Another week has flown by & that means it’s time for Monday’s Music Moves Me! And that means a new edition of Rock ‘n Roll Head to Toe. Last week was LIPS – Part 1 with 10 Lip songs. This week’s LIPS – Part 2 has 10 songs as well but very different songs. For starters, there’s not one classic rock song in this list! Shocking, I know.  (Btw, if you’re just joining the party and want to catch up on the previous posts featuring body parts already explored, go to my Index Page for the RnR H2T series where you’ll find links to each individual post).

I found some awesome new-to-me songs and bands. In fact I found a few so good and so interesting I’ll probably end up doing an “Artist Spotlight” on them down the road. But that’s later. Now let’s Rock ‘n Roll Head to Toe! Here is the playlist containing all 10 songs. As always, no need to read my song & artist/band info unless you are interested and have time. At the very least though, hit Play and check out the rest of songs with LIP(S) in their titles.

 

CAUTIOUS LIP by Blondie

“Cautious Lip” is a track on the second studio album Plastic Letters by American rock band Blondie, released in February 1978 (Chrysalis Records). The song, written by guitarist Chris Stein and Ronnie Toast, has a rockabilly sound with a funk groove and features a horn section and glockenspiel. The song explores different musical styles for Blondie and was performed live between 1977 and 1978. It was first played in concert February 9, 1977 at Whisky A Go Go, West Hollywood, CA, USA; the final time it was played live was September 9, 1978 at Hammersmith Odeon, London, England.

Fun Fact:  I normally save Fun Facts to the end of the song info but I’m going to slip it in here first to clear up a misconception that many folks have about Blondie. Blondie is NOT the lead singer or even an individual person; Blondie is the name of the band. Lead singer Debbie Harry became so famously associated with the name that many people assumed she was the solo artist “Blondie”. In 1979, the band created “Blondie is a group” buttons and posters to emphasize that they were a collective effort, not a solo act named after its singer.

Harry was the charismatic and stylish frontwoman whose platinum-blonde hair inspired the group’s name. Her distinctive voice and image made her an icon of punk and new wave music.

Founded in 1974 by vocalist Debbie Harry and guitarist Chris Stein, Blondie was a pioneer of the American new wave scene in New York City. They became internationally famous with hits like “Heart of Glass,” “Call Me,” and “Rapture”.

RE: “Cautious Lip” song: The reviewer on donignacio.com says of the Plastic Letters album: “The diversity in this album is absolutely staggering, and it’s another huge contribution to the enjoyment of this work. There’s “Denis,” a throwback to ’50s love ballads, “Contact Red Square” has a Russian connection, “I’m on E” is surf-rock, “No Imagination” has a classical vibe, “Detroit 442” is nearly heavy metal. There are no two songs that sound alike. Not even remotely! Furthermore, every single one of these styles produces a *fun* song. Apart from maybe “Cautious Lip” at the end, there’s not a dull moment anywhere.

The song’s place in Blondie’s music was pure musical exploration. In a 2004 interview, lead singer Debbie Harry noted that the song “explored our appreciation of the late ’60s jam bands”. The song represents a different side of Blondie’s sound compared to their more famous hits. Trouser Press described it as an example of the band’s “thoughtful experimentation”.

Another Blondie song that shares the spirit of ’60s jam bands is “Desire Brings Me Back,” from their 2003 reunion album, The Curse of Blondie.

In a 2004 interview, singer Debbie Harry mentioned that “Desire Brings Me Back” was an intentional throwback to the style of “Cautious Lip,” which also explored the band’s appreciation for late ’60s jam bands. She noted her fondness for its “pulsing agony” and how it’s “so driven, really alive with some funk”.

Like “Cautious Lip,” “Desire Brings Me Back” demonstrates Blondie’s “thoughtful experimentation” and willingness to draw inspiration from a variety of genres and eras. While many of their hits famously explored disco and other popular styles, the jam band influence is another layer of their diverse musical identity.

 

LIPS ON YOU by Maroon 5

“Lips on You” is a song by Maroon 5 from their 2017 album, Red Pill Blues. It is an R&B-influenced pop song with a slow groove, a prominent bassline, and suggestive lyrics about intimacy and passion.

The song’s lyrics describe a sensual and intimate connection between two people. Phrases like “When I put my lips on you, I feel the shivers go up and down your spine” and “You and me can forget all our manners” establish a mood of passionate, late-night desire. With a deep bassline and smooth R&B production, the track stands out from some of the band’s more upbeat pop hits. 2 Loud 2 Old Music called it the “sexiest” song on the album.

The music video for “Lips on You”, released in December 2017, primarily features performance shots of the band playing the song in a dark, intimate, and moody setting. The visuals reflect the sensual, late-night atmosphere of the track, focusing on Adam Levine and the rest of the band. Unlike some of Maroon 5’s more elaborate narrative-driven videos, this one is straightforward. It is centered on the band playing their instruments and capturing the vibe of the song. As is common in Maroon 5’s videos, Adam Levine is the primary focus. The camera captures his emotional performance as he sings the lyrics. The video’s simplicity allows the focus to remain on the music and the song’s sensual themes, creating a direct visual representation of the track’s sound.

Fun Fact: The title of Maroon 5’s sixth studio album Red Pill Blues refers to the science fiction term of taking the red pill or the blue pill, which originated from the 1999 sci-fi film The Matrix.

Fun Fact: The album cover art for Red Pill Blues, created by American photographer Travis Schneider, is inspired by filters featured on the mobile app Snapchat. The cover depicts all seven members of Maroon 5 pictured on polaroid photographs with a filter on their faces. “We all use Snapchat, and the filters have become a huge part of the culture,” frontman Adam Levine told Billboard in an October 2017 interview. “We thought it would be funny to take some more straight-ahead band photos and sprinkle in a little fun.”

 

LUCKY LIPS by Cliff Richard

Cliff Richard’s 1963 cover of “Lucky Lips” was a major international hit, reaching number one in several countries. Originally written by the legendary songwriting duo Jerry Leiber and Mike Stoller (who also wrote hits like “Hound Dog” and “Jailhouse Rock”) the song was first recorded by R&B singer Ruth Brown in 1956.

Cliff Richard’s version, featuring his band The Shadows, is an upbeat pop rock and roll tune with a catchy guitar riff and energetic vocals. His version was an enormous international hit, especially across Europe and in other parts of the world.

The song was a significant international hit for Richard. In the UK, it topped the charts, and it also reached number one in several cities in North America, such as Vancouver and Ottawa. However, it only peaked at number 62 on the U.S. charts.

• United Kingdom: The single entered the UK Singles Chart in May 1963 and peaked at #4. It remained on the chart for 15 weeks.
• United States: In the US, “Lucky Lips” was released as the A-side of a single in June 1963, reaching a peak of #62 on the Billboard chart.
• #1 in these other countries: The song was a major international hit, reaching #1 in Belgium, Denmark, Hong Kong, India, Israel, the Netherlands, Norway, South Africa, and Sweden.
• Germany: Richard’s German-language version, titled “Rote Lippen soll man küssen,” topped the charts in West Germany, Austria, and Switzerland. The single was awarded a Gold Disc for selling one million copies worldwide.

Cliff Richard’s music career followed suit as far as chart successes go. He has only had TWO Top 10s in America but has had amazing chart success internationally. Here, he is probably best known for this one, “Devil Woman” (#6 on Billboard’s Hot 100 chart in 1976).

Here’s a link to a video of Cliff Richard on a BBC Radio interview in 2018. It’s a 24 minute interview, most of which is talking about his 104^th album (!!!) Rise Up, his first new music since 2004, but it also explores a bit of Cliff’s life and career from his own mouth, including answering questions about his ordeal in his lawsuit against the BBC in a privacy case.

 

SUNBURNT LIPS by Luke Bryan

“Sunburnt Lips” didn’t come out until it was included in four bonus tracks on the Deluxe Edition of Luke Bryan’s fourth studio album Crash My Party released in August 2013 by Capitol Records Nashville. When released the deluxe edition was exclusive to Target stores only but now the song is widely available for streaming.

The song tells the story of a hard-working man toiling in his tractor who daydreams about a romantic, sun-soaked memory with his love interest. The repeated refrain focuses on remembering her “sunburnt lips”. The phrase “sunburnt lips” symbolizes a specific, vivid memory of a passionate summer romance. It is a potent symbol for nostalgia, capturing a moment that is both physically intense and emotionally significant for the singer. It is a straightforward and physical image, fitting for the honest, everyday emotions often portrayed in country music. It captures a deep feeling without needing overly complex metaphors.

The lyrics are a perfect fit for Bryan’s down-to-earth image, focusing on simple, relatable themes of rural life and nostalgic summer romance. The narrator working on a tractor while daydreaming is a classic country trope that connects with Bryan’s fanbase. “Sunburnt Lips” shares DNA with many other songs in Bryan’s catalog. The song’s themes of summertime, the outdoors, and youthful romance are central to his party-friendly persona and his more reflective, sentimental tracks. It fits comfortably alongside other songs on the Crash My Party album.

 

FELT GOOD ON MY LIPS by Tim McGraw

“Felt Good on My Lips” is a song recorded by American country music singer Tim McGraw. It was released in September 2010 as the lead single from his compilation album Number One Hits and has since become McGraw’s 24th Number One hit on Billboard’s Hot Country Songs chart. The song is also included on his 2012 album Emotional Traffic.

The song was written by two sets of brothers – Brett Warren and Brad Warren and Brett and Jim Beavers. In an interview with The Boot, Jim said that Brett provided the idea of writing with The Warren Brothers, and Brett Warren based the song around a bass guitar riff that Jim played.

Jim Beavers and Brett Warren told The Boot the story behind this song:

Jim Beavers: My brother Brett had this crazy idea that he and I should start writing with The Warren Brothers just to see what would happen. We dubbed ourselves “The Warren Beavers,” and the very first song we wrote was ‘Felt Good on My Lips.’

Brett Warren: It started with a bass riff that Jim began to play. Then we started spitting out some ideas. Brad and I started singing the “oh oh oh ah” part, and it really unfolded quickly.

Jim Beavers: I thought the song was one of the weirdest things I had ever heard. That “oh oh oh ah” part came out of nowhere, but we vowed when we started writing that we wouldn’t worry about Music Row songwriting convention. We wrote the song like a band, so the music, groove and instrumentation were as much a part of the tune as the lyrics or idea. One unusual thing was that I played bass on everything as we were writing, which I have never played in my life before. I think the unconventional approach to the writing made the songs that much more unique. We ended up going into the studio and recording all the songs pretty much live. It was a blast. Not musical perfection by any means, but vibe perfection.

The title phrase, “felt good on my lips,” became the recurring hook. The verses connect the phrase to specific details of the woman and their interactions, such as her Spanish name, the song they danced to, a fruity drink she ordered, and a goodnight kiss, all of which “felt good on his lips”.

The song received mixed reviews. Critical reception for the song saw some reviewers praising its progressive sound while others criticized its lyrics and production.

Positive feedback: Matt Bjorke of Roughstock gave the song three and a half stars, calling the chorus “catchy” and praising its progressive melody. Others saw it as a fresh and welcome change for a long-established country artist.

Negative reviews: Other critics were less impressed. Kevin John Coyne of Country Universe gave it a C-, criticizing the heavily processed vocals and claiming the production sank the record. Stephen M. Deusner of Engine 145 gave it a “thumbs-down,” criticizing the chorus while noting that the verses “ably convey the excitement of attraction”. Some complained that McGraw’s vocals sounded “old” and not energetic; others claim his voice was overly auto-tuned.

Well, I like the song! How about you?

 

LIP SERVICE by Jimmy Buffet

This man needs no introduction but Jimmy Buffett (December 25, 1946 – September 1, 2023) was an American singer-songwriter, author, and businessman. He was known for his tropical rock sound and persona, which often portrayed a lifestyle described as “island escapism” and promoted enjoying life and following passions.

He had so many hit songs. In total, Buffett sold over 20 million certified records worldwide, placing him amongst the world’s best-selling music artists. In addition to two Grammy Award nominations, Buffett was posthumously inducted into the Rock and Roll Hall of Fame in the Musical Excellence category in 2024.

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“Lip Service” is a song by Jimmy Buffett that appears on his 1982 album, Somewhere Over China. It was co-written by Buffett and longtime friend and fellow band member Michael Utley, a keyboardist and musical director for Buffett’s Coral Reefer Band.

The lyrics describe a narrator’s frustration with a lover who offers nothing but empty promises, or “lip service,” instead of real action. The narrator suggests he will leave if the situation doesn’t change. The chorus emphasizes the narrator’s exhaustion with a relationship built on unfulfilled promises: “Oh darlin’, oh darlin’, all I ever get is lip service from you”. The song includes a classic Buffett escape plan. Faced with their partner’s “voodoo,” the narrator threatens to take off to Pascagoula, Mississippi—Buffett’s hometown—to start fresh.

                The “voodoo” that Jimmy Buffett is referring to is not a literal, magical curse. It is a metaphor for his partner’s powerful but manipulative emotional games that have a hypnotic effect on him. The “voodoo” is the powerful, controlling spell she casts with her “lip service,” which leaves him dazed and unfulfilled, even as he threatens to leave. The song’s New Orleans-inspired music style is a nod to the regional culture, further emphasizing the idea of a mystifying, emotionally draining influence.

The song also has a New Orleans-inspired musical feel, which Buffett is known for integrating into his music. It is filled with Creole flavor and references. The New Orleans flavor comes primarily from the bluesy, rolling piano and the song’s overall rhythm and tone.

The most prominent New Orleans influence in “Lip Service” comes from the keyboard performance by Michael Utley. The rolling, boogie-woogie style piano is reminiscent of New Orleans R&B legends such as Professor Longhair or Fats Domino.

• Utley, the Coral Reefer Band’s longtime musical director, is a skilled pianist and composer with roots in southern musical traditions, including blues and jazz. His extensive work in Miami studios with Atlantic Records’ house band, backing artists like the Allman Brothers, further developed his expertise in these genres. His history and skill directly contribute to the New Orleans-style piano heard in “Lip Service.”

In addition to the bluesy piano, the distinctive New Orleans influence in this song is also conveyed through the lively rhythm section with layered percussion (timbales and congas) and soulful harmonica.

The song’s musical style, like much of Buffett’s work, is a blend of rock, country, and pop mixed with a distinctly tropical and Southern flavor. The New Orleans sound in “Lip Service” adds another regional layer to this fusion of “gulf and western” styles.

Fun Fact: Buffett also parlayed the “island escapism” lifestyle of his music into several business ventures, including Jimmy Buffett’s Margaritaville restaurant chain, the now-defunct Cheeseburger in Paradise restaurant chain, and ventures in hotels, casinos, liquor, and retirement communities. He was also a bestselling author. Buffett’s estate was estimated to be worth $275 million. His devoted fans are known as “Parrotheads”.

Fun Fact: Buffett appeared on Elmopalooza, the Sesame Street 30^th anniversary special (aired February 1998 on ABC) singing “Caribbean Amphibian” with the popular Muppet, Kermit the Frog.

Here is the adorable performance of the two greats singing Caribbean Amphibian:

 

LIPSTICK ON YOUR COLLAR by Connie Francis

“Lipstick on Your Collar” is the 1959 hit single by Connie Francis and one of the most popular songs in her catalog of songs loved by many worldwide. It is a rock-and-roll classic about a girl discovering her boyfriend’s infidelity written by Brill Building staff writers Edna Lewis (lyrics) and George Goehring (music). [The Brill Building itself has a very interesting and intriguing history and is worth reading if you’re interested in the ins and outs of the 1950-1970s music industry.]

The lyrics tell the story of a girl whose boyfriend leaves her alone at a dance, supposedly to get a soda. When he returns, she discovers a lipstick stain on his collar, realizes he was “smooching” her best friend, and tells him they are through.

Songwriter George Goehring recalled that he had personally pitched “Lipstick on Your Collar” to Francis when he made an unannounced visit to her New Jersey home and played the song for her on her piano.

Francis recorded the song in April 1959, in a session at Metropolitan Studio (NYC). At the same session Francis recorded her romantic ballad “Frankie“, a song written by Howard Greenfield and Neil Sedaka meant to appeal to Frankie Avalon fans. “Lipstick on Your Collar” was originally intended to serve as the B-side to “Frankie”, but MGM Records and Francis herself were so pleased with the recording that the two tracks were both promoted equally.

The result was the most successful double-sided hit of Francis’ career, as “Lipstick on Your Collar” – the first uptempo Connie Francis single to reach the US Top Ten – peaked at No. 5 on the Billboard Hot 100 in July 1959, while “Frankie” peaked at No. 9. “Lipstick on Your Collar” sold over one million copies in the US and was a major hit overseas. In the summer of 1959 “Lipstick on Your Collar” also reached No. 3 in the UK Singles Chart and became Francis’ first Top Ten hit in Australia at No. 4.

Back in 1959 Connie Francis was the sole female singer then scoring rock and roll hits. In a 1959 interview, she attributed her being the sole female singer scoring rock and roll hits by saying:

“Rock ‘n’ roll is a masculine kind of music” with its mindset of “‘Come on out baby we’re going to rock’…[best] suited for a man to sing…The mistake that many girl singers have made is trying to compete with the men [whereas] I’ve tried for the cute angle in lyrics, things like ‘Lipstick on Your Collar’ and ‘Stupid Cupid’.”

Cute indeed! I always liked to hear “Lipstick on Your Collar” when it came on the radio. My parents had Connie Francis albums and I fondly remember the Connie Francis favorites “Who’s Sorry Now”, “Where the Boys Are”, “Everybody’s Somebody’s Fool”, “I Was Such a Fool (to Fall in Love with You)”, and “I Don’t Wanna Play House”. My Mom played Connie Francis songs on the organ and my Aunt Judy had an incredible voice; she often sang hits by Connie Francis, as well as Tammy Wynette, Loretta Lynn, Patsy Cline, etc. Ahh, such great memories from my childhood.

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Anyway, back to Connie Francis and her hit “Lipstick on Your Collar” here are some cool fun facts for ya:

Fun Fact: In 1982, Wisk laundry detergent used an adaptation of the song as a jingle for a radio ad campaign, playing on the theme of a cheating boyfriend and a telltale stain. The song was re-purposed as a jingle for a radio advertisement celebrating the 25th anniversary of Wisk detergent.

The ad campaign leveraged the song’s musicality and the cultural familiarity of a lipstick stain as evidence of cheating. The commercials were a spin-off of the long-running Wisk “Ring Around the Collar” campaign, which highlighted how the liquid detergent could be poured directly onto difficult-to-treat spots.

A modified version of the song’s lyrics was used in the radio commercial. George Goehring, who originally wrote the music for “Lipstick on Your Collar,” also composed the jingle’s updated lyrics. The product was presented as the solution to the “problem” of a cheating man, which is revealed by a lipstick stain.

Fun Fact: Connie Francis’ song served as the title and theme song music for the 1993 British television drama Lipstick on Your Collar, which was written by Dennis Potter and starred a young Ewan McGregor.

• Plot: The series was set in the Suez Crisis of 1956, three years before the release of Francis’s hit single. It followed a young military intelligence clerk named Private Francis, who fantasized about the 1950s musical numbers that played in his head. The popular songs of the era provided the soundtrack to his life and the emotional drama of the story.
• Usage: Connie Francis’s song bookended each episode and was used as the opening theme music. It anchored the series in the popular music of the time. The show also used other popular hits from the 1950s, such as “The Great Pretender” by The Platters and “Blue Suede Shoes” by Carl Perkins.
• Relevance: The series is known for its use of “lip-synching” musical sequences, where the characters’ emotions were explored through musical numbers. In this way, Francis’s song became not just a title but a key narrative device, reflecting the characters’ secret passions and affairs.

Fun Fact: The song has seen a revival on TikTok! In recent years, Connie Francis has experienced a resurgence in popularity among younger generations due to her music going viral on TikTok. While some posts featuring Connie Francis’s hit “Lipstick on Your Collar” have gained views on TikTok, the significant viral revival was for her lesser-known 1962 track, “Pretty Little Baby”. It has an upbeat, peppy, retro sound which made it a perfect soundtrack for lighthearted content. The track’s lyrical themes of innocent puppy love aligned perfectly with the tone of the trend.

“Pretty Little Baby” gained momentum on TikTok in early 2025, and by June it had been featured in over 17 million videos, accumulating more than 27 BILLION views globally. The trend gained additional traction from celebrities like Kim Kardashian and Kylie Jenner, as well as high-profile influencers. Content created for the trend included everything from short lip-sync videos to makeup tutorials and videos of pets.

Because of the viral success, this 1962 song broke onto several music charts for the very first time (because it didn’t chart at all in 1962)! It hit No.1 on TikTok’s Viral 50 and Top 50 charts and landed on Spotify’s Global Top 100 chart. Wow~!

And at 87 years old, Connie Francis was reportedly “flabbergasted and excited” by the unexpected resurgence of her music. She joined the platform to express her gratitude to the new generation of listeners. What an endearing tribute to her to receive such widespread recognition after being out of the limelight for so long. Fortunately she was able to enjoy her newfound popularity with a whole slew of new fans, as this all happened shortly before her death.  Vintage Rock magazine featured a nice tribute article detailing the life and career of the beloved Connie Francis.

 

 

LIPSTICK ON THE GLASS by Wolf Alice

“Lipstick on the Glass” by Wolf Alice is the opening track on their 2021 album Blue Weekend. It was their first album in over four years and received widespread acclaim from music critics, with many naming it as the band’s best work.

                ’Affirming the old adage (and Schoolhouse Rock! anthem) that three is indeed a magic number, Blue Weekend is evidence that Ellie Rowsell (vocals, guitar), Joff Oddie (guitars, vocals), Theo Ellis (bass), and Joel Amey (drums, vocals) are inching ever closer to peak form. It’s an advancement facilitated in no small part by their newfound connection with decorated producer Markus Dravs who has helped the band expand and diversify their sound, as they continue to defy easy genre classification…

“Competent, confident and captivating, Wolf Alice’s absorbing third LP showcases their penchant and passion for stretching their sound while further solidifying their distinctive musical identity. If there’s any justice in this world, Blue Weekend will be the album that finally convinces audiences outside of the UK—and specifically here, stateside—of their brilliance.”

— album review by Justin Chadwick of Albumism

The song won the band a Brit Award for British Group in 2022. It was also shortlisted for the Mercury Prize in 2021. (Wolf Alice won a Mercury Prize in 2018 and was nominated in 2015, 2018, 2021 and 2025)

Musically, the song has been described as a cinematic soundscape that builds with layers of strings, acoustic guitar and vocal harmonies. It features a propulsive, electric-acoustic sound with a surging riff and a wash of synths. Critics praised it as an “otherworldly, dangerous feel” with powerful dynamics. The band took a long time to come up with the right instrumentation and produced multiple demos before finding the track’s natural home.

“We had one version that was fairly electronic and we had one that was very ‘band-y’ and we were kind of caught between those two extremes,” guitarist Jonathan Oddie told RadioX. “Neither one felt quite right and we met somewhere in the middle. Finding where that middle-ground was took a very long time.”

The track is known for its haunting music video, directed by London-based photographer and videographer Jordan Hemingway. He directed this as part of a series of visuals for the Blue Weekend album. Presented as “Chapter III”, this video follows the music video Hemingway made for the album’s second track “Delicious Things”.

The “Delicious Things” video ends where we see the band sitting in a taxi. The visual for “Lipstick on the Glass” starts with the Wolf Alice band leaving the cab and walking through an empty street. Lead singer Ellie Rowsell is drawn to an elderly woman in a shop window where they have a symbolic encounter, lip-syncing the song’s lyrics to each other.

Wolf Alice singer-guitarist Ellie Rowsell sings about reconnecting with a lover who’s betrayed her. The “lipstick on the glass” was telltale evidence that Roswell’s lover had been cheating on her. She still loves him and will give their relationship another go. Roswell tells us on the bridge that he’s strayed before, so she is cross with herself for reconnecting again with such an untrustworthy guy.

The lyrics explore the complexities of revisiting a relationship after a betrayal. The lyrics depict a struggle between giving in to temptation and resisting it, despite a sense of betrayal. Lines like “I know it seems surprising when there’s lipstick still on the glass” a direct reference to the evidence of infidelity.

I take you back

Yeah, I know it seems surprising when there’s lipstick still   on the glass

And the full moon rising, but it’s me who makes myself mad, mm

I’ll take you

Some fans interpret the track as a powerful reflection of self-acceptance and forgiveness after a period of self-betrayal. The most insightful interpretation connects the lyrics to the band’s name, which is based on an Angela Carter short story where the character Wolf Alice kisses her own reflection in a mirror in an act of self-recognition.

“Lipstick on the Glass” is also known for the band’s poignant live performance of the song in September 2021 where Wolf Alice shared a special live version of the song recorded at the historic Union Chapel in London. The band performed with a choir for the “Jim Beam Welcome Sessions” series. Lead singer Ellie Rowsell explained that the performance was a “love letter to independent venues and the return of live music gigs (after the long Covid lockdowns),” and that the band chose the song for its “melodic grandeur”.

Fun Fact: A choir joins in with the song from the venue’s seating area towards the end of the video, with the band playing on stage. According to an official description, lead singer Ellie Rowsell sang in the choir at that same church growing up.

Fun Fact: The band has folk roots as it started as a folk duo. Before adding a full rhythm section and a rock sound, founders Ellie Rowsell and Joff Oddie performed acoustic folk-pop. Now they are a four-piece rock band known for blending grunge rock with pop choruses. Rowsell’s vocal style still retains the ability to switch between a gentle tone and a powerful howl.

Fun Fact: There was a literary inspiration in naming the band. Its name was taken from the short story “Wolf-Alice” in British writer Angela Carter’s 1979 collection The Body Chamber. The story is a gothic twist on the fairy tale of a feral child raised by wolves. The band takes its name from “Wolf-Alice,” a late-seventies short story by Angela Carter. The story, a variation on “Little Red Riding Hood” and “Through the Looking-Glass,” is about a feral girl who is raised by wolves. That would be a good way to describe Rowsell’s vocal style. She can whisper like a child and howl like a rabid animal.

Vocalist and guitarist Ellie Rowsell was responsible for choosing the band name. Apparently Rowsell borrowed the collection of stories, known for its feminist retellings of fairy tales, from her school library and never returned it. When she and founding guitarist Joff Oddie were trying to come up with a name for their acoustic duo, Rowsell’s mother suggested they look through her old books. They chose “Wolf Alice” simply because it sounded cool.

The connection to the Angela Carter story is more than just a name, as the themes of the original tale echo throughout the band’s music. The song title “Lipstick on the Glass” may allude to the story wherein a feral child sees her reflection in a mirror, leaving a bloody lipstick smear.

From Clunk Magazine: Wolf Alice Announce Short Film For Their Brand-New Album ‘Blue Weekend’

‘Blue Weekend’ is Wolf Alice’s third studio album that came out just a few days ago. Already, the album has received great feedback from their fans as we now await their highly anticipated short film. The film, which is in celebration of ‘Blue Weekend’ premiered at the Picturehouse, Soho in London. In the words of Wolf Alice:

“Last winter we began making a visual feast for your eyes. Set on a night out we wanted to bring the music of ‘Blue Weekend’ to life with this beautiful film directed by Jordan Hemingway. Pints and ciggies have literally never looked this good lol. This was an amazing experience and we really hope you enjoy it as much as we do. Thank you to our incredible team.”

The director Jordan Hemingway, who has previously worked for brands including Gucci, Raf Simons, and Comme Des Garçons has created a masterpiece that explores the nights out and relationships that form the backstory of ‘Blue Weekend’.

I am definitely going to feature Wolf Alice in an Artist Spotlight post down the road. They are a very intriguing band.

 

ALL LIPS GO BLUE by Him

 “All Lips Go Blue” is the lead single by the Finnish gothic rock/love metal band HIM from their eighth -and final- studio album, Tears on Tape (2013). I never heard of the genre ‘love metal’, have you? If no, maybe that’s because “Love metal” is a genre primarily defined by the band HIM, which coined the term in the mid-1990s to describe their unique fusion of heavy metal, gothic rock, and romantic themes. It’s not a formal or widespread subcategory of music, but rather a stylistic descriptor that has become synonymous with HIM and a handful of similar bands.

HIM is one of the most commercially successful Finnish bands of all time, with sales of over ten million records. HIM has also received numerous accolades, including eight Emma Awards. The band is known for its distinct sound, which combines more melodic and melancholic elements with heavier influences. This made it difficult for audiences to categorize HIM’s music, which led to the band coining the term “love metal”. HIM is also known for its logo, the heartagram, which has made numerous appearances in other media.

In April 2013 the band released its eight studio album Tears on Tape. The record charted in nine countries, peaking at number two in Finland and Germany. With significant critical acclaim in the U.S. Tears on Tape reached the #1 spot on the Hard Rock chart shortly after its release. And the album reached #15 the Billboard 200 chart.

Tears on Tape received mostly positive reviews, with Classic Rock calling it “a glorious return to form for one of the world’s most peculiarly successful bands”. This was echoed by Alternative Press, who stated that “within HIM’s impressive canon, it’s among their best.” Kerrang! gave a less-favorable review, stating: “Tears on Tape isn’t bad […] it’s just not as seductive as HIM can be.”

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The song “All Lips Go Blue” features a heavy, melancholic riff and signature dramatic lyrics from frontman Ville Valo. Music Credo webzine called it “one of the heaviest songs of the album”.

HIM frontman Ville Valo has commented on the song “All Lips Go Blue” in multiple interviews, highlighting its significance in the creation of the Tears on Tape album. He has noted the following about the song:

• “All Lips Go Blue” was the igniting force for the entire album. It was the first song the band was able to complete for Tears on Tape. Valo explained that finishing the track “opened up the floodgates regarding the rest of the album” and helped the band find the right balance between its signature full-on melancholy, strong melodies, and heavy guitar riffs.

I love the Ronettes, the ‘do-run-run-run’ pop stuff. I love the lyrics, having ‘blue, blue blue’ being repetitive. It’s a ’60s doo-wop thing. It’s cool to incorporate all ideas, and to not restrict yourself. We decided to steal a bit from Ronnie Spector and Sabbath and create a bastard child,” he said. “That song was important. We cracked open the beer bottle and knew we had a new album; we found our way. We sweated it out in a little rehearsal space, and here we are.”

 

• He considers “All Lips Go Blue” a good example of the entire album’s sound. The track effectively combines melodic vocals with heavy, grungy guitar riffs, a mix Valo saw as a good representation of Tears on Tape as a whole. “It has that bit more melancholy and melodic wistfulness in the melodies and the vocals, yet it has those grungy, heavy guitar riffs so I think that’s a good combo.”
• Another interview described the songs on Tears on Tape, including “All Lips Go Blue,” as “melancholy minimalism.” The album, the band’s shortest, featured more compact and direct songs compared to their earlier, more epic releases. Valo says the “melancholy minimalist approach” is applied to lyrics for this and other tracks on the album and are intentionally simple and direct. The aim is to describe “humongous moments of emotional revelation as simply as possible”.

Regarding the lyrical meaning, vocalist Ville Valo has said the song is a “memento mori track,” (Latin origin literally translates to “remember that you have to die”). He explains the song’s meaning to Noisecreep, the hard rock & heavy metal news and media website:

“It’s a Memento Mori type thing and is very straightforward. Let us celebrate what we have now, as opposed to dwelling on the mysteries or what will happen afterward. We’re all going to die, so let’s not worry about it now. Let’s live first”. This fits the themes of love and death that are central to HIM’s music.

The lyrics use the metaphor “all lips go blue” to symbolize the devastating effects of grief and emotional suffocation that come with losing a cherished love or dream. This is consistent with Valo’s broader lyrical themes, which often explore the pain and drama of love, the longing it creates, the heartbreak, the despair and the way it can end.

As with many of Valo’s poetic and metaphorical lyrics, the exact interpretation is left to the listener. One fan’s interpretation is that “all lips go blue” could also mean “putting an era, a time, or a human relationship to an end”. This reflects the personal and often dramatic nature of Valo’s work, where he explores the “death of love” and the feelings of loss and sadness that follow.

There was mixed speculation as to the song’s message and meaning. The ambiguity of the poetic lyrics led to fan discussion on Reddit, with some speculating about themes of heartbreak and others interpreting the title literally as a reference to suicide. (When I first heard “All Lips Go Blue” I thought it was about suicide too…and I was relieved when I learned I was wrong!)

Overall, the deeper theme of the songs on the Tears on Tape album is that there is beauty in suffering. The lyrics often use themes of death and despair as metaphors for love, suggesting that the suffering and inevitable end of a relationship can make the love more valuable. In this view, heartbreak isn’t just a negative experience, but a necessary part of the “love metal” duality of beauty and suffering.

Fun Fact: It’s not only his personal life that influences his music but literature has influence on Valo too. Valo is a fan of dark romantic and gothic literature, particularly the works of Edgar Allan Poe. This literary influence shapes his personal experiences into more dramatic, poetic, and sometimes morbid lyrics.

THE MUSIC VIDEO: I was originally going to use this onscreen lyrics video with a pictorial look at frontman Ville Valo through the years. But the official music video for HIM’s “All Lips Go Blue,” is superior. It was directed by Eugene Riecansky, a multi-award-winning director who has worked with artists like Madonna and The Prodigy.

It is a visually striking and surreal accompaniment to the song. Released in 2013, the video features the band performing within a storm-swept, Tim Burton-esque world that resembles an oversized chessboard.

The key visual elements are:

• A surreal, stylized aesthetic: The video has a highly stylized, dreamlike quality. Critics and fans have likened it to the surrealist aesthetic of director Tim Burton, with a touch of the quirky charm of The Mighty Boosh.
• Chessboard setting: The band members are placed on a massive, stormy chessboard, performing as giant chess pieces move around them. This central motif symbolizes a larger, perhaps cosmic, game of fate or manipulation, tying into the song’s themes of helplessness and emotional chaos.
• Heartagram motifs: As the video progresses, the moving chess pieces, some bearing the band’s iconic heartagram logo, begin to crumble and disintegrate. This may represent the destruction of love or the shattering of a relationship, a core theme of the song’s lyrics.
• Apparitional band members: The band members appear as ghost-like figures or apparitions, overseeing the unsettling game from different parts of the board. This otherworldly presentation reinforces the song’s melancholic and gothic atmosphere.

The video’s reception from fans was mixed, with some praising its artistic approach and others finding its surreal imagery confusing or lacking a clear narrative. While Ville Valo’s commentary on his creative work often focuses on the music and songwriting, the abstract nature of the “All Lips Go Blue” video is consistent with his broader artistic philosophy of allowing the audience to interpret and find personal meaning in his metaphorical creations.

In March 2017, HIM announced on their social media page that the band would be disbanding following a farewell tour later that year. In the announcement, Valo stated: “After quarter century of love and metal intertwined we sincerely feel HIM has run its unnatural course and adieus must be said in order to make way for sights, scents and sounds yet unexplored. We completed the pattern, solved the puzzle and turned the key. Thank you.”  They ended with a farewell tour.

The Bang and Whimper 2017 – The Farewell Tour

began on June 14, 2017 in Barcelona, Spain, and concluded on New Year’s Eve 2017 in Helsinki, Finland, as a part of the band’s annual Helldone Festival. The tour spanned three legs across Europe and North America. Most shows were sold out and the tour generated over 110,000 attendees in total. It also attracted mostly positive reviews, with the Nottingham Post noting that HIM “truly went out with a ‘bang’ ”.

For the tour, the band performed material from all their studio albums. They played their first-ever outdoor show in Helsinki at the Tuska Open Air Metal Festival, breaking the festival’s record for highest attendance on a single date. In conjunction with the tour, a special photo exhibition by Ville Juurikkala was held at the Helsinki Art Museum and the Morrison Hotel Gallery in New York. The exhibition, titled HIM: Right Here in My Eyes, featured photos of the band preparing for the tour. Check out this feature article/interview celebrating HIM’s extraordinary frontman:

HIM is dead: Ville Valo’s final interview ever

Excellent feature article and interview by  Alexander Milas ( Metal Hammer ) published November 2017

Gone but certainly not forgotten: here is a cool reaction video as Ville Valo himself reacts to classic HIM music videos and shares behind-the-scenes stories from their heyday. The former HIM frontman also discusses the drastic change in music video production budgets over the years. Expect anecdotes about chart-topping hits and the challenges of early music video production. Enjoy!

 

And we’ve reached the 10th and final song in the RnR H2T LIPS edition! This is one of the artists I mentioned that I’d like to feature in an Artist Spotlight post down the road:

BLUE LIPS by Regina Spektor

 Regina Spektor is a Russian-born American singer, songwriter, and classically trained pianist. “Blue Lips” is a track from her fifth studio album Far, released in 2009.

Another NYC artist who was new to me, I found her background to be quite interesting. Born in 1980 to a musical Russian-Jewish family in Moscow, Regina started taking piano lessons at age 7, learning how to play by practicing on a Petrof upright piano her grandfather had given to her mother. She grew up listening to classical music but her father, who obtained recordings in Eastern Europe and traded cassettes with friends in the Soviet Union, also exposed her to rock and roll bands such as the Beatles, Queen, and the Moody Blues.

The family left the Soviet Union when Spektor was nine and a half, during the period of Perestroika, when Soviet citizens were permitted to emigrate. She had to leave her piano behind. The seriousness of her piano studies led her parents to consider not leaving the Soviet Union, but they finally decided to emigrate due to the racial, ethnic, and political discrimination that Jewish people faced.

Her family settled in the Bronx in 1989. Since the family had been unable to bring their piano from Moscow, Spektor practiced on tabletops and other hard surfaces until she found a piano to play in the basement of her synagogue. In New York City, Spektor studied classical piano with Sonia Vargas, a professor at the Manhattan School of Music, until she was 17. Regina was originally interested in classical music only, but she later grew interested in hip hop, rock, and punk as well.

She became interested in formal songwriting in her teenage years and she wrote her first a cappella songs around the age of 16 and her first songs for voice and piano when she was 17.

NOTE: I found this video on the NPR site for Regina Spektor’s song “Bleeding Heart” but the reason I include it here is that it includes many old photos from her childhood, when she was still in the USSR and her early years after arriving in the US. The old black and white photos and home movies were taken by her father Ilya Spektor. It also showcases her playing piano as a child. It is unrelated to the specific song in this post “Blue Lips” but since presenting some of her early life background I am including it here. So, Bonus! You get to hear another Regina Spektor song, the lead single from her 2016 album, Remember Us to Life and get a glimpse into her youth. Plus some of her incredible vocal range is on display in this song. I think you’ll like both, the song and the old photos:

Fast-forward to her career, Specktor self-released her first three records and gained popularity in New York City’s independent music scenes, particularly the anti-folk scene centered on the East Village. Then she signed with Sire Records in 2004, resulting in greater mainstream recognition. After giving her third album, Soviet Kitsch, a major label re-release, Sire released Spektor’s fourth album, Begin to Hope, which achieved a Gold certification by the RIAA. Her following two albums, Far and What We Saw from the Cheap Seats, each debuted at No.3 on the Billboard 200.

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For the Far album (on which “Blue Lips” appears) Spektor decided to work with multiple producers on the album. She has compared composing an album to taking a class and said she wanted to have “multiple professors”. She also felt that having multiple producers would help each to not worry what the single or big hit would be. She chose to work with these four producers for Far: David Kahne (he produced her previous studio album, Begin to Hope (2006), Mike Elizondo (he produced her next studio album, What We Saw from the Cheap Seats (2012), Jacknife Lee and Jeff Lynne.

Jeff Lynne was the producer on her “Blue Lips” song (he also produced three other songs on the Far album). Although Lynne, as founder of Electric Light Orchestra and co-founder of The Traveling Wilburys, has an expansive musical background, Spektor did not know of his work when she originally met him. Despite The Washington Post naming him the fourth greatest record producer in history in 2008, Spektor admitted to BBC News that she had very little idea about her collaborator’s pedigree before she went into the studio. She admitted: “I memorized his name off a Tom Petty record that I really liked called Highway Companion because I just loved how it sounded. It was only later that I found out he’d done all this other stuff.”

Spektor told Entertainment Weekly that she really enjoyed working with Lynne. And vice-versa, according to Jeff Lynne. It’s obvious from their comments that they have deep mutual respect for one another. Of Jeff Lynne, Regina said:

“He’s amazing, in every way. He plays everything and anything. He’s just like, ‘Oh, we need drums on this, I’ll play. Oh, we need guitar. Oh, we need 12-string, or banjo.’ He can just pick anything up and play it. And he sings. It was really fun to get to sing with him. We sing harmonies on “Genius Next Door” and on “Blue Lips.” Certain things he did, I would never have thought to do, like the way the piano fades up on “Blue Lips.” I love things like that because they would never have entered my mind. That’s the exciting thing about working with producers, because you get to work with ideas that would’ve never popped into your head.”

And from the producer, Jeff Lynne said this about Spektor:

“Regina’s songs are like literature,” said Lynne, who doesn’t usually work with new artists, but said that Spektor’s demo tapes blew him away. “It hits you right in the face how brilliant it is,” he said.

Musically, the song features a jazz-influenced, melancholic piano riff, highlighting Spektor’s skill as a classically trained pianist. While the piano is the centerpiece, subtle strings and the occasional synth swirl in the song’s production, providing a layered soundscape. Couple those production elements with Spektor’s unique vocal effects, like her signature vocal gymnastics, from “striking guitar chords” to a mix of soft and powerful vocals is why “Blue Lips” is often cited as a standout track and a highlight of the Far album. Sputnik Music‘s rave review sums it this way: “The simple fact behind Regina Spektor’s music is that she can do no wrong.”

For a real treat, watch and listen as Regina performs “Blue Lips” live, just her and her piano, recorded at Public Radio WFUV’s studio on 5/22/2019. What amazing talent to make such powerful music, just her voice and her piano. Wow!

The song is a fan favorite known for its powerful imagery and emotional depth. It contains some of Spektor’s most powerful and sorrowful imagery, showing her growth as a songwriter from her more whimsical early works. Sputnik Music’s rave review sums it up: “The simple fact behind Regina Spektor’s music is that she can do no wrong.”So just what is “Blue Lips” about? When asked directly about the song’s meaning by SPIN magazine, Spektor demurred, explaining that she often doesn’t have a specific routine or process. Instead, she creates songs from an organic and intuitive place, describing her work as “this feels right”. In fact, she is notoriously reluctant to discuss the meanings of her songs. When SPIN magazine then asked her what this song is about, she replied:

“Well, that’s really hard for me. I don’t really think of songs in those terms. I don’t sit down with an agenda and go, “I’m going to write a song about…” you know? I just start playing a little bit on the piano, and then I start singing a little bit, and then it’s over – and there’s a song.

“Sometimes, very rarely, I can trace the ancestry of a lyric, and I’ll be like, “Oh, it’s a combination of that person I saw in the street and that one painting I saw in a museum, and that one movie I saw,” or something like that. But for the most part, it’s not really clear even to me. People think that if you can’t explain a linear meaning, then the song’s meaningless, or that you just put words together because they sound nice. But it’s not that either. It feels completely meaningful – it all means very exact stuff.”

While Spektor allows listeners to find their own meaning, fans have deeply connected with the song, with many sharing personal stories of loss or introspection tied to it.

INTERPRETATION OF THE LYRICS: The song’s surreal narrative has been interpreted as a character’s search for meaning. According to the music website Genius, the song alludes to a spiritual experience or even a religious journey. The character in the song “stumbled into faith” but is left unimpressed with the experience and disappointed by it, ultimately concluding that life is just life.

The lyrics specifically reference a biblical story of good and evil. In that same 2009 interview with SPIN, Spektor confirmed her fascination with faith, religion, and spirituality, and acknowledged that the theme appeared frequently in her songwriting, noting that her perspective on the topic can range from positive to sarcastic.

Going deeper with interpretation and analysis, the song critiques the way faith is commodified or co-opted for worldly gain, suggesting that human actions have tainted and replaced original spiritual intentions. Explained through these lines in the lyrics:

“They started off beneath the knowledge tree / Then they chopped it down to make white picket fences”: This line directly references the Tree of Knowledge from the biblical Garden of Eden story in the Book of Genesis. In this interpretation, humanity’s pursuit of knowledge ultimately led to materialistic desires (symbolized by the “white picket fences”) rather than spiritual enlightenment. It contrasts the pursuit of divine knowledge with the pursuit of a standardized, materialist version of the “American dream”.

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“Made it past the enemy line / Just to become enslaved in the assembly lines”: The assembly line is a powerful and recurring image representing the dehumanization and monotonous nature of modern life. This powerful metaphor suggests that people sacrificed and fought for a belief system, only to end up in the meaningless, repetitive labor of modern life. They traded spiritual freedom for another form of enslavement, an existence in industrialized society that offers no personal gratification.

“All the people hurried fast, real fast and no one ever smiled”: Spektor uses the image of isolated, rushing people to illustrate the disconnection and loneliness of modern life. This suggests a society of individuals who are so consumed with their fast-paced routines that they fail to connect with one another. The line “and no one saw and no one heard” further emphasizes the profound sense of isolation and indifference in the urban environment.

Finally, the use of the color blue in the lyrics: The lyrics connect the body’s blue veins and lips to the expansive blue of Earth seen from a distance, suggesting a complex and universal meaning. By declaring blue “the most human color,” Spektor makes blue a profound symbol of the shared human condition, namely mortality. While “blue lips” certainly denotes death, it also symbolizes a universal and unifying aspect of mortality. Just as the “storytellers” of religious myths inevitably die, so does everyone else. The blue is a reminder that we are all, in the end, just human.

The bigger picture: The lyrics also use the color blue to shift perspective from the individual to a cosmic scale, offering a sense of transcendence. The song repeatedly returns to the line, “Blue, the color of our planet from far, far away”. This cosmic viewpoint elevates the color from a symbol of personal sorrow to one of grand, humbling significance. The blue is not just personal sadness but the immense, beautiful, and lonely reality of our existence as tiny figures on a single, blue sphere.

The song ends by suggesting that all quests for meaning—whether through faith, love, or consumerism—ultimately return to a simple, humbling truth: life simply is. The blue of our mortal bodies is the same blue of the indifferent planet we inhabit.

How’s that for heavy?! I wish I were more tuned into lyrics when I listen to songs. Typically I’m moved by the music itself, the beat, the melody, a good bassline, tight rhythms, crescendos, etc. Most times I don’t even know what a song is actually about…but put me on ‘Name That Tune’ and I can usually name the song within a few notes. Maybe it’s my preferred genre (classic rock) that makes me more inclined to listen to the groove and not the words. Now songs like Nazareth’s “Hair of the Dog” – I know what that song’s about! I say that in jest but for me and my appreciation, it’s mostly about the music. 

However, researching Regina Spektor’s “Blue Lips” in depth like this has given me incentive to start paying more attention to song lyrics. I’m so engrained in the music of songs though — wish me luck!

 

That wraps up the LIPS – Part 2 edition. What Lips songs did you like in this playlist? Was there anything surprising with the music or the info/fun facts shared? Let me know in the Comments section below. Thanks for visiting Angels Bark and coming along this Rock ‘n Roll Head to Toe journey with me!

This is part of the Monday’s Music Moves Me Blog Hop. Be sure to visit the other 4M participants. If the list of participants below doesn’t have links just click the Click Here link below and you’ll come to the list with links to their individual posts. (WP can be contemptible at times)

This is a Blog Hop!

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1. Old	2. StacyUncorked
3. Songbirds crazy workd	4. Ramblin’ with AM
5. Driller’s Place	6. Angels Bark
7. The Sound of One Hand Typing

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