Honey Ltd. "The Comlete LHI Recordings

(Light In The Attic/Burger, 2013)  You can't know everything, and I have no shame admitting had never heard a peep about these lovely Lee Hazlewood labelmates, who came out of Detroit in the late 60s and had one remarkable, ultra rare LP  (featured here plus some unreleased tracks). Being a few rock n roll rotations past the era of cookie cutter girl groups this is an act that fell halfway between the Ronettes and Fanny, with lush production celebrating their gorgeous voices but some rocking radical takes. The anti-Viet Nam "Warrior" starts out a little too pretty, which makes the heavy and soulful chorus stand out (and makes the killing and dying themes more striking). Obviously the Wrecking Crew tracks are tight AF, but there's still a couple of loose swings, including a slinky, seaworthy "Louie Louie." These women could SING and "I've Got Your Man" and "Come On Down" are welcome workouts. As Light In The Attic is known for, the vinyl comes packaged with such deluxe extras that I can't recommend it highly enough, but...

Artifact wise, I just really want to gush over the cassette version. Yes, the sound is worse, but I can fantasize about this group getting the airplay they deserved and listening to this on a shitty transistor radio, and sure the voluminous liner notes (with interviews with the whole band) are absent, but that lets me fantasize (of the actual reality) of this being an intriguing mystery group -- just seeing the gorgeous, glamorous photo in an iffy color xerox begs so many tantalizing questions. And this is packaged in a compact, light cardboard box that open on the side like James Bond offering a smoke to a sexy spy from a cigarette case. I love how this looks and feels so much, right down to it being hand numbered in my grandma's handwriting! 

Honey, Do!

Aspic Tines "Enchante MAdame A.I."

(Johann's Face, 2016) On their return from space this alien from Planet Nomi continues on his out of this world rubberband lazer ride. While no song on this EP reaches the heights of his 2009 intergalactic hit "Music of the Spheres," this release demonstrates more cogent space mythology than Klaus Nomi was able to bring to earth. Also, despite not possessing his hero's operatic chops (even if his bizarre futuristic teutonic rolling "r's" game is tight) AT demonstrates a more cogent space mythology than his late predecessor, and in this galaxy that still counts for something.

Kim Fowley "Live at Burger Records November 24, 2013 "

(Burger, 2016) A wonderfully strange recording of a weirdo legend improvising songs with accompanists (the guitarist Burger thought would be game for the inanity, plus random people from the crowd that Fowley borderline forces to play) for about a total of three minutes (or 2 1/8 songs), and then just gloriously rambling about his rock n roll philosophies, his lengthy history, his admiration of PJ Proby, his health, society's health, and all else under the fluorescent lights, with fascinating mundanity as dull magnificence. While there must be other memorable moments on the album what made the biggest impression on me was a  sad, brief passage where Fowley has a teenage would be rock god shit the bed during a semi-consensual America's Got Talent audition. I sure hope that young man is Post Malone or Thomas Rhett or in 100 Gecs today. 

Elisa Lovelle & the Device "Undertow"

(Elisalovelie.com, 2013) The band (to my damaged brain) instantly evoked Lushsus Daim and the Pretty Vain, and I was not totally off, as like L.D.'s nothing-special 80s R&B, this lowkey bar rock is not particularly groundbreaking. But Elisa's strives towards being the perfect bar rock chick, balancing the belting it out with the pretty melodic tunes. And like Ms. Daim, I'm certain she is More Than I Can Handle.

Rudy Ray Moore "The Streaker"

(Kent, 1976-ish) While many would be attracted (or repelled) to this album because of its photospread on the front and back covers of Rudy "streaking" (an activity that seems to involve nude backyard calisthenics) it is the naked creativity on the grooves that should draw you in. While this album oddly has two guest artists (Lady Reed delivering a substantial Man-ifesto on her philosophy concerning the weaker gender, and oddly, someone named Linda Broadcloth being given the last minute of the LP to tell a single dirty joke (punchline [spoiler alert]: "Yeah baby, you look into that tree you'll shit") it also delivers exactly what Rudy fans want, including a sequel to his immortal "Shine on the Titanic" toast. But what makes this record stand out are two weirdo sound experiments on side 1. "On "Sighs of Love," a rare studio track, Dolemite takes us into the the amorphous dream realm of a sleepy, ecstatic orgasm using echo-drenched electronic sound techniques, making this the most gloriously nasty psychedelic record of the Seventies. But more exciting is "Leprochon," where Rudy plays the dozens responding to the semi-decipherable insults of a Chipmunk-voiced leprechaun. What makes this even weirder is that it certainly seems to be a legit live recording, so Rudy likely had to stick to a precisely timed script to keep up with the pre-recorded speed-altered patter of his green nemesis. Did he perform with a puppet, or a midget, or his own Senor Wences-painted hand? I have not found a photo or description, so I have no idea, but man do I wish we had asked him about this in our interview years back.