had quickened . Hall ' s signature tune , " Our Lips are Sealed " ( written with Jane Wiedlin ), is a funkier version of The Go-Go ' s Top Twenty hit , powered by Lynval sinister and staccato guitar . Hall always has an affinity for an off-kilter Broadway musical vocal , and " The Tunnel Of Love " nails the delivery full-on in a Kinks-like narration of breakup and divorce . The harrowing carnival barker delivery of " Well Fancy That " details Hall ' s criminal molestation as a 13-year-old , which understandably damaged him throughout his adult life .
Bonus tracks will be valuable for Fun Boy Three completists when buying the vinyl edition . " Our Lips Are Sealed " versions are especially potent , showcasing the building blocks to its final version . FBT ' s live version of The Specials " Gangsters " is a fascination . The Complete Fun Boy Three documents Hall standing on his own away from The Specials , but in many ways , pales to his later work with The Colourfield , Dub Pistols , and as a solo artist .
– John Vernon
6
TOMMY STINSON ’ S COWBOYS IN THE CAMPFIRE Wronger
( Cobraside )
The longstanding friendship and musical partnership between Philly guitarslinger Chip Roberts and Replacements bassist Tommy Stinson ( also a veteran of Bash & Pop , Perfect , Guns N ’ Roses , and Soul Asylum ) has yielded the pair ’ s debut album as Cowboys in the Campfire . Stinson in particular has roots in some of the loudest and most aggressive music ever brought to your local stage or stereo . Although the attitude is well in evidence , Wronger mines different veins of rich and wry American roots and classic country music . The album begins with the sound of Stinson ’ s ukulele and a bristling horn section on “ Here We Go Again .” With its loping swing , the song isn ’ t that far removed from a ‘ Mats song like “ Androgynous .” With his perfectly weathered tenor , Stinson sings a lifer ’ s story of devotion to music despite any perils , pitfalls , and indignities , while Roberts adds guttural baritone guitar licks drawn from a Twilight Zone version of “ Wichita
Lineman .” “ That ’ s It ” is a fit of rambunctious rockabilly sounding like punk rock night in Bakersfield . In addition to a warped roots-rock riff , Roberts adds solos with a demented twang . X founder John Doe swipes the bass from Stinson ’ s hands for several songs including the folksy strummer “ Mr . Wrong ,” in which Stinson takes his walking papers and wishes his former lover better luck with the next guy . Shimmering Hammond organ and bossa nova percussion color “ Schemes ,” a sensitive and subdued ballad akin to “ Swingin ’ Party .” Roberts ’ weeping steel guitar and snapping rhythm work lay the foundation for Stinson ’ s portrait of one last round of doomed romance during “ Fall Apart Together .” “ Hey Man ” gets a bit sociopolitical but makes its anti-war statement with a light touch and Stinson ’ s careworn melody . “ Hey , man , save your bullets for the range ,” he sings against a baroque string section and languid fretless bass . Doe ’ s upright bass propels " We Ain ' t ," an acoustic country-pop number a la Johnny Cash or Bob Dylan ’ s “ Subterranean Homesick Blues ” sans drums . Stinson sings to his life partner that neither of them seems to be quite smart enough to learn from their mistakes . Robert ’ s lively chicken-picking and loopy solo keep the humor in evidence . " Karma ' s Bitch " is a hard-luck story drawing upon a twisted true-life story from a Maryland beach community in which a man divorced his alcoholic wife only to begin dating her daughter – who eventually “ drank herself to death .” Roberts plays deceptively summery steel guitar as the sad tale unfolds . “ Souls ” is a downtempo , soulful torch-pop with a winsome melody and euphoric chorus delivered in Stinson ’ s raspy voice . The album concludes with the tumbling arpeggios of “ Dream .” Stinson ’ s aching pop melody is driven by Otto Hauser ’ s swinging whomp-smack on the drums , while the singer laments hopes and visions that have given way to time and regret . Despite a lengthy career and copious catalog , Stinson doesn ’ t often get his due as a sharp-witted , expert crafter of songs .
Wronger may correct that . This is a compelling set of evocative stories and sketches that measure well against the work of Stinson ’ s old friend Mr . Westberg , who would have every right to be proud of any comparisons between his characters to the ( mostly ) loveable and relatable wrecks found here .
– Jeff Elbel
8
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