury, Leigh Bowery, Bernstock & Spears, Rifat Ozbek, Jonathan Ross (his wife-to-be Jane used to be Fat Tony's record box carrier, so she could get in free… under-age!), John Galliano, Mark Moore, Jean-Paul Gaultier, The Pet Shop Boys, New Order and many more. Even Janet Jackson came once, but no-one recognised her. And the 'Indian' from The Village People once tried to pick-up Steve there. Was that the ultimate, gay-ghetto accolade? No. Ironic maybe, but Jungle didn't DO gay ghetto - that was the whole point. Then there was that triumphant Dusty Springfield tribute show by Fat Tony. A benchmark in, erm, most-podern ronicy! Oh! Whaddayamean U don't geddit? This is not a press release. Well, erm, I guess it's part of one (assumes foetal position in corner of room, virtually naked, whilst being photographed by Brian Adams), even though though this a blog, so therefore, one is excused.
Anyway, where were we? Yep, Jungle was also the first club in London to play deep house music from the underground, black, gay clubs of Chicago in '85. The night ran successfully until '89, when it moved to The Rex Club in Paris every Friday for a year (that's a whole story in itself), only to close when Steve and Kevin terminated their business partnership. Musical differences, naturally…
Their company, The Pure Organisation, was also responsible for Bad, which was a huge success every Friday in Heaven's Soundshaft in the late 80s/early 90s. The DJs were Vicki Edwards and the late, lamented Breeze, playing soulful, funky, vocal house and NYC-style garage to a wildly enthusiastic, mixed crowd. Vicki is currently resident at that most excellent and long-running institution Queer Nation.
The Pure Organisation also organised parties; Prince, Madonna, Warner Music, The Face and Time Out magazines were amongst their clients. Prince's after-show Love Sexy parties, Time Out's 25th and The Face Magazine Party in The Limelight (before it opened) were particularly fabulous. Ask anyone who was there.
Back in '85, Steve had embarked on another innovative project called Downbeat in a tiny piano bar in Soho's Frith Street. This was a jam session for singers and musicians, with Eric Robinson on the piano (because he knew millions of songs) and Jon (Culture Club) Moss on the bongos! Steve used to just do a bit of improv on the piano to warm things up. It was the first of its kind and people - many of them seriously well-known - got up and spontaneously sang soul, pop, dance, reggae, funk, (black) showtune or jazz classics. It was packed every thursday. It then moved to the larger Dakota Bar at Heaven for a while, before upscaling yet again to the Wag Club (where the entire Whitney Houston Band joined the jam one memorable night), then found its spiritual home at Browns, the celebrity haunt in Covent Garden, where it packed 'em in until the club burnt down in '89 (?). George Michael rarely missed a night there, (although he never sang with the band) and the entire Stevie Wonder band amazed the crowd by jamming one night - whilst Mr Wonder listened. Other regular performers and visitors included Mica Paris, Victoria Wilson James and Kim Mazelle from Soul II Soul, Juliet Roberts, Taka Boom, Sarah-Jane Morris, Angie Brown, Mary Pearce, Leee John, De La Soul, Alexander O'Neal, Chaka Khan, Jimi Sommerville, Stephen Dante, Robert Owens and many more. The concept then got copied by other promoters, so Steve upped the ante by re-naming the jam session Groove and moving it to Sunday nights at WKD in Camden, where the mantra was 'No known songs allowed'. In other words, the band and the singers had to make up songs on the spot, so it was totally unpredictable, entertaining and exciting. GROOVE was an instant success and soon switched to the Friday night, where it was packed every week for over three years.
Following a song-writing sojourn in the West Country, Steve returned to London in '95 wearing a new hat - as a journalist. He wrote the internet column for Time Out magazine under the name Spyder from '95 until '99. He also wrote the Sidelines gossip column for TO on a few occasions. This led to him writing a lifestyle/gadget column (well, they asked) for Attitude magazine. He then became the editor of Attitude Interactive, the online version of Attitude magazine, in '97. Then Steve was struck by a mystery illness.
Fast-forward>>>>>>>>>>>>>>>>
Steve has been recording extensively over the last few years with his band DanMingo, which features him on keyboards and vocals, Jon (Culture Club) Moss on Drums, Winston (Massive Attack) Blissett on bass and Jerry (Hawkwind) Richards on guitar. Steve has also contributed extensively to Earth Lab, Jerry Richard's ongoing space-rock super-group project and is mentoring, writing with and recording with several conscious young rappers from his neighbourhood.
DanMingo make their debut headlining at Cafe Rocks at London's Cafe De Paris on Friday Sept 7th. With the band's collective age hovering dangerously close to 200, this may well qualify as an entry in The Guinness Book Of Records as the oldest live debut by a rock band ever!
DanMingo have featured regularly in the top ten most-played on the hugely successful US music web site www.isound.com, where they have received more than 40,000 plays and where their 'prequel' album Leap Of Faith is available to download for just $7.99. There are also five free DanMingo downloads available there.
Downloads: www.isound.com/danmingo
Official website: www.danmingo.com
Steve Swindells myspace: www.myspace.com/steveswindells
Jon Moss's myspace: www.myspace.com/jonmossofdanmingo
Saturday, March 24th, 2007 I Feel No Pain - original lyrics. Apologies for posting the slightly ammended lyrics to Daniel Pearce's version of I Feel No Pain as sung by him at The Voices For Darfur concert in 2004 at the Royal Albert Hall. I changed the lyrics very slightly to suit the occasion. Here are the original lyrics, as sung by me on here!
I Feel No Pain
You lived up to expectations when you walked out of my life,
I accept your resignation, it won’t cut me like a knife.
All that hatred that you harbour may not be pointed at me,
(but) As your attitude got harder, I just had to set you free.
I feel no pain.
You cannot hurt me.
I am invisible,
dancing naked in the rain.
I feel no pain.
You cannot touch me.
You’re in the wilderness,
I am a warrior again -
I feel no pain.
How could love be so opressive when I gave you everything?
You would never be expressive, mostly cold and questioning.
The flesh was always willing but the spirit somehow died.
Tell me what did all the killing - all your anger and your pride?
I feel no pain.
You cannot hurt me.
I am invisible,
dancing naked in the rain.
I feel no pain.
You cannot touch me.
You’re in the wilderness,
I am a warrior again -
I feel no pain.
Keyboards and vocals: Steve Swindells
Drums: Jon Moss
Guitars: Jerry Richards
Bass: Winston Blissett
All the tracks are good, rough mixes.
All songs registered with MCPS & PRS.
Alien
I sacrificed an alien… I sacrificed an alien… I sacrificed an alien…
I sacrificed an alien, in the shrine of my computer.
My temple was your body, acting out the Kama Sutra.
We made it bacchanalian and lit a magic spark,
but even when I saw the light, you left me in the dark.
Since I set you free
You’re an alien to me.
You wiped out all my memory
You’re an alien to me.
UFO, I FO, EVERYBODY FO FO
(UFO, I FO, EVERYBODY FO FO)
UFO, I FO, EVERYBODY FO FO
(UFO, I FO, EVERYBODY FO FO)
You activated pheromones, released the seratonin,
As I listened to your darkened voice and thought about disowning you.
But something in you held me close, as if you’d hypnotised me.
You wanted me to be a ghost of my former self, unwisely.
Since I set you free
You’re an alien to me.
You wiped out all my memory
You’re an alien to me.
UFO, I FO, EVERYBODY FO FO
(UFO, I FO, EVERYBODY FO FO)
UFO, I FO, EVERYBODY FO FO
(UFO, I FO, EVERYBODY FO FO) X2
I sacrificed an alien… I sacrificed an alien…
Guest Lead guitarist Kit Morgan (he's currently playing with Jethro Tull). Recorded at Christchurch Studios, Clifton, Bristol. Produced by Steve Swindells and John Waterhouse.
Oh My God
Oh my god...I have realised,
I’ve been waiting for this moment to arrive.
Oh my god, I am not paralysed,
but I’m wondering how I ever survived...
Without you, on my god,
I could never find the feeling,
every number would be odd...oh my god...
Without you, I am nearly so alive,
but I know I’ve got to look before I leap.
Oh my god, I would drink then somehow drive,
without testing the water, and the company I keep.
Without you, on my god,
I could never find the feeling,
every number would be odd.
Oh my god, I am falling into even,
could you tell me you’re believing, would you tell me before leaving?
Oh my god - what is going on? Something good and something strong? I really hope so, I really hope so...
Oh my god...I have realised,
I’ve been waiting for this moment to arrive.
Oh my god, I am not paralysed,
but I’m wondering how I ever survived...
Without you, on my god,
I could never find the feeling,
every number would be odd.
Oh my god, I am falling into even,
could you tell me you’re believing, would you tell me before leaving?
Steve G Swindells. 25.11.02.
Recorded at Christchurch Studios, Clifton, Bristol.
Produced by Steve Swindells and John Waterhouse.
Walking On Water
Where did you lead me, why did you take me to this place?
How could you leave me, was it something in my face?
How could you bleed me, where did you go without a trace?
Do you still need me? Take me right on back to bass.
Walking on water.
How do you chase the waves away?
Waiting is torture, you never know when you willl go right back to...
Walking on water.
How do you chase the waves away? Waiting is torture.
You never know when you willl go right back to (walking on water).
You never know when you willl go right back to bass.
Can you still reach me, are you so sure you’ll find a way?
What will you teach me when there’s nothing left to say?
Are you beside me, have you been dancing in the waves?
Jump on and ride me and I’ll take you back to bass.
Walking on water.
How do you chase the waves away?
Waiting is torture, you never know when you willl go right back to...
Walking on water.
How do you chase the waves away? Waiting is torture
You never know when you willl go right back to (walking on water),
You never know when you willl go right back to (walking on water),
You never know when you willl go right back to bass.
I’ll be waiting right down by the shore, I’ll be reaching out to you.
If you gave in you would be here too, and we might just win the race right back to bass...
Walking on water.
Stephen J Meade/ Steve G Swindells (c) 2001
You're Strange
You're no ordinary person
you live in the shadows
and look from the outside
at drama and suicide
You're strange - but don't change
You're strange - but don't change
You're no ordinary person
you like deep situations
with the method of madness
you talk to the other side.
You're strange - but don't change
You're strange - but don't change
You're no ordinary person
you see visions of the future
but the past is your diversion
has the hurt ever really died?
You're strange - but don't change
You're strange - but don't change
Ordinary person, extraordinary person
you take me on excursions through your mind
Ordinary person, extraordinary person
you take away the curse that love is blind
You're strange - but don't change
You're strange - but don't change
Steve G Swindells (c) 2002
It’s All About Oil
Demolition derby going on in my back yard.
Eight to five, it beats my brain, when life is getting so hard.
Home was once a haven, but now I see the ravens
flying through the dusty sky, to drop their calling cards.
It’s all about oil, we are not vegetable,
we’re talking mineral when blood begins to boil.
It’s animal, it’s all about oil.
It’s criminal, so who are you loyal to? Hey you!
Push, push in the bush. Said push, push in the bush.
Repetition hardly took the wind from your sails,
day and night, you’re out of sight - your program never fails.
Sending you a lifeline - pouring through your pipeline.
Wonder if this phoney war might lead to peace of mind?
It’s all about oil, we are not vegetable,
we’re talking mineral when blood begins to boil.
It’s animal, it’s all about oil.
It’s criminal, so who are you loyal to? Hey you!
Push, push in the Bush. Push, push in the Bush.
Hey you - who are you talking to?
Practising your diplomacy with your own brand of hypocrisy.
You’re fighting the hostility of someone’s minor deity,
one man’s meat is poison - who owns your country’s soil?
Hey you! It’s all about oil.
Push, push in the bush. Said push, push in the bush.
It’s animal... vegetable... mineral...
It’s all about oil...
Steve G Swindells. 18.9.02
My Secret Buddha
Going down through the garden
to go barefoot in the sand.
I'll walk and think,
not talk and drink,
run water through my hands.
Going down through the garden
where the star curtain glows.
I'll walk and think,
not talk and drink...
my secret Buddha knows
What I'm going through,
where I am going to,
what I'm gonna do,
will it be with you?
My secret... my secret Buddha. We're gonna do each other good, my secret Buddha.
Going back to a future
where the past is understood.
We'll talk and drink,
then walk and think
and do each other good.
Going back to the present,
pulling thorns out of a rose.
We'll talk and drink,
then walk and think,
my secret Buddha knows
What I'm going through,
where I am going to,
what I'm gonna do,
will it be with you?
My secret... my secret Buddha. We're gonna do each other good, my secret Buddha.
My secret... my secret Buddha. We're gonna do each other good, my secret, secret Buddha.
Steve G Swindells. Koh Samui, Thailand. 8.5.03
Recorded at Cabin Studios Coventry. Produced by Steve Swindells.
Amsterdam
You're asking what is going on, with all this heartache, loss and pain
(is it) punishment for deadly sins and all the hurt you caused again?
And what about the darker forces, different courses you could blame? They live in higher places but their faces have no name.
Amsterdam... just wave your hand,
shine a light across the land.
Amsterdam... it was not planned
just something you now understand was possible and real
and something you still feel. Amsterdam...
You're asking what became of faith, those giant steps that you fell down,
when tears became a waterfall that washed you until you were drowned.
And where are all the phoney healers, cheats and dealers you could blame?
They live in higher places but their faces have no name.
Amsterdam... just wave your hand,
shine a light across the land.
Amsterdam... it was not planned
just something you now understand was possible and real
and something you still feel. Amsterdam...
Steve G Swindells (c) 3.1.02.
Recorded at Christchurch Studios, Clifton, Bristol.
Produced by Steve Swindells and John Waterhouse.
Angel
Angel... angel...
Are you calling, are you falling?
Angel, angel...angel
Lost in another lifetime
you once held all the cards,
Hungry for power and pleasure,
I wonder just how hard.
You were tempting, you were teasing,
devil dancing with the stars - who never knew you.
Then their faces flew away, way hey.
You were waking... and faking every day.
Angel, you fell out of the sky
Are you too dark to be saved?
Angel, you spun your web of lies
Are you coming out to play with me?
So are you, angel? Way hey
Where did you find your saviours -
in crowded, backstage bars?
Praying for bad behaviour
in the backseats of their cars?
Then their faces flew away, way hey,
You were waking... and faking every day.
Angel, you fell out of the sky
Are you too dark to be saved?
Yeah Angel, you spun your web of lies
Are you coming out to play with me?
Angel, you fell out of the sky (way hey)
What's it all about, are your wings all worn out?
Angel, will you ever learn to fly again?
Wake without warning
Then make it through the day
To wild, enchanted evenings
Where spirit knows that laughter pays
Angel, you fell out of the sky. Angel.
You were waking and faking every day, way hey, hey angel, way hey.
You were tempting, you were teasing, you were cheatin' - a yay a yay angel, way hey. You never can say die. Die.
Take me to the mourning time, yeah angel... take me to the mourning, take me to the mourning, angel...
Jerry Richards, Jon Moss,Steve G Swindells, Winston Blissett. (c) 2002.
The Ballad Of The Sad Cafe
The mysterious stranger or the gullable fool? In the school of broken heartbeats, from Brazil to Puerto Rico and Paris in the spring; the things that bring us happiness, the singers in the winds of change - jazz-dancing slowly in the lamplight: any place where there’s lowlife.
Barcelona...Soho... on your own in Mexico: black coffee... always the ballad of the sad cafe.
Always the ballad...of the sad cafe.
Always the ballad...of the sad cafe... cafe.
Where the dark beauty holds the key to bitter-sweet reflections and the fantasies of scenes that might have been, if times had changed. The stranger remains in a pool of light, swimming into mysterious caves to save his love from drowning.
Black, always black, always the ballad, black coffee, black, always the ballad, black, always black, always the ballad of the sad cafe.
Always the ballad...of the sad cafe.
Always the ballad...of the sad cafe.
Always the ballad...of the sad cafe.
Always the ballad...of the sad cafe.
Went down to the village with a pocket full of small change,
checked out all the prisoners, the poets and the deranged.
Walked into a bar and found a smiley conversation.
Talked about unwritten rules of ghetto situations
Wondered why some people wanna make you what they want,
when all we ever needed was the green light - not you can't.
I drank some more then wandered off when everyone went home,
appreciated walking through the lonely streets alone.
More noise for boys, you're dying to go yah yah.
Something tells me three to go and four to show me wah wah.
More noise for boys, more noise, you're dying, you're dying to go yah yah.
Found myself a night bus and a sleazy magazine.
Wondered if the guy behind might see it then turn mean.
Leaned into my head space with a bag of stolen dreams,
then got back to my own place with some sense of self esteem
Turned the lights down low and burned a CD of my thoughts
into those pictures of my playground - some were hot and some were nought.
Somewhere there was pleasure and maybe something more,
a hint of darker secrets, all that's fair in love and war.
More noise, for boys, you're dying to go yah yah.
Something tells me three to go and four to show me mwah mwah.
More noise for boys, more noise.
You're dying, you're dying to go yah yah.
I try to sleep then toss and turn the facts into pulp fiction,
to places where the case is for mad love and addiction.
Don't wanna wake, don't wanna make the same mistakes again.
The past is just a time machine, the future is your friend.
More noise, for boys, you're dying to go yah yah.
Something tells me three to go and four to show me blah blah.
More noise for boys, more noise. You're dying, you're dying to go yah yah.
Steve G Swindells (c) 17.4.02
Recorded at Christchurch Studios, Clifton, Bristol. Bass: Otto Williams. Backing vocals: Mooz.
Produced by Steve Swindells and John Waterhouse.
Fifteen Seconds
You're watching your TV thinkin' 'That should have been me.'
Devouring every tabloid since they told you we were android.
Then ringing radio stations seeking fame and denegration,
you're a star at karaoke but you never do the Hokey Kokey...
Drop, drop, drop dropping.
It's the game of the name and the name of the game.
Drop, drop, drop, drop dropping.
It's the name of the game and the game of the name...
Seconds.... it's fifteen seconds now.
Whatever Warhol said, you are better off instead
in fifteen seconds. Just kill 'em dead, in fifteen seconds. Just kill 'em dead.
You're taking to the highroad in a 4-wheel-drive-by limo,
A demon on the road to ruin, never winding down your windows.
Changing rooms and faces in a movie made on credit,
Always so dependable, you know they just won't geddit.
Drop, drop, drop dropping.
It's the game of the name and the name of the game.
Drop, drop,, drop dropping.
It's the name of the game and the game of the name...
Seconds.... it's fifteen seconds now.
Whatever Warhol said, you are better off instead
in fifteen seconds. Just kill 'em dead, in fifteen seconds. Just kill 'em dead.
You spin out your relations to the public while you're shining
It's really not your baggage, someone else's you're refining.
With a global short attention span, you sound your bite then you're the man
with a fifteen second burning fuse, you use and reap, then burn and lose.
In fifteen seconds...
Steve G Swindells, Jon Moss, Jerry Richards & Winston Blissett (c) 28.2.02
Recorded at Christchurch Studios, Clifton, Bristol.
Produced by Steve Swindells and John Waterhouse.
------------------------------------------
Extra track: Just Steve and a Steinway Concert Grand piano.
I Feel No Pain
You lived up to expectations when you walked out of my life.
I accept your resignation, it won’t cut me like a knife.
All that hatred that you harbour may not be pointed at me,
but as your attitude got harder, I just had to set you free.
I feel no pain.
You cannot hurt me.
I am invisible,
dancing naked in the rain.
I feel no pain.
You cannot touch me.
I am invisible.
I am a warrior again...
I feel no pain. I feel no pain.
How could love be so opressive when I gave you everything?
You would never be expressive, mostly cold and questioning.
Too much blood was spilling, but the spirit never died.
Tell me what did all the killing - all your anger and your pride?
I feel no pain.
You cannot hurt me.
I am invisible,
dancing naked in the rain.
I feel no pain.
You cannot touch me.
You are a warrior, I'm in the wilderness again...
I feel no pain. I feel no pain.
Steve G Swindells (c)2003
Proced by John Waterhouse and Steve Swindells at Christchurch Studios.
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