Ted McCloskey | The Last of the Pin-Up Girls

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Rock: American Underground Rock: Americana Moods: Featuring Guitar
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The Last of the Pin-Up Girls

by Ted McCloskey

The following is taken from the album’s liner notes: “The Last of the Pin-up Girls” is a tribute to a fundamentally American experience: the cross-country road trip. At the center of the story is a modern nomadic cowboy who travels from place to place with no purpose or code. He is driven by the clichéd notion of “finding oneself” on a lonesome journey in some attempt to regain his identity. The record is bookended with the protagonist riding into a strange town and then eventually riding out of town. He is seduced by the idea of anonymity, but through thousands of miles of self-reflection, romance turns into a harsh reality. The story is punctuated with American kitsch: the flicker of a fluorescent diner off the interstate, a reflection in a circus funhouse mirror, Wonder Woman and Norman Rockwell, a vamp in a red dress. The desolate highway takes him from Appalachia to Memphis, from Louisiana to Los Angeles; the music is the geography, the landscape, and where the true narrative of
Genre: Rock: American Underground
Release Date: 

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Tracks

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1. A Stranger Rides Into Town
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3:22 $0.99
2. Just Want to Disappear
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2:22 $0.99
3. The Last of the Pin-Up Girls
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2:17 $0.99
4. Never Going to Be One of Them
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2:31 $0.99
5. Little Beat Sweetener
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3:25 $0.99
6. In the Dollhouse Mirror
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3:23 $0.99
7. Discount Cigarettes and Gasoline
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3:44 $0.99
8. Lost in Fluorescence
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3:34 $0.99
9. Live Dangerously
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4:40 $0.99
10. Ghost Town Trail
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2:36 $0.99
11. Working Class Heroine
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3:18 $0.99
12. Tail Lights and Pale Whites
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3:39 $0.99
13. In the Funhouse Mirror
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3:10 $0.99
14. A Stranger Rides Out of Town
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2:59 $0.99
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ABOUT THIS ALBUM


Album Notes
“The Last of the Pin-up Girls” is a tribute to a fundamentally American experience: the cross-country road trip. At the center of the story is a modern nomadic cowboy who travels from place to place with no purpose or code. He is driven by the clichéd notion of “finding oneself” on a lonesome journey in some attempt to regain his identity. The record is bookended with the protagonist riding into a strange town and then eventually riding out of town. He is seduced by the idea of anonymity, but through thousands of miles of self-reflection, romance turns into a harsh reality.

The story is punctuated with American kitsch: the flicker of a fluorescent diner off the interstate, a reflection in a circus funhouse mirror, Wonder Woman and Norman Rockwell, a vamp in a red dress. The desolate highway takes him from Appalachia to Memphis, from Louisiana to Los Angeles; the music is the geography, the landscape, and where the true narrative of “The Last of the Pin-Up Girls” is exposed.


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