A1 	Who The Hell Is Tina? 	1:00
A2 	Shake It Little Tina 	3:23
A3 	Diane (Don't Point That Thing At Me) 	2:25
A4 	Back In School 	2:07
A5 	Me N Annie 	3:24
A6 	Taste So Good 	3:26
A7 	Dickie's Bringin Me Down 	4:21
B1 	Danny's Outta Money 	3:56
B2 	Little Queen Of New Orleans 	2:23
B3 	Dumb Boy 	0:54
B4 	The Royal Screw 	2:18
B5 	Somewhere Along The Avenue 	4:07
B6 	Both My Knees 	4:07

Adam Weiner - Keyboards, Piano, Vocals
Dan Finnemore - Drums, Guitars
James Everhart - Guitars
Will Donnelly - Guitars
Larry Scotton - Drums, Vocals
Alecia Chakour - Vocals (Background)
Sabrina Ellis - Vocals (Background)
Dave Guy - Horn
Wondress Hutchinson - Vocals (Background)
Neal Sugarman - Horn
Jared Tankel - Horn
Saundra Williams - Vocals (Background) 

Hi Honey marks the point where Low Cut Connie make the leap to the big leagues -- which doesn't necessarily mean the group has grown up, however. Adam Weiner and Dan Finnemore retain a taste for the lowbrow, something that separates them from legions of overly tasteful retro-rockers and something that's evident not just within their lascivious lyrics but in the rock & roll of their rhythms. By trading heavily on those swinging, soulful rhythms -- a move underscored by the lead single, "Shake It Little Tina," a Tina Turner tribute worthy of its subject -- Hi Honey differentiates itself from the driving, old-time rock & roll of 2012's Call Me Sylvia but also the heavy blues riffs of the Black Keys, the only other 2010s band with a similar affection for the sounds and styles heard deep in crates of old vinyl. As Hi Honey makes plain, Low Cut Connie are at their heart a party band: they want to get you out of your seat and dancing. Weiner's pumping piano, alternating between barrelhouse pounding and a full-tilt Jerry Lee Lewis boogie, sets the pace -- rocking 88s do indeed give the music a bigger beat than just guitar and drums -- but the nifty thing about Hi Honey is how it's cleverly produced to replicate the kinetic sensation of hearing a stack of 45s being spun through an old jukebox. Once the rousing "Shake It Little Tina" fades, up comes the cinematic spookiness of "Diane (Don't Point That at Me)" -- its dusty minor chords accentuated by smears of cheapo organ -- which is countered by the compressed, hard-charging "Back in School." Other sounds straight out of '60s AM radio pop up throughout the album -- the fuzz guitar bouncing along to the Motown beat of "Taste So Good," the "Run Through the Jungle" makeover of Lead Belly's "Dickie's Bringin' Me Down," which also features guest guitar from Dean Ween (tUnE-yArDs' Merrill Garbus shows up on "Little Queen of New Orleans") -- but Low Cut Connie's smarts and energy keep this from feeling like a throwback. If Hi Honey is a resurrection, think of it as a rowdy revival tent: they're preaching the gospel of good old rock & roll sleaze and boogie, sounds that are always infectious when they sound as good as this. ---Stephen Thomas Erlewine, AllMusic Review

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1 	Revolution Rock N Roll 	
2 	Dirty Water 	
3 	Death & Destruction 	
4 	Montreal 	
5 	Angela 	
6 	Love Life 	
7 	Am I Wrong? 	
8 	Controversy 	
9 	Forever 	
10 	What Size Shoe

Adam Weiner - piano, vocals
James Everhart - lead guitar
Will Donnelly - rhythm guitar
Larry Scotton - drums
Lucas Rinz - bass

Low Cut Connie earned some high-profile fans after the 2015 release of Hi Honey -- notably, President Barack Obama added their tune "Boozophilia" to a summertime playlist that summer -- but the group's core changed in its wake. Drummer Dan Finnemore departed in 2016, leaving pianist Adam Weiner as the band's undisputed leader, and the shift is apparent on Dirty Pictures, Pt. 1. A good chunk of the album is still devoted to the greasy, sleazy rock & roll that's been Low Cut Connie's specialty since the outset -- "Love Life" is a dirty nocturnal grind, the bright hooks of "Angela" hide its snide jokes -- but there's a darkness running through Dirty Pictures, Pt. 1, one that's evident from the moment "Revolution Rock N Roll" starts the album on a minor key. It's not hard to read this as a reaction to the tumultuous state of the union in the back-half of the 2010s -- as Weiner sings here, "there's death and destruction in the country" -- but this melancholy streak deepens Low Cut Connie's music, providing moments of questioning next to the nonstop boogie. "Death & Destruction" slides into "Montreal," a haunted late-night saloon song recalling Big Star by way of the Replacements, while a frenzied salute to the late Prince via a cover of "Controversy" gets paired with the aching "Forever." What makes these moody moments striking is that Weiner hasn't renounced the power of rock & roll, nor his penchant for mischief; he isn't trumpeting a new direction, he's adding dimension to a band that already offers more than its fair share of surprise and pleasure. ---Stephen Thomas Erlewine, AllMusic Review

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