Happy anniversary to Fun Boy Three's single (their version of The Go-Go’s single co-written by Terry Hall), “Our Lips Are Sealed”. Released this week in 1983. #funboythree #terryhall #ourlipsaresealed #janewiedlin #thegogos
Happy anniversary to Fun Boy Three's single (their version of The Go-Go’s single co-written by Terry Hall), “Our Lips Are Sealed”. Released this week in 1983. #funboythree #terryhall #ourlipsaresealed #janewiedlin #thegogos
"Our Lips Are Sealed" is a song co-written by #JaneWiedlin, guitarist of #theGoGos, and #TerryHall, singer of #theSpecials and #FunBoyThree. It was first recorded by the Go-Go's as the opening track on their album #BeautyAndTheBeat (1981) 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.
https://www.youtube.com/watch?v=luxX5DNFKMc
#AlternateFridayMusic
Jan 3 2025
The prompt is Asylum
Fun Boy Three, "The Lunatics (Have Taken Over the Asylum)" 1981
I always thought of #FunBoyThree as a side project by 3 members of second-wave #ska band The Specials, but in fact the formation of the group may have been part of #TheSpecials' breakup.
While The Specials used wit to address serious, topical subjects, Fun Boy Three burst onto the scene as off-kilter and downright wacky, from Terry Hall’s exaggerated coif to this single that announced their arrival. The song would be included on their debut eponymous album released the following year.
Perhaps in support of female empowerment, or maybe just to position themselves as a ‘boy band,’ the group associated with the all-female Go-Go's, #TerryHall cowriting “Our Lips Are Sealed" with the #GoGos' #JaneWiedlin, and later with #Bananarama, guesting prominently on each other’s releases.
But never mind all that - let’s have some lunacy.
If I ever left the house anymore, these are the clothes I would wear.
(The wikipedia article includes a complaint about the 'unfortunately slick mid-'80s production' but I think this album benefits more from its stereotypical 'mid-'80s production' than anything else I listen to.)