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Track List
01) All These Kids Are Way Too High
02) Beverly
03) Oh Suzanne
04) Every Time You Turn Around
05) Hollywood
06) One More Time
07) Master Tapes
08) Please Do Not Come Home
09) Desegregation
10) Hey! Little Child
01) All These Kids Are Way Too High
02) Beverly
03) Oh Suzanne
04) Every Time You Turn Around
05) Hollywood
06) One More Time
07) Master Tapes
08) Please Do Not Come Home
09) Desegregation
10) Hey! Little Child
3:29
3:49
2:15
3:06
2:32
2:19
2:49
3:07
4:01
3:25
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
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First Released
2018
Rock
Party
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Medium
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Album Description
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"Dirty Pictures, Pt. 2 is the fifth full length studio album by American rock and roll band Low Cut Connie, recorded live in Memphis during the same sessions as 2017's Dirty Pictures, Pt. 1. It was released on May 18th, 2018 on the Contender Records label.
At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 88, based on 5 reviews, indicating "generally favorable reviews".
User Album Review
The title is a giveaway. Low Cut Connie’s fifth album draws on the same sessions – at Ardent Studios in Memphis – that propelled this Philadelphia band’s 2017 blast of Fifties-infused glam-punk hallelujah, Dirty Pictures (Part 1). But these ten tracks, mostly written by singer-pianist Adam Weiner, are hardly leftovers. In fact, the opening sequence is a knockout. “All These Kids Are Way Too High” is explosive, hilarious censure, a song about every bar band’s worst nightmare – an audience that just stands and stares – detonated like the New York Dolls produced by Sam Phillips. “Beverly,” in turn, is steeped in Philly soul – a mid-tempo charge of desperate need that Kenny Gamble and Leon Huff could have written for Teddy Pendergrass – then seared with slide guitar and dotted with Weiner’s chiming piano, as if Elton John had joined the Replacements in time for Pleased to Meet Me.
What follows veers wildly in setting but not quality: the outright-Ray Charles effect of Weiner’s solo boogie “One More Time”; the barbed-Dylan ballad “Hollywood”; the
marching-R&B frenzy of “Hey! Little Child,” an Alex Chilton cover. “Please Do Not Come Home,” written by guitarist James Everhart, is hardcore roar lit with power-pop glow, while “Master Tapes” is Weiner’s inspired analog metaphor for an emotional crisis, triggered with swampy electric piano like the Meters kicking off a Faces
record. Low Cut Connie are defiantly old-school in their roots and values. But Dirty Pictures (Part 2), like its predecessor, is a stand-alone triumph of missionary zeal.
Reviewed by David Fricke for rollingstone.com.
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User Comments
Available in:
"Dirty Pictures, Pt. 2 is the fifth full length studio album by American rock and roll band Low Cut Connie, recorded live in Memphis during the same sessions as 2017's Dirty Pictures, Pt. 1. It was released on May 18th, 2018 on the Contender Records label.
At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 88, based on 5 reviews, indicating "generally favorable reviews".
User Album Review
The title is a giveaway. Low Cut Connie’s fifth album draws on the same sessions – at Ardent Studios in Memphis – that propelled this Philadelphia band’s 2017 blast of Fifties-infused glam-punk hallelujah, Dirty Pictures (Part 1). But these ten tracks, mostly written by singer-pianist Adam Weiner, are hardly leftovers. In fact, the opening sequence is a knockout. “All These Kids Are Way Too High” is explosive, hilarious censure, a song about every bar band’s worst nightmare – an audience that just stands and stares – detonated like the New York Dolls produced by Sam Phillips. “Beverly,” in turn, is steeped in Philly soul – a mid-tempo charge of desperate need that Kenny Gamble and Leon Huff could have written for Teddy Pendergrass – then seared with slide guitar and dotted with Weiner’s chiming piano, as if Elton John had joined the Replacements in time for Pleased to Meet Me.
What follows veers wildly in setting but not quality: the outright-Ray Charles effect of Weiner’s solo boogie “One More Time”; the barbed-Dylan ballad “Hollywood”; the
marching-R&B frenzy of “Hey! Little Child,” an Alex Chilton cover. “Please Do Not Come Home,” written by guitarist James Everhart, is hardcore roar lit with power-pop glow, while “Master Tapes” is Weiner’s inspired analog metaphor for an emotional crisis, triggered with swampy electric piano like the Meters kicking off a Faces
record. Low Cut Connie are defiantly old-school in their roots and values. But Dirty Pictures (Part 2), like its predecessor, is a stand-alone triumph of missionary zeal.
Reviewed by David Fricke for rollingstone.com.
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