Les Honky More Tonkies – Greatest Hits

In album-not-cruise liner wrote-notes jammy-crammied with more arch than six Roman aqueducts and a 15th century European church (Claire knows her naves from her knaves), Les Honky More Tonkies like a dyslexic podiatry fetishist get off on the wrong foot by claiming and faming themselves for having “patented” “Motleycruegrass,” a “honkification and bastardization of…rock ‘n’ roll, country, and bluegrass.” Copyright 2002. Detecting more hokey than dokey, more con than conflation, Claire pegs this posit putative and disputative and offers as proffer three words: Jason. Ringen. Berg. Copyright 1982.

And knowing overflowing cistern she is being petty in pink, Claire the fistic linguistic nun-the-less goes ballistic-pugilistic whilst she-wolfing down liner notes stocking-stuffed with gustatorial metaphorials rapped in high-thread-count quadrasyllabic fabric the likes of “masticated” only to molar a morsel spelled “morsal.” Quelling spelling for kvelling, Claire fan-dancies like doilies the rumpy-pump-thumpy of “Dirty Hot”, and the mid-throttle toddle of “Mary Please”. But like butt steak that is where it ends. A party onstage is not always a party on a platter.

To rock-and-roll Motley Crue (without umlaut) up in a ball-to-the-wall with Moe Bandy is pin-striped dandy in non-heretical theoretical, but it must like flatulence in a tent be pointed out — Claire has an aversion to aspersion, but here like a green light goes — that stylewhilewise there was divergency in their urgency, both Vince Neil and Moe Bandy smote their notes, whereas-is, Les Honky tends like a man juicing a pine tree to press the pitch. Un-like-a-stripped-couch-cushioned by dim lights and thick smoke, such off-key vocalcy tends to rend when speakered untweakered. As such, Claire reckons you might catch this high-five jive live, as it does not thrive in archive.