It’s Monday — and you know what that means:

Time for Monday’s Music Moves Me!

And that means another round of ROCK ‘n ROLL HEAD TO TOE

The LIPS edition!

This LIPS edition of Rock ‘n Roll Head to Toe’ [RnR H2T] has been a true labor of love. There is such an abundance of songs with the word Lip or Lips in their title I’ve had to split this edition into two parts. This week’s playlist is really gonna make you want to move, to dance and sing, to rock and bop and get your groove on. If you aren’t in a good mood before you start listening to these Lip songs you sure will be the moment you hit Play. This compilation is just chock full of damn good music!

And the cool thing is the different genres work brilliantly together, seamlessly moving from track to track. I think you all will genuinely enjoy this one. I’ve listened to it multiple times while working on the song & artist info sections and I’m still really diggin’ it so hopefully you all will too.

As always, my entire playlist is at the beginning, before any of the song/artist/band info is presented. And please don’t be put off by the length of my info-fun-facts section. I don’t expect folks to go through and read it all…or any of it. The main point of Monday’s Music Moves Me is the music, right? If you’d like to read about the songs and the bands who have brought them to us, there is some interesting info and cool backstories to many of these songs. I love to learn. I like discovering things I didn’t know about some of my favorite bands and with this particular playlist there are several bands I never even heard of before diving into this RnR H2T endeavor. I find myself digging deep, searching online for reviews and interviews and yada yada. I can go down rabbit hole after rabbit hole chasing down info –for HOURS at times– so, seriously, don’t fret or feel obligated to read everything I’m presenting. I enjoy sharing this stuff and it’s fun to hear your opinions and have a little dialog back and forth in the Comments section, but frankly, I do this for me…because I love doing it.

Now, are you guys ready for some good music? Here is Part 1 of the LIPS edition. Ten songs in a row. Just hit play, crank up your speakers and enjoy!

 

OUR LIPS ARE SEALED by The Go-Go’s

“Our Lips Are Sealed” is a song co-written by Jane Wiedlin, guitarist of the Go-Go’s, and Terry Hall, singer of the Specials and Fun Boy Three. It was first recorded by the Go-Go’s as the opening track on their 1981 album Beauty and the Beat and was their debut American single in June 1981. The single eventually reached the top 5 in Australia and Canada, and the top 20 in the United States. Originally written and performed with three verses, the song appears in an abbreviated version on Beauty and the Beat. Most of the song’s vocals are performed by lead singer Belinda Carlisle, with co-writer Wiedlin singing the bridge.

Record World described the song as being as “innocent and infectious as pop music can be”, with a “steady, pulsating dance beat” and “candy-coated keyboard riffs”.

In a Songfacts interview with Wiedlin, she told the story: “In 1980 we were playing at The Whisky on Sunset Strip, and The Specials were in town from England. They came to see us, and they really liked us and asked us if we would be their opening act on their tour. I met Terry Hall, the singer of The Specials, and ended up having kind of a romance. He sent me the lyrics to ‘Our Lips Are Sealed’ later in the mail, and it was kind of about our relationship, because he had a girlfriend at home and all this other stuff. So it was all very dramatic. I really liked the lyrics, so I finished the lyrics and wrote the music to it, and the rest is history. And then his band, The Fun Boy Three, ended up recording it, too – they did a really great version of it, also. It was like a lot gloomier than the Go-Go’s’ version.”

Fun Fact: In 1983, Hall’s band Fun Boy Three released their version of “Our Lips Are Sealed”. Issued as a single, the track became a top-ten hit in the UK, besting the recording by the Go-Go’s which only made it to No. 47 in the UK.

This was the first hit for the Go-Go’s, who started as a punk band in the late ’70s, but became pop superstars with the release of their first album, Beauty and the Beat. Unlike most other female pop groups, the Go-Go’s wrote their own songs and were serious musicians. Despite their pure pop sound, they had a confidence and attitude that gave them lots of credibility and set them apart from other bands on the MTV network, which was still in its initial stages of development. It was MTV that really broke the song because many radio stations were reluctant to put an all-girl band on the air.

In America, this was released as a single in the summer of 1981 around the same time as the Beauty and the Beat album. It made a very slow climb up the charts as the group toured with The Police (The Go-Go’s were signed to IRS Records, managed by Miles Copeland, the brother of The Police drummer Stewart Copeland), reaching #20 in December. The next single, “We Got the Beat,” caught on faster, rising to #2 in April 1982.

Fun Fact: Beauty and the Beat became the first album by an all-girl band to hit #1 in America, where it stayed for six weeks. The album officially turned 40 a few years back, in 2021, and still held the unique distinction of being the only number one Billboard album by an all-female band who wrote their own material and played their instruments. To commemorate the milestone Beauty and the Beat was re-released as a limited edition pink vinyl with a different cover art.

The music video was directed by Derek Burbidge, who did the early videos for The Police. It’s low-budget but effective, showing the band performing the song in a small club and also having carefree fun outside on a sunny day. For much of the video they are playing around in a fountain, a trope later popularized in the opening credits of the TV series Friends.

When they shot the video, there was no real concept. They rented a Buick convertible that Belinda Carlisle drove around Los Angeles with her bandmates in tow. When Wiedlin sings her part, she’s sitting in the vehicle, which is parked in front of a lingerie shop on La Cienega Boulevard. Carlisle didn’t feel like getting out, so you can see her ducking down in the front seat. As for the fountain scene, that was shot at the Electric Fountain at Santa Monica and Wilshire Boulevards. They figured if the cops came, it would make for good footage, but none did.

Fun Fact: Jane Wiedlin sings the “hush, my darling” interlude on this song. She was a stalwart backing vocalist in the group but was never allowed to sing lead. When she asked to do lead vocals on “Forget That Day,” a song she wrote for their third album in 1984, she was rebuffed and left the group before the album was completed. The band didn’t last much longer, breaking up in 1985 before releasing another album.

Fun Fact: The Go-Go’s played this on Saturday Night Live when they were the musical guests for the November 14, 1981 episode. They imbibed backstage before the performance, which they realized was a mistake when they took the stage. According to Belinda Carlise’s autobiography she admitted the performance was terrible and said they were “under the influence of substances” at the time. Imagine that!

I discovered a cool article on the Mental Floss site. Check it out: 10 Facts About The Go-Go’s That Can’t Be Beat by Kristy Puchko

 

 BITE YOUR LIP (GET UP & DANCE) by Elton John

“Bite Your Lip (Get Up and Dance!)” is a song written by British musician Elton John along with lyricist and longtime collaborator Bernie Taupin. It is a lively rock and disco track that closes Elton John’s 1976 double album, Blue Moves. While the album is largely somber, this song provides a vibrant, high-energy finale. It came out as a single two months after the release of the album.

Although known for its boogie-woogie and rock elements, the song is heavily influenced by disco, with a prominent dance beat and rhythm section. It could be put in the same vein as disco, but also uses rock and roll, pop and gospel elements with a choir singing throughout most of the song.

The six-and-a-half-minute album version begins with John on piano and then kicks off to the beat before building into an instrumental jam with slide guitar solos by Davey Johnstone along with the heavy percussion rhythms of Ray Cooper. Caleb Quaye also performs as part of the band on the track. It features a gospel choir chanting the title phrase (“Bite your lip – get up – (get up) – get up and dance – bite your lip – get up – (get up – get up and dance, dance, dance!”) adding to the song’s energy. The piano is obviously the dominant instrument with John’s three piano solos. The amount of vocals with the amount of instrumentation make this song a musical free-for-all jam lasting for 6 minutes and 43 seconds, making it one of Elton John’s longest songs.

The single was released in January 1977 in the U.S. and June 1977 in the U.K. A shorter version was edited for radio play. The single was a moderate success, peaking at No. 28 in both the U.S. and the U.K.

The reception of the song was overall positive: Billboard described “Bite Your Lip (Get Up and Dance!)” as an “all -out disco rocker” and praised its “dynamic and cheerful energy.” Cash Box said that it “falls somewhere between hard-driving boogie and more conventional disco productions” and that “the grand finale utilizes orchestra and repeated chorus, while the basic rhythm section, especially John at the piano, cooks as if in live performance.” Record World said of the single that “Elton’s raving disco-styled number…has been edited and given a Tom Moulton mix for maximum danceability.”

The Blue Moves album reviews, although not all were glowing, many were quite positive. There’s an interesting article on classicrockhistory.com titled “Why Blue Moves was Elton John’s Most Underrated Album” by Brian Kachejian.

Fun Fact: Elton John has performed live the “Bite Your Lip (Get Up and Dance!)” song in only 35 out of 4040 shows.

• His first live performance of the song was on November 3, 1977, at the Wembley Empire Pool. Stevie Wonder joined him on stage for the song at that show.
• Other notable live performances include when he famously performed the song while dressed as Donald Duck for a massive free concert in New York’s Central Park (1980). The free concert in Central Park was a massive event, with an estimated 400,000 to 500,000 people in attendance.
• A performance at a London show in 2004 (12/18/2004) was one of his last known live versions of “Bite Your Lip”. This came after his throat surgery and was issued as a B-side for his single “Electricity”. He introduced the song like this: “We’re gonna do a song we haven’t done for about 25 years from the Blue Moves album…”  According to the comments on that particular YouTube video, fans sure do love this song and many stated they wished he played the song more often in more shows. [if the video of that performance doesn’t embed here just click the above link to be taken directly to the video on YouTube]

It is a super fun song. For my playlist I chose the video from the Central Park performance from 1980, where John was dressed as Donald Duck for his encore songs.

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Fun Fact: At this iconic free concert Elton John wore three different costumes. The outfits were:

• The “Piano Keys” Suit: For the main set, John wore a military-style suit designed by Andre Miripolsky that featured a piano-key motif and abstract designs.

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• A “Glitzy Cowboy” Outfit: During another portion of the concert, he was seen in a sparkly or “glitzy” cowboy costume.

• Donald Duck Costume: For the encore, John changed into a memorable Donald Duck suit designed by Bob Mackie. He referred to this change as the “longest costume change in history” in a later interview. He performed “Your Song” and other songs during the encore while in this outfit. Apparently the duck costume caused him to break out into giggles as he was playing “Your Song”

Fun Fact: Still wondering why he chose the Donald Duck costume? According to ai:

For his 1980 Central Park concert, Elton John wore a Donald Duck costume for the encore to indulge in his love of outlandish stage wear and perform a fun, theatrical finale. However, the costume was ultimately a logistical failure that ended up causing him to have a fit of the giggles.

Details about the Donald Duck costume from Elton John’s 2019 memoir, Me:

• Impractical design: He realized the costume was a problem backstage before the encore began. The large padded “duck bum” made sitting at the piano difficult, while the duck feet made walking nearly impossible.
• Giggle fit: Once at the piano, John launched into “Your Song” but was overcome with a fit of laughter over the absurdity of his outfit. He recalled that the tender ballad was “decimated by my choice of stage wear”.
• Designer: The iconic costume was created by fashion designer Bob Mackie.
• Background: The flamboyant costumes of this era were his way of letting go after a strict childhood.

Anyway, when you listen to “Bite Your Lip” be sure to CRANK IT UP and ‘get up and dance’!

CHERRY LIPS by Garbage

“Cherry Lips”, also known as “Cherry Lips (Go Baby Go!)” is a song written, recorded and produced by alternative rock group Garbage for their third studio album, Beautiful Garbage. In the years since the 2002 release, “Cherry Lips” has become an enduring track for the band and after almost two decades continues to resonate, being used as the home run song of the Milwaukee Brewers and in advertisement campaigns for Microsoft’s Surface Go laptop tablets.  It’s also an alternative rock LGBTQ anthem, being listed as one of the 25 songs which touch on gender identity.

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“Cherry Lips” was a hit in the UK, Ireland, and Italy, the latter of which it had been the sound of a prominent winter marketing campaign for Breil Stones, reaching No. 8 on the Italian charts. Like lead single “Androgyny”, “Cherry Lips” was a success in New Zealand and Australia, where it became Garbage’s biggest hit single, spending five non-consecutive weeks in the top ten. “Cherry Lips” was ultimately certified Gold by the Australian Recording Industry Association.

Interestingly the song was not released as a commercial single in the US. Instead, Interscope Records, the band’s North American label, chose to release “Breaking Up the Girl” as the second single from the album Beautiful Garbage.  While “Cherry Lips” was an international hit it was not given a formal single release in the American market. (Although the music video did receive some airplay on US music channels like VH1. And the album itself was available in the US).

Fun Fact: While the band was frustrated by the decision, their record label at the time felt there was only room to promote one female-fronted rock band in the US market and decided to prioritize Gwen Stefani’s band, No Doubt, over Garbage. This contributed to a lack of promotion for Garbage’s album Beautiful Garbage in America.

Shirley Manson (born August 26, 1966) is the lead vocalist of Garbage. As a Scottish singer, songwriter and musician she achieved international fame as the lead vocalist of the band. Known for her distinctive deep voice, forthright style, and rebellious attitude, she was deemed a “Godmother of Rock” by The New York Times in 2025. Her accolades include nominations for two Brit Awards and seven Grammy Awards.

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Manson wrote the lyrics to “Cherry Lips” based loosely around two novels she had just read, Sarah, which was about a transgender prostitute, and The Heart Is Deceitful Above All Things, both written by author Laura Albert under the pseudonym of JT LeRoy.

The song is about a character in the book Sarah, told from the perspective of a 12-year-old boy who was sexually abused as a child and used the name Cherry Vanilla. Manson befriended J.T. LeRoy online and became one of his supporters, but in 2005 an article in New York magazine revealed that J.T. LeRoy was actually a middle-aged woman named Laura Albert. Pulling off one of the great literary hoaxes in history, Albert had her friend Savannah Knoop portray LeRoy in public.

Of the song Manson explained: “I took a bit of poetic license, but I wrote it for JT. It’s easily the most uplifting thing we’ve ever done. It sounds nothing like us; it sounds like a Shangri-Las song.” Like the rest of the world, Manson had believed that LeRoy had been a teenage truck-stop hustler who’d escaped the streets to become a writer. Manson exchanged emails with LeRoy over the course of the album sessions. “I wanted to write an ode to transgender spirit, inspired by my interactions with this peculiar but emotionally generous creature I knew online as JT”, Manson later recalled. On the Beautiful Garbage sleeve notes, Manson dedicated “Cherry Lips” to “The Terminator”, another alias of JT LeRoy. In 2005, LeRoy was exposed as an invention of Laura Albert in articles published by Stephen Beachy, The New York Times and Vanity Fair.

“I know a lot of people felt conned in the end,” Manson explained. “I didn’t. I just felt sad that a woman felt she would stand a better chance in the world if she was a man, that JT was ‘dead’ and wouldn’t be part of my life anymore”. Manson still felt that the books “remain a marvel and whoever wrote them is still a genius whether they are a man, woman or wilderbeast.”

As for the “Cherry Lips” music video, which I think is so cool, it was directed by Joseph Kahn on a set installed in a loft located in Brooklyn, New York on October 22, 2001. Special effects make the band invisible in the clip, only being seen in mirrors and other reflective surfaces.

Shirley Manson, famous for her red locks, dyed her hair platinum blonde the night before the shoot but when she showed up, this new platinum blonde hairstyle concerned Kahn, as he felt Manson was strongly identified as a redhead and he thought fans might not like the idea. To complement her new color, she was given a 1950s-era beige palette “for a glamorous but not overdone” look. The set was dressed to resemble a strip club, vintage neon signs were procured from over the city to provide an authentic backdrop.

The video treatment Kahn filmed featured Garbage performing in a loft space, but only seen on mirror reflections, on monitor displays or reflected in the camera lens. As the chorus begins, it becomes apparent that the band are invisible. The special effect was rendered by filming Garbage wrapped in green gauze suits under their clothing and digitally replacing their bodies with the background. The insides of their clothing were replaced using CGI. Monitors visible to the viewer were fed playback footage of the band performing ‘as normal’. For the breakdown (instrument solos) and coda (the passage that brings the song to an end), Manson removed her clothing (except her boots and gloves) and performed an invisible striptease and then walked across the room towards a bathroom mirror displaying her composited reflection. The twist ending showed the invisible Manson urinating while standing up. Say what??!!

Fun Fact: Manson admitted years later that she regretted the Joseph Kahn video and had hated it from the beginning.

“We were quite literally blackmailed by our record company into making a video that we knew from the storyboard was a shockingly bad idea”, she revealed. Duke Erikson, Garbage co-founder and guitarist, thought that, despite people thinking that the video was “fun”, the result didn’t do anything for the song. The band claimed that the record label spent $1,000,000 on the “Cherry Lips” video, and it was made under pressure from their management through to the video commissioner at their label to keep MTV interested. “We fought so hard not to do it, but we didn’t hold enough cards and so were forced to capitulate.”

Fun Fact: In a 2009 post on Gearspace.com, drummer and producer Butch Vig said: “we slowed the track down so it gave Shirley’s voice a crazy ‘helium’ effect at normal speed. I recorded the verses through a wah-wah pedal that I pushed up and down by hand, cuz I couldn’t get the timing down with my foot. And it’s not a guitar, the primary sound is a sped up tuba sample. I think we added a guitar underneath it.”

Fun Fact: As the first Garbage single fully released in the aftermath of the September 11 attacks, the band donated a percentage of the royalties generated from the sales of “Cherry Lips” to the International Red Cross.

 

LIPS ARE MOVIN by Meghan Trainor

“Lips Are Movin” is a song by the American singer-songwriter Meghan Trainor, taken from her debut major-label studio album, Title (2015). It was written by Trainor and the album’s producer, Kevin Kadish. Epic Records premiered the song on MTV News on October 15, 2014, and released it to the United States contemporary hit radio stations on October 21, as the second single from Title. A retro-tinged doo-wop and pop song with girl group harmonies and bubblegum pop hooks, “Lips Are Movin” was inspired by Trainor’s conflict with her record label. However, critical commentary has described it as a song about Trainor leaving her significant other after discovering he is cheating on her.

Trainor’s lyrics frequently include themes of womanhood, body image, and personal empowerment; however, at times, they have been criticized for being antifeminist. Her music is influenced by the popular music of the 1950s, and blends the genres pop, R&B, doo-wop and blue-eyed soul.

Critics drew similarities between the song’s style and that of Trainor’s debut single, “All About That Bass” (2014). Some deemed the song catchy, while others criticized its lyrics. In the United States, “Lips Are Movin” reached number 4 on the Billboard Hot 100 and was certified quadruple platinum by the Recording Industry Association of America (RIAA). It received platinum or multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom, and reached the top 10 on their charts among others.

Background: American songwriter Kevin Kadish met Meghan Trainor in June 2013 at the request of Carla Wallace, the co-owner of Trainor’s publishing firm Big Yellow Dog Music. Kadish liked Trainor’s voice and booked a writing session with her. They subsequently co-wrote the song “All About That Bass” in November 2013 and pitched it to different record labels, all of which turned it down due to its doo-wop pop production as synth-pop was more popular at the time. L.A. Reid, the chairman of Epic Records, heard it and encouraged Trainor to record it herself. She signed with the label in 2014 and released it as her debut single in June that year. The song reached number 1 in 58 countries and sold 11 million units worldwide.

Following the success of “All About That Bass”, Trainor’s A&R (Artists and Repertoire) suggested that she and Kadish write more songs together. Kadish produced eight tracks for her debut major-label studio album Title (2015), and co-wrote seven of them, including “Lips Are Movin”.

“Lips are Movin” actually grew out of Meghan Trainor’s frustrations with her record label, rather than an unfaithful lover.

I know you lie because your lips are movin
Tell me do you think I’m dumb?
I might be young, but I ain’t stupid
Talking circles with your tongue

Kevin Kadish recalled to Bart Herbison of Nashville Songwriters Association International they’d actually finished the Title album but had an extra day together, and Trainor’s A&R guy encouraged them to keep writing. Kadish put on a track that he had already started for the record while Trainor was on a conference call. She could hear it playing through his headphone box and she banged on the glass, and told Kadish, “That’s what I want to write today!”

Kadish knew the whole situation of what was going on with Trainor and her record label, so while she was on her conference call the producer sat at his computer writing, “I know you’re lying, your lips are moving.” By the time she walked back into the room he had a bunch of lyrics written down. She loved what Kadish had done and started singing the verse. According to Kadish this all happened in eight minutes. In a 2014 interview, he spoke fondly about writing with Trainor: “It’s almost like we share a brain musically when we’re writing a song. I’ve never had that with anyone before.”

Music Video:   Philip Andelman directed the music video for “Lips Are Movin”, which was commissioned by the technology company Hewlett-Packard. The first-ever music video created entirely by social media influencers, it portrays behind-the-scenes events of a video shoot. Trainor performed “Lips Are Movin” on televised shows such as Today, The Voice, and Dancing with the Stars, and included it on the set lists for four of her concert tours: 2015’s That Bass Tour and MTrain Tour, 2016’s the Untouchable Tour, and 2024’s the Timeless Tour.

More specifically, the song’s music video finds Meghan belting out the soulful tune, flanked at times by backing dancers in front of several colorful backgrounds. “It’s not just a story or a theme of ‘here’s a boy and here’s me and me yelling at him,'” she explained to MTV News. “It’s like, ‘Here’s me being sassy and other people dancing with me and having just a good time and trying to get through this feeling of, Ugh he’s cheating on me again.’ Like, ‘I know you’re lying, but that’s OK because I’m gonna find the next guy. I’m good.'”

Fun Fact: The clip features props being lifted on and off screen by various workers. Did you recognize any of them? Several Vine, Instagram and YouTube stars have cameos in the video, including Marcus Johns, Chachi, Les Twins, Robby Ayala and Cody Johns. In addition the chorography, set design, hair and makeup, styling and behind-the-scenes photography was all done by the social influencers.

Meghan is a personal fan of many of her co-stars.

“Les Twins are incredible, I watch their videos all the time,” she told Billboard magazine. “I have been following Marcus and Cody Johns since their first Vine, and Mei — who did my nails for the video — is so incredibly talented.”

“I’m excited we were the first to make a music video this way, by tying in all the innovators and influencers,” Meghan added. “But it still feels very ‘Meghan Trainor,’ which is amazing!”

 

LIPS LIKE SUGAR by Echo & the Bunnymen

“Lips Like Sugar” is a single by the English rock band Echo & the Bunnymen, which was released in July 1987. It was the second single from their eponymous fifth studio album (1987).

Initially dismissed by lead singer Ian McCulloch as too commercial, “Lips Like Sugar” became a chart success in the UK, Ireland, and New Zealand. Despite not charting in the US, the song has become one of their most famous songs in America, thanks in part to college radio airplay and its music video directed by Anton Corbijn, which was regularly broadcast on MTV’s 120 Minutes program.

McCulloch was initially dismissive of the song, saying in 1992, “It was an OK song, I suppose, but it didn’t sound like us … We just got sucked into a new mentality on that last album, the sound of Radio America.” He softened his attitude toward the song in a 2005 interview, saying “It may have a few synthetic twinkles on it, but the song itself was strong enough to shine through.”

“Lips Like Sugar” was released as the second single from Echo & the Bunnymen, backed with “Rollercoaster”. The song was a chart success, reaching number 36 in the UK, number 24 in Ireland, and number 43 in New Zealand. The song did not chart in the US, despite “how much attention it seemed to garner at the time of its initial release and how it’s so often held up as the band’s signature song in the States”. The song largely saw success on college radio.

Will Sergeant, Echo and the Bunnymen’s guitarist, credited the song as a turning point in the band’s success, telling Songfacts:

“It just started building. It was building naturally, and then we ended up doing the Greek Theater in Hollywood and the sheds and places like that. All of the sudden the crowd started changing – they’d become really young kids. You’re thinking, Why? It was just weird. I’d be walking around with Les [Pattinson, bass] and Pete [de Freitas, drums] in the crowd and no one knew who we were. It all changed. It was just odd. Right around ‘Lips Like Sugar,’ it really changed.”

Sergeant was the band’s only constant member:

Songfacts: You’re the only person who has been in every version of the band. What keeps you going with it?

Sergeant: “I started it, I’ll finish it, I suppose. It’s me job. It’s what I like doing. I go around the world and play music. There’s not a lot of bad things to say. It’s not like I’m getting up to work down in the mines 10 hours a day. And it’s fun. It’s great. There’s nothing better than playing live. That’s my favorite thing.”

In America, “Lips Like Sugar” is most enduring Echo & the Bunnymen song, making its way onto many classic alternative playlists. This song is about an enticing girl who floats like a swan and has kisses that are sweet like sugar. But she’s an elusive bird:

Just when you think you’ve caught her
She glides across the water

It marked the apex of their American popularity; the year the song was released, they co-headlined a successful arena tour with New Order.

A music video for the song, directed by Anton Corbijn, features the band performing the song and ends with the band “transport[ing] from the sound studio to a garish set straight out of Star Trek, where the Bunnymen are hunted by a couple of women in lurid space suits”. The video is filmed in a “minimalist, grainy black-and-white” style typical of Corbijn’s work.

 

FAT LIP by Robert Plant

“Fat Lip” is a track on side 2 of Pictures at Eleven, the debut solo studio album by the former Led Zeppelin singer Robert Plant, released in June 1982 in the US and the UK. While Genesis drummer Phil Collins played drums for five of the album’s eight songs, on the song “Fat Lip” guitarist Robbie Blunt played a Roland TR-808 drum machine.

In an August 2024 article from the UK’s Far Out magazine: The underrated solo song Robert Plant claimed sent him to “heaven” Kelly Scanlon writes about Plant’s debut solo album and the one song that really knocked him out:

“Claiming that Robert Plant takes the easy route would severely miss the mark. Not only did he help to reinvent what it meant to make the stadium space a vestibule of unrivalled energy, but he also pushed the boundaries of traditional rock music, demonstrating the power and poignancy of infusing it with various genres and innovative techniques.

While creating his second solo album, The Principle of Moments, Plant sought to focus on the often ambiguous nature of the present, resulting in layered experiences that either unsettle or delight. To achieve this, he enlisted a highly skilled team and approached the record with the utmost creativity so that every song was unpredictable but enlightening.

While most of the process saw Plant enjoying the freedom to explore territories outside the traditional Led Zeppelin sound, he encountered some challenges regarding the singles. For instance, he regarded lead singles ‘Big Log’ and ‘In The Mood’ to be almost entirely reflective of who he was as a solo artist, but fought against the release of ‘Open Arms’, mainly for fear of being regarded as a continuation of Zeppelin’s thumping rock sound.

In reality, the record was an exercise in accessing sonic soundscapes he previously left unexplored. Songs like ‘Fat Lip’ incorporated his enduring appreciation for innovative approaches and how traditional sounds can yield ethereal textures. When creating the song with his guitarist Robbie Blunt and keyboardist Jezz Woodroffe, Plant used a Roland drum machine, which enhanced both the experience of his creative process and the resulting sound.

During an interview with American Songwriter, Plant explained how the machine enabled him to improve the song’s overall sound:

“I had the first Roland drum machine, which was before the TR808. I wrote a track called ‘Fat Lip’ with it and thought I’d died and gone to heaven. I thought, I’ve made it!”

Musing over the appearance of the machine and the beauty of the sound that emerged from it, he added: “Here I am singing into a drumbox, which is about twelve inches cubed. It’s not very sexy, I must say in comparison to John Bonham. But I thought it was great.”

Lyrically, the drum machine adds an intriguing dimension to the song as Plant explores themes of despair and longing and the idea of watching “the waiting time slipping away”. At the same time, there’s an overt ease to the entire track, Plant’s familiar soothing delivery proving that, yes, this might be the former leader of one of the greatest rock bands in history, but his musicianship extends far behind thunderous tunes.

While signature Zeppelin-esque elements still exist within the track, like within the seemingly subdued nature of the guitar licks, ‘Fat Lip’ leans more heavily into Plant’s new wave influences, reflecting the experimental and innovative nature of the entire album. He might never be able to escape his most glaring legacy, but songs like this showcase just how versatile he can be when blending playful wordplay with inviting and infectious rhythms.”

Fun Fact: The name of Plant’s solo album “Pictures at 11” was taken from an often-heard phrase in US television news that would follow a brief announcement of a story of interest to be shown later during a station’s 11 PM news program. “Film at 11” was another phrase used for the same purpose, to inform viewers that footage of a breaking news story will be shown later that day and to attract viewers and increase the program’s ratings. The word “film” in the phrase dates to the early decades of TV news when footage was regularly recorded on film. 11 PM is the traditional time for late evening local news broadcasts.

 

STIFF UPPER LIP by AC/DC

“Stiff Upper Lip” is a song by Australian hard rock band AC/DC. Composed by Angus and Malcolm Young and produced by their older brother George, it is the title track on their 14^th studio album of the same name, Stiff Upper Lip (February 2000). The song was released as a single and topped the Billboard Hot Mainstream Rock Tracks chart, keeping that #1 position for four weeks. Though not as popular as in the US, the song reached number 65 on the UK Singles Chart. It also received a gold certification in Canada for sales exceeding 40,000 copies.

And as the single rose to the #1 spot, the album itself debuted at No. 7 on the Billboard charts and later went platinum.

Brian Johnson does lead vocals as the third lead singer for AC/DC taking over the role in 1980 after the death of Bon Scott. Scott served as the second lead singer from 1974 to his death on February 15, 1980. Johnson certainly had some big shoes to fill as Scott was ranked #1 in a list of the “100 Greatest Frontmen of All Time” in the July 2004 issue of Classic Rock. Hit Parader ranked him as fifth on their 2006 list of the “100 Greatest Heavy Metal Vocalists of all time.”  The other band members contributing to the “Stiff Upper Lip” song are brothers and AC/DC co-founders Angus Young (lead guitar) and Malcolm Young (rhythm guitar), Cliff Williams (bass guitar) and Phil Rudd (drums).

The phrase “Keep a stiff upper lip” essentially means to show courage in the face of pain or adversity. Apparently, it dates back to the early 1800s. The expression presumably alludes to the trembling lips that precede bursting into tears.

So is that what AC/DC meant when they wrote and performed “Stiff Upper Lip”?

The lyrics are a straightforward, hard-rock anthem about remaining tough and stoic in the face of adversity. The British phrase “stiff upper lip” translates to one showing fortitude; it conveys a message of resilience and defiance. The song emphasizes themes of confidence, assertiveness, and not letting anything get you down. They describe a character who is bold and unapologetic, always ready to take on challenges and live life to the fullest. Lines like “I was born with a stiff upper lip” and “I shoot from the hip” highlight the undaunted and fearless attitude.

With its powerful blues-rock riff and driving rhythm section, the song showcases a return to the band’s blues roots. The song is defined by Angus Young’s bluesy guitar work and Brian Johnson’s characteristically raw and powerful vocals.

As for critical response, some reviews considered the album a bit lacking in new ideas but appreciated its bluesy simplicity and clean sound. Among fans, the album is often considered underrated and a fun return to form. The song was a staple of the band’s live shows.

“Stiff Upper Lip” was well-received by both fans and critics. The song’s energetic performance and catchy riff resonated with listeners, making it a staple in AC/DC’s live shows. Overall, “Stiff Upper Lip” is a testament to AC/DC’s enduring appeal and their ability to deliver hard-hitting rock music that resonates with audiences worldwide.”

The music video, directed by Andy Morahan, starts with the band driving down the street in a red 1997 Hummer H1 when they get caught in a traffic jam. They then pull into a back alley, get out of the car, and begin to play the song on the street. The song that the band was listening to before the car jam was “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)”, a song released when the late Bon Scott was a member of the band.

Fun Fact: I wasn’t aware of this fact, but there is one song AC/DC hasn’t performed live in the last 40 years – and it’s one of their most popular and iconic songs! Do you know which one it is?

It’s their hit “It’s a Long Way to the Top (If You Wanna Rock n Roll)”.

Out of respect for former frontman Bon Scott who wrote and sang the song, the band retired the song after his death in 1980. Brian Johnson absolutely refused to ever play that song and other band members agreed. Johnson said he believes the song belongs to Bon Scott, and no one else.

Which is why I thought it was so cool that “It’s a Long Way to the Top (If You Wanna Rock n Roll)” is playing on the car radio and the band is riding through town in the beginning of the music video. Great move with that decision.

Aside from that very gesture of pure respect and reverence, there is another issue that makes performing that song live somewhat complicated: those bagpipes! I so LOVE bagpipes and especially the way they are used in the “It’s a Long Way to the Top” song. For some interesting insight into the bagpipe issue, check out this informative video short:

Fun Fact: Also regarding the music video: Lady Gaga made a cameo in the “Stiff Upper Lip” video before she became famous! See if you can spot the pre-fame Lady Gage in the video.

Fun Fact: “Stiff Upper Lip” was performed on Saturday Night Live on March 18, 2000. Found this video at Official Lives and Music Videos channel. It was posted with an image overlay due to copyright by NBC Universal. Not sure if the video with the copyright symbol overlay will post here but if it doesn’t click this link to go straight to YouTube and watch it there. Btw, this video is AC/DC’s full performance that includes their 1980 hit “You Shook Me All Night Long” which followed “Stiff Upper Lip” later in the show.

 

SLIP OF THE LIP by Ratt

“Slip of the Lip” is the fourth track on Dancing Undercover, the third studio album by American glam metal band Ratt, released in 1986. The album was produced by Beau Hill and contains the hit single/video “Dance“, which appeared in the Miami Vice episode “Down for the Count” (Season 3, 1987). Two other videos were made: “Body Talk”, which was used on the soundtrack for the Eddie Murphy film The Golden Child, and “Slip of the Lip”. The album charted at No. 26 on the Billboard 200 chart and at No. 14 on Rolling Stone‘s Album Chart. The album went platinum.

Ratt’s music videos from the 1980s are iconic for their portrayal of the glitz and “sleaze” of the Los Angeles glam metal scene. The videos were a fixture on MTV and heavily featured cinematic storytelling, dramatic special effects, and a distinctive fashion aesthetic.

The music video for Ratt’s “Slip of the Lip” is notable for its meta-narrative (going beyond the story, a story within a story) which centers on the band itself, using public reputation and industry perception as a direct component of its narrative, offering a perspective that goes beyond the obvious.

4 Key Narrative Features of the video:

• A “spy” narrative: The video story follows a freelance reporter named Kitty Galore, a name that alludes to the Bond girl Pussy Galore. Galore receives instructions on a tape recorder to get photographs of Ratt.
• The power of Ratt’s music: While undercover at a concert, Galore finds she can’t resist the band’s music and begins to dance provocatively, a subtle message that Ratt’s appeal transcends the reporter’s assignment.
• An intimate confrontation: The story culminates with a confrontation between Galore and lead singer Stephen Pearcy. She successfully snaps a picture of him, but the power dynamic shifts dramatically. The two start to make out, and Pearcy secretly destroys her roll of film, thwarting her mission.
• Connection to glam metal conventions: The narrative, while distinctive, still leaned into many of the cultural conventions and common characteristics of the 1980s glam metal era. This included the big hair and flashy apparel, the “video vixen” archetype (the reporter, Kitty Galore) and scenes that emphasized the hedonistic and rebellious rock-and-roll lifestyle.

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The unique “spy” storyline of the “Slip of the Lip” music video made it stand out from the more straightforward glam metal videos of the time (most which would simply alternate between performances and generic party scenes), providing a memorable and unconventional entry into Ratt’s video catalog.

The meta-aspect of the “Slip of the Lip” video uses a spy-movie narrative to provide commentary on the relationship between rock stars and the media that covers them. Specifically, the video sets up a conflict between a rock band and the journalist who is sent to cover them. First is the journalist’s media mission, Kitty Galore assigned to take pictures of the band to capture and control the band’s image. Then there is the band’s subversion, when lead singer Stephen Pearcy seduces Galore and secretly destroys her roll of film, effectively erasing her “scoop”. This act is a meta-commentary on the band’s ability to control their own narrative and to disarm the media’s attempts to exploit them.

The subversion was made possible by the power of the music, as it’s portrayed as being more powerful than the media’s attempt to frame it. Kitty Galore cannot resist Ratt’s music and loses her professional detachment as the music overrides her cynical intentions. The subsequent seduction results in the band controlling who gets to cover them and on what terms.

The overall result is that the video provides a self-aware reflection on fame. While many glam metal videos simply alternated between performance and generic party scenes, “Slip of the Lip” uses its budget and cinematic language to create a more intricate and self-aware story. It elevates the video beyond a simple promotion and turns it into a reflection on the spectacle of fame.

The meta aspect of the “Slip of the Lip” music video lies in its self-reflexive commentary on the very media that propelled bands like Ratt to stardom. Glam metal bands during their peak faced constant media scrutiny. Rather than being a straightforward visualization of the lyrics, this video uses a spy movie narrative to comment on the relationship between celebrity, the invasive nature of rock journalism, and the public’s appetite for rock-and-roll spectacle.

It’s not only a playful parody in that the plot -a spy thriller with a femme fatale- is a nod to the kind of high-stakes dramatic scenarios often associated with celebrity, it also goes beyond the cliché: The video narrative suggests that being in a rock band is not just about the music but about the larger cultural spectacle that surrounds it. The “Slip of the Lip” video is not about a rock band but about being a rock band, the story within the story.

Fun Fact: The “Slip of the Lip” video features a mix of staged and live performance footage. The hotel room scenes were filmed in Shreveport, Louisiana, while the live concert footage was shot in Nashville, Tennessee. The band played the song twice at the Nashville show to get all the necessary shots.

Fun Fact: Ratt’s opening acts on the tour in support of the Dancing Undercover album included Poison, Cinderella, Cheap Trick, Queensrÿche and Vinnie Vincent Invasion.

One final note of interest for this band: I found an illuminating article on Ratt’s rise and even quicker fall: Online magazine Louder published it last year: “The Fast Rise, Sudden Fall and Messy Afterlife of 80s glam metal heroes Ratt” by Greg Prato

 

DANCING ON THE LIP OF A VOLCANO by New York Dolls

“Dancing on the Lip of a Volcano” is a track on One Day It Will Please Us to Remember Even This, the third studio album by the American hard rock band New York Dolls. Released in 2006 it was the group’s first release of original material since their 1974 album Too Much Too Soon. This was a reunion album for the New York Dolls, marking their first new studio record in over three decades. Quite the hiatus!

The New York Dolls were an American rock band formed in New York City in 1971, who released two albums, New York Dolls (1973) and Too Much Too Soon (1974), before disbanding in 1976. Its classic lineup consisted of vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain, and drummer Jerry Nolan.

The band has quite a complex history and you can read all about it on the New York Dolls Wikipedia page. In 2004, the New York Dolls reunited with a new lineup and later released three more albums. After a British tour with Alice Cooper in 2011, the Dolls disbanded again. By 2025, all original members of the New York Dolls had died: drummer Billy Murcia (1951–1972), guitarist Johnny Thunders (1952–1991), drummer Jerry Nolan (1946–1992), bassist Arthur Kane (1949–2004), guitarist Sylvain Sylvain (1951–2021), and lead singer David Johansen (1950–2025).

THE EARLY YEARS photos:

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THE LATER YEARS PHOTOS (2006 & beyond):

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Their music and stage presence played a key role in the development of punk rock and later glam punk, with their look inspiring the androgynous appearances of several glam metal bands in the 1980s. In their appearance, the New York Dolls drew from drag fashion, wearing high heels, hats, satin, makeup, spandex, and dresses.

The album had several guest artists, including Michael Stipe, Bo Diddly and Iggy Pop. One notable feature of “Dancing on the Lip of a Volcano” is it features a duet between David Johansen and former R.E.M. singer Michael Stipe, who was a guest vocalist on the album.

The collaboration between New York Dolls frontman David Johansen and R.E.M.’s Michael Stipe on this song was a significant moment for the New York Dolls reunion album. The collaboration paired a founding father of punk-era glam-rock with one of alternative rock’s most influential voices, who had long cited the Dolls as an inspiration.*

More specifically, before joining forces, Stipe was well-acquainted with the New York Dolls’ legacy. He often spoke of how the band, along with others from the New York punk scene like Patti Smith and the Ramones, provided a sense of kinship for him as an outsider growing up. The Dolls’ theatricality and gritty rock-and-roll attitude were particularly influential on R.E.M.’s early development and Stipe’s artistic sensibilities.

The significance of the collaboration

• Bridging generations: The duet effectively bridged two distinct eras of American rock music: the 1970s glam-punk of the New York Dolls and the 1980s and 90s alternative scene led by R.E.M. It was a symbolic passing of the torch and a recognition of the Dolls’ historical importance.

• Thematically fitting: The song’s theme of finding beauty and inspiration amidst chaos resonated with both artists’ backgrounds. It encapsulated the very spirit of the New York Dolls’ music, which Stipe had long admired.

• Public and critical reception: The collaboration was a major highlight of the album and attracted significant media attention. For long-time fans of R.E.M. and the New York Dolls, it was a special, full-circle moment. 

The joining of these two distinct voices on “Dancing on the Lip of a Volcano” was more than a simple guest appearance; it was a testament to the enduring influence of the New York Dolls and a powerful demonstration of rock’s intergenerational camaraderie.

Controversies: The New York Dolls were highly controversial due to their scandalous image involving androgynous fashion with gender-bending cross-dressing, crude musicianship, drug use, chaotic live shows, and an overall “sleazoid” aesthetic that shocked the mainstream music industry and the public in the early 1970s.

• Controversial appearance and artistic expression: The band adopted a notoriously flamboyant and androgynous look, with members wearing makeup, women’s clothing, and high heels. This was shocking to mainstream audiences in that day and age. Their dress sense, which celebrated “gutter chic,” pushed the boundaries of gender expression and provoked disgust and fear in the conservative music industry.

They developed a reputation for being the “most walked-out-on band in the history of show business” due to their wild, unpredictable, and sometimes sloppy performances.

All combined, the band’s signature look with the makeup and androgynous attire, their vulgar style and indecent musicality, sexually suggestive behavior and chaotic rebellious attitude were a stark contrast to the prevailing music trends and was a total turnoff to the conservative mainstream audiences of the era.

• Lack of Commercial viability: The New York Dolls were considered unsaleable by the music industry, and their “sleaze and decadence” was a stark contrast to the more polished rock acts of the time. The band’s onstage vulgarity and unruliness led to various altercations and incidents that further cemented their image as a notorious and uncontrollable group.

Despite critical acclaim and a massive cult following in New York, their first album sold poorly, particularly outside of the city. They were seen as too radical and unmarketable by many record executives.

• Self-destruction via Rock ‘n Roll Excess: The band members’ struggles with substance abuse contributed to internal tensions and played a significant role in their self-destruction. In 1972, founding drummer Billy Murcia died from an overdose of drugs and alcohol while on tour in England. This tragedy solidified the band’s reputation for self-destructive behavior and connected them with hard drug culture early in their career.

The band’s association with hard drugs, particularly heroin, was well-known and led to significant tragedy with the early deaths of several members, including guitarist Johnny Thunders and drummer Jerry Nolan.

And then there was this beyond-questionable move:

• Malcolm McLaren’s communist experiment: After their second album flopped, the band hired a young Malcolm McLaren as their manager in a desperate bid to regain attention. McLaren orchestrated a bizarre publicity stunt where he had the band adopt a new image with red leather, a red star, and a communist hammer and sickle flag as a backdrop on stage. The move was widely mocked and was mostly ignored by the press, leading to the band’s final breakup just months later.

All combined, the drug and alcohol abuse, artistic differences, a “rowdy gang mentality” and poor management decisions led to the band’s demise and eventual breakup. This feature article on Louder, “How the New York Dolls’ Appetite for Self-Destruction Cost Them Their Career” by Ian Fortnam, dives a little deeper into the band’s messy journey.

But the article ends on a positive note, particularly with regard to the Dolls’ album on which “Dancing on the Lip of a Volcano” appears. Author Ian Fortnam closes out the article with these words:

                “With One Day It Will Please Us To Remember Even This, Johansen and Sylvain have delivered a third album that is truly worthy of the New York Dolls name. Along with producer Jack Douglas, guitarist Steve Conte, bassist Sami Yaffa, drummer Brian Delaney and keyboardist Brian Koonin they have created a towering testament to unflinching strength in adversity.

Opiates and alcohol might have curtailed the lives of Johnny, Jerry, Billy and Arthur, but you can’t kill the immortal soul of the New York Dolls.”

There is a surprising irony in all of this though: while their controversial style alienated much of both the mainstream music industry and the public the New York Dolls were simultaneously inspiring the punk rock movement!*

*Fun Fact: The New York Dolls have quite an impressive legacy. They were incredibly influential to a great many artists and bands:

According to the Encyclopedia of Popular Music (1995), the New York Dolls were “one of the most influential rock bands of the last 20 years”. They influenced Aerosmith, Kiss, David Bowie, the Sex Pistols, the Clash, Japan, the Cramps, Hanoi Rocks, Guns N’ Roses, the Smiths, D Generation, Morrissey, the Undertones, Joan Jett & the Blackhearts, the Jesus and Mary Chain,  Billy Idol, Terry Chambers of XTC,  Def Leppard, R.E.M., the Replacements, Soul Asylum,  Alice in Chains, Soundgarden, Bruce Fairweather and Stone Gossard of Green River and Mother Love Bone (the latter also of Pearl Jam), Ruby and the Rednecks, Hollywood Brats,  Hoodoo Gurus, the Scientists, Palaye Royale, Marilyn Manson, Jetboy, Rock City Angels, the Libertines, and Manic Street Preachers.

Writer Sean Sennett credited the band as part of a legacy of raunchy, influential rock bands predated by the Rolling Stones, succeeded by Aerosmith and Hanoi Rocks, and eventually by Guns N’ Roses. By the time the band’s debut album was released, they had already spawned a number of derivative bands in New York. Two of the earliest groups they inspired were Kiss and Aerosmith, which would in turn become two of the most influential bands in rock music, especially hard rock and heavy metal. Hanoi Rocks’ music and aesthetic were heavily inspired by the New York Dolls and would go on to have a significant influence themselves.

The New York Dolls were the catalyst for New York’s early punk rock scene, which included Television, Talking Heads, Patti Smith, the Ramones, Blondie, and Richard Hell and the Voidoids, in addition to being one of the most influential bands to the development of British punk rock, particularly the Sex Pistols, the Clash and the Damned.

HOLY CANNOLI, THAT’S A LOT OF INFLUENCE!!

In Lonely Boy: Tales from a Sex Pistol, guitarist Steve Jones cited the New York Dolls as one of the most influential bands on the Sex Pistols style, and in a 2023 interview with Spin, Dave Vanian of the Damned listed the New York Dolls’ self-titled album as one of his five albums “I Can’t Live Without”. The Guardian writer Ian Gittins called the album “the Year Zero of punk rock”. The band continued to inspire punk bands as the genre progressed, with the Misfits, Social Distortion and Green Day all recalling their influence.

In the 1980s, the influence of the New York Dolls helped to form the glam metal genre. In particular, the band’s androgynous aesthetic and wearing of spandex, dresses, high heels and teased hair were widely imitated amongst bands in the genre. Alternative Press writer Tim Stegall even credited the band as having invented the look of glam metal, and in Baker’s Biographical Dictionary of Musicians, Hank Bordowitz called the band **the progenitors of hair metal and “the most important band that most people never heard.”** Prominent glam metal bands to take influence from the New York Dolls included Mötley Crüe, Poison, Ratt, Skid Row and Twisted Sister. With the increasing commercialization of glam metal as the 1980s progressed, a number of bands from within its scene formed a new sound with a greater emphasis on the influence of the New York Dolls, namely Guns N’ Roses, L.A. Guns and Faster Pussycat.

**Indeed! I only came across the New York Dolls when I was putting together this blog post. I never heard of them before now. That’s truly a lot of influence for a band so many folks have never even heard!

 

LIPS OF AN ANGEL by Hinder

“Lips of an Angel” is a song by American rock band Hinder. It was released in April 2006 as the second single from their 2005 debut album, Extreme Behavior. It garnered mixed to negative reviews, before going 3× platinum by the RIAA in January 2008.

The power ballad was their breakthrough hit, charting within the top ten on several US Billboard genre charts, reaching #3 on the all-genre Billboard Hot 100, and peaking at #1 in Australia and New Zealand. It sold 3.6 million copies in the US as of January 2015, making it one of the most downloaded rock songs.

The lyrics deal with the singer describing his feelings when his favored girlfriend from his past calls late at night, pleasantly interrupting his current relationship. More than once, a reference is made to the call being secret, and the singer expresses concern of a fight ensuing as a result. The song concludes just as it began, with the singer questioning why she is calling so late. However, at the end, it is less literal and more figurative, with the underlying meaning of “so late” not at night, but too late in life, adding an element of sadness to the song, as it ends with the plot unresolved.

Drummer Cody Hanson said the lyrics were based on an experience singer Austin John Winkler had. The story in the song about having trouble letting go of a former love is real – it’s what Winkler was going through with an ex-girlfriend. He told the story to Hanson, who already had a guitar progression in mind, and the two finished the song very quickly.

He came over to the house for a writing session and I had the slow guitar progression. Right before we sat down to write he had just finished telling me the story about what happened. He just kind of belted out, ‘Honey, why you calling me so late?’ and we just kind of stopped and had this moment. We’re like ‘Oh, my God, that’s what we have to write the song about!’  And so we just sort of whipped it out real quick. We didn’t work on it very long. It took maybe 20 or 30 minutes and the song was done.

When Songfacts spoke with Hanson in 2012, he said the song is an example of how the real-life tribulations of a songwriter can strike a chord with people when incorporated into music. “Those songs that are real personal experiences that other people can relate to,” said Hanson. “Those seem to be the ones that go over big.”

Fun Fact: “Lips Of An Angel” is part of Hinder’s debut album, Extreme Behavior, but it wasn’t the first single. That honor went to “Get Stoned,” a song about smoking pot and having sex. The band, which is from Oklahoma City, leaned into their party lifestyle, which played well in the Midwest and the South, where they barnstormed radio stations and were known to ply the DJs with tequila shots. Smart salesmanship: Tequila shots=airplay and good rotation.

The album dropped in September 2005; in February and March 2006, Hinder was the headlining act on the Girls Gone Wild Rocks America Tour. Say what??! You may remember back in the early ’00s, late-night TV was loaded with infomercials for Girls Gone Wild videos that were mostly college girls on spring break taking their tops off for cajoling camera crews. The tour expanded the franchise to offer music along with the drunken debauchery, combining concerts with the Girls Gone Wild party atmosphere. True to GGW form, there were also plenty of wet t-shirt contests. Hinder fit right in.

Hinder headlined this 30-city, nationwide event which also featured other bands like Revelation Theory and Faktion. Tom Mackay, Sr VP of A&R at Hinder’s label (Universal Republic), suggested the tour could prove useful for choosing the band’s next single. He asked drummer Cody Hanson to look out into the crowd when performing numbers from Extreme Behavior to see what the fans particularly liked. That way, they could get valuable feedback as to what the next single should be.

According to Billboard magazine, Hanson replied five shows later that “everybody and their mother are shitting their pants about ‘Lips of an Angel.’ Biker dudes in leather and 18-year-old girls. They’re ALL going nuts for it.”

By the time the tour was over, “Get Stoned” had peaked at #124. “Lips of an Angel” was released as the next single, and it made a slow but steady climb up the chart, reaching #3 in October 2006. This was a turning point for the band, which realized their more vulnerable songs could better connect with listeners.

The music video for “Lips of an Angel” largely follows the narrative of the song’s lyrics, focusing on a late-night phone call between a man (Austin John Winkler) and his former lover (Canadian actress Emmanuelle Chriqui as the girl with the lips of an angel). She’s best known for playing Sloan McQuewick on the TV series and movie Entourage.

Austin Winkler, the founding lead singer of Hinder, left the band in November 2013. Winkler left the band due to personal reasons following a leave of absence to enter rehab for drug addiction earlier in 2013. He was replaced by several musicians before Marshal Dutton was officially named the new frontman of Hinder in 2015.

Fun Fact: Marshall Dutton, now Hinder’s frontman and lead vocalist, has also seen success as the part-time lead vocalist and full-time lead guitarist in his former band Faktion. The two bands have a few things in common:

• Faktion opened for Hinder on some of their tour dates in 2010 during the “All American Nightmare Tour.”
• In late 2009, Dutton began helping write and produce songs for Hinder’s 2010 studio album All American Nightmare.Shortly thereafter, he founded Backlounge Productions alongside Hinder’s drummer Cody Hanson.
• Throughout 2012, Dutton once again served as co-producer on Hinder’s 2012 album Welcome to the Freakshow with Cody Hanson. Dutton is also credited as being a co-writer on two songs featured on the album, the album’s fourth single “Should’ve Known Better” and track 11 “Wanna Be Rich.”
• In August and September 2013, Dutton filled in for Austin John Winkler for a few concerts during Hinder’s 2013 “Welcome to the Freakshow” summer tour. Dutton shared the role as lead singer with Jared Weeks (from the band Saving Abel) while it was announced Winkler had taken a temporary leave of absence from the tour citing medical reasons.
• Throughout 2014, Dutton began work with Hinder for a third time, co-writing and producing songs for their upcoming album When the Smoke Clears. At the time, Nolan Neal was providing lead vocals for the Hinder album.
• On January 20, 2015, it was announced that Dutton had joined Hinder full-time to be their new lead singer, replacing Austin John Winkler and his brief replacement Nolan Neal.

Fun Fact: Since we are talking about Marshall Dutton, just a little side FF: After attending the University of North Texas (in Denton, TX) in 2002 Dutton met Josh Franklin, Jeremy Coan and Jeremy Moore. Together, they formed the four-piece band Faktion and his bandmates nicknamed him ‘Wolfie’ (aka Marshal ‘Wolfie’ Dutton) due to his long shaggy hair and scruffy beard at the time. Apparently, this was a nickname only used within and around the band.

Fun Fact: When listening to the “Lips Like an Angel” have you ever wondered what the girl on the other end of the phone in this song is thinking? Lots of TikTok users did and some even rewrote the lyrics to express this perspective, typically asking the guy why he’s still with that other girl.

Inspired by this trend, Austin Winkler, who left Hinder in 2013, teamed up with country singer Shaylen to record “Lips Of An Angel Pt. II,” a duet where she takes the second verse, explaining that her boy is in the next room and she feels the same way. “Lips of An Angel Part II” was released in August 2023. Give it a listen. They make a great duet. (and if it doesn’t embed here for whatever reason just follow the link above and you’ll catch it on YouTube)

Combining raw riffs with big hooks and vocal harmonies, Hinder takes cues from rock legends like Aerosmith, AC/DC, KISS, and Guns N’ Roses, and updates them with modern guitar sounds. Their triple platinum debut Extreme Behavior documented the decadence and strained relationships of these retro rock juggernauts, whose subsequent cover of Steppenwolf’s “Born to Be Wild” for NASCAR was a natural extension of their lives on the road. (Hinder recorded the song in 2007 for TNT’s coverage of NASCAR. That version appears on the re-release of Hinder’s album Extreme Behavior).

And Wow is this a seriously kickass cover of my favorite Steppenwolf song! Check it out and crank it up!  (in case it doesn’t embed here, just follow the link above)

 

So that’s it for LIPS – Part 1. Did you enjoy the music? Did you get up and dance (dance-dance-dance)? Tell me which songs you liked best and I’ll tell you which ones I liked best. What Lip songs are not in this playlist? They might be in Part 2… That’ll be next week. Thank you for stopping by and please leave a comment. I love hearing from you all.

Until next time: Rock & Roll, Crank It Up and Have a Blast!

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This is a blog hop! Be sure to visit the other participants in Monday’s Music Moves Me. You can get to their blogs by clicking the link after “You are next” — a list of the participants and their links to their blogs will be there for your convenience.

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