Fun Boy Three "Our Lips Are Sealed" (1983) (single)

Our Lips Are Sealed, 7'' single
release date: Apr. 29, 1983
format: vinyl (FUNB 1)
[single rate: 3,5 / 5] [3,28]
producer: David Byrne
label: Chrysalis Records - nationality: England, UK

Tracklist: A) "Our Lips Are Sealed" - - B) "Our Lips Are Sealed, Urdu Version"

Single release by Fun Boy Three is the third and last single release from the album Waiting (1983). The song is composed by Jane Wiedlin and Terry Hall and was first released to promote the album debut Beauty and the Beat (1981) by Wiedlin's girl-band, The Go-Go's - in their version of the song, but it also appears on the final album by Fun Boy Three in '83.

Fun Boy Three "The More I See (The Less I Believe)" (1982) (single)

The More I See (The Less I Believe), 7'' single
release date: 1982
format: vinyl (CHS 2664)
[single rate: 3,5 / 5] [3,32]
producer: Fun Boy Three
label: Chrysalis Records - nationality: England, UK

Tracklist: A) "The More I See (The Less I Believe)" - - B) "?"

Single release by the trio Fun Boy Three taken from the band's forthcoming second album Waiting (1983). The trio consists of the three former vocalists of The Specials, Terry Hall, Lynval Golding and Neville Staple.

The Specials "More Specials" (1980)

More Specials
release date: Oct. 4, 1980
format: vinyl / cd (2002 remaster)
[album rate: 4 / 5] [4,14]
producer: Jerry Dammers and Dave Jordan
label: Two-Tone Records / Chrysalis - nationality: England, UK

Track highlights: 1. "Enjoy Yourself (It's Later Than You Think)" (live) - 2. "Man at C&A" (live) - 3. "Hey, Little Rich Girl" - 4. "Do Nothing" (live) - 6. "Sock It to 'Em J.B." - 7. "Stereotypes / Stereotypes, Part 2" (single version) - 9. "I Can't Stand It" - 10. "International Jet Set"

2nd studio album by The Specials originally released by Two-Tone Records. With this the band seeks out other styles and genres, and the album is a bit of a strange blend of influences. Most tracks are still with ska revival as the core of all songs, but some compositions are shaped as either rock & roll, soul, art pop, post-punk or easy listening / lounge compositions. The first four songs starts out, more or less as the natural follow-up to the debut album, although, "Man at C&A" has elements of post-punk, but giving the time of its release at the peak of cold war politics, it feels very natural, but #4, "Pearl Café", clearly bears elements from rock & roll and easy listening, and from here on it becomes more evident that this album is something else with its blending of styles. This is an even more striking experience when confronted with the vinyl album, where side A shares the tone of the predecessor, and with side B as a whole different thing. #7 "Stereotypes / Stereotypes Part 2" share characteristics with songs by The Clash from their album Black Market Clash (1980) blending dub and reggae, and on #8 and #9 the whole album is more likely as an inspirational source to later contemporaries as The Style Council, The Clash and its album Sandinista, sophisti-pop by Everything But the Girl and much later styles of The Cardigans with its 'blue eyed' pop mix of easy listening and calypso. Tracks #9 and #10 are yet again something else making me think of Portishead meets Gorillaz and a sound that today is considered to have helped shaping the style of trip hop.
Several guest musicians appear on the album including Rhoda Dakar singing duet on #9, Madness' sax player Lee Thompson on #4, and the US new wave trio The Go-Go's appear as backing vocals group on #11 "Enjoy Yourself (Reprise)".
The album fared well reaching #5 on the UK albums chart list and it generally was handed positive reviews. Also, the two singles from the album did well nationally when "Stereotype" and "International Jet Set" peaked at #6 and #4 respectively. Time has certainly not questioned the importance of this particular album. In retrospect, the album has been cited as a corner stone of modern popular music with its influence on the shaping of sophisti-pop but especially in defining the trip hop genre and may likely be seen as source to songs and albums by diverse artist like the aforementioned together with Portishead, Massive Attack, Blur and Gorillaz. More Specials is like the debut enlisted in "1001 Albums You Must Hear Before You Die".
Some of the album's compositions that travels the furthest from the band's trademark of ska revival are typically songs by keyboardist Jerry Dammers and, allegedly, his interest in and will to experiment with other styles, already in '81 led to the band's demise. Dammers take a stronger role as band leader on this album, and his ideas to incorporate new styles is said to have played a decisive role in the internal conflicts that ultimately led to changes within the band. The vocalist group of The Specials, Terry Hall, Neville Staple and Lynval Golding all left the band to form the trio Fun Boy Three, and the remainders of the band changed its name back to The Specials AKA in 1981.
I think, I may have listened more to this than the debut album by The Specials, but also more over the years. The debut stands out as more of a whole with its distinct ska revival and '2 tone' sound that connects it to a specific time and place, but I have always felt that this album is an even more exiting experience consisting of more original compositions, and has an almost surreal sense of timelessness that connects it with future styles, which makes me think of it as the band's best and most original album and a release that should be attributed all the acclaim it rightfully deserves.
Highly recommendable.
[ allmusic.com, Uncut, Rolling Stone 4,5 / 5, Mojo, Q Magazine, Smash Hits 4 / 5 stars ]

The Specials "The Specials" (1979)

The Specials [debut]
release date: Oct. 19, 1979
format: cd (1989 reissue) / cd (2002 remaster)
[album rate: 4 / 5] [4,02]
producer: Elvis Costello, The Specials
label: 2 Tone Records - nationality: England, UK

Track highlights: 1. "A Message to You Rudy" - 2. "Do the Dog" - *[ 3. "Gangsters" ] - 4. "Nite Klub" - 5. "Doesn't Make It Alright" - 6. "Concrete Jungle" - 7. "Too Hot" - 8. "Monkey Man" (live on the Old Grey Whistle Test) - 9. "(Dawning of A) New Era" - 12. "Too Much Too Young"
*Bonus track on 1979 and '89 Chrysalis reissue (other tracks numbered according to org. 14 track release.

Studio album debut by ska revival and '2 tone' band The Specials, a septet consisting of Terry Hall (aka Terence hall) on lead vocals, Neville Staple on vocals and percussion, "Roddy Radiation" (aka Roderick James Byers) on lead guitar and vocals, Lynval Golding on rhythm guitar and vocals, Horace Panter (aka "Sir Horace Gentleman") on bass guitar, Jerry Dammers on keyboards and vocals, and with John Bradbury on drums. Before calling themselves The Specials they were the Automatics, then the Coventry Automatics before settling with The Special AKA for a period, which was shortened for the album release. Still in '79, a reissue was released with the single hit "Gangsters" as track #3 was issued on Chrysalis, which is also on many later versions, but the original album version excluded this track, thus containing 14 tracks in total.
Together with Madness, Selector, and The Beat, The Specials were enrolled at the Jerry Dammers founded 2 Tone Records, which was primarily dedicated to ska revival bands, who all founded their music on the original (Jamaican) ska and combined that with elements of contemporary punk rock and / or British working class pub rock. The name of the record label gave name to the style 2 tone - the 'special' combo of ska and punk rock with stylistic influences from mod revival.
The Specials mostly consists of punk rock arranged cover versions of 1960s rocksteady and ska recordings (six out of the fourteen songs are composed by Dammers and the band; however, some of the Dammers' compositions are reworks of original Jamaican ska songs, e.g. "Too Much Too Young" and "Stupid Marriage").
Track #1 became the song that will always be associated with The Specials, although, it's really a 1967 rocksteady composition by Dandy Livingstone. Also track #8 was a popular remake of a 1969 Jamaican ska Frederick "Toots" Hibbert song, originally recorded by The Maytals, but it was track #12, the song "Too Much Too Young" that became the band's #1 single hit in the UK. Also the album fared more than well peaking as high as number #4 on the UK albums chart list.
I recall my fascination for the music by the The Specials, although, I never purchased the album at the time, but together with Madness they were the very best of the ska revival period and as contrary to Madness, The Specials stayed more loyal to the original style of ska and rocksteady and where Madness nearly always commented on life's more serious aspects from a humorous perspective, The Specials were more of the working class band with a clear political critical opinion on life under Thatcher - and they weren't afraid of commenting on homophobia and discrimination of any kind. Despite the band covered many original 1960s Jamaican songs, track #5 is written by Jerry Dammers but later covered and made more famous by the North Irish punk rock band Stiff Little Fingers.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Uncut, Q Magazine 5 / 5, Rolling Stone 4,5 / 5 stars ]

[clip about the band]