The Pretenders Albums (10)
'Break Up the Concrete'
Release Date 9/23/2008
Tracks 11
Label Artist First
See Album Tracklist and Review
What The Critics Say
Break Up the Concrete is the first Pretenders album since 1990s Packed! where Chrissie Hynde wrote almost every song on the album on her own, but unlike the generally listless Packed!, Break Up the Concrete is an effective rebirth for Hynde, a reconnection to her roots undoubtedly effected by her return to her native Ohio. This may be a stripped-down record carrying echoes of the Pretenders past, but this is hardly a conscious re-creation of the group's first two records, as it lacks any of the stylish guitar colorings of James Honeyman-Scott, and the group's early hard rock swagger has been swapped out for a frenetic rockabilly bop, as infectious on the barrel-headed boogie "Don't Cut Your Hair" and Bo Diddley romp of the title track as it is on the ingenious Dylan send-up "Boots of Chinese Plastic." Hynde's revived rockabilly roll finds a comfortable pairing in the easy county-rock vibe of her ballads, of which there are far more of than there are rockers here. This emphasis on rockabilly and country-rock gives Break Up the Concrete a bit of an Americana feel -- something enhanced by the gently murmuring accordion on "You Didn't Have To," which otherwise is a cousin to the sighing pop of "Kid" -- but this doesn't necessarily feel like a departure for Hynde: it just feels like a lively, deeply felt Pretenders album, one that has better songs and better performances than usual. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The Pretenders' eighth studio album, Loose Screw, is their first on an independent label after 20 years with Warner, but the switch hasn't made any difference in the group's style. It may have seemed to listeners that later albums softened the band's mainstream rock sound in an attempt to restore commerciality, especially when professional songwriters Billy Steinberg and Tom Kelly began writing with group leader Chrissie Hynde. (They co-wrote the Pretenders' comeback hit single, 1994's "I'll Stand by You.") But in fact, the Pretenders have always mixed hard rock songs with ballads, and while Steinberg and Kelly are still onboard for two songs here ("Nothing Breaks Like a Heart" and "Saving Grace") that are among the album's more melancholy and melodic, slow tunes, there are also plenty of tough, unsentimental, guitar-driven songs in the traditional Pretenders mold. Lead guitarist Adam Seymour, in the band since 1994, has mastered the style of the band's original guitarist, James Honeyman-Scott, a mixture of jarring chord fragments and chiming sounds. Drummer Martin Chambers continues to keep strict tempos and to favor bits of reggae-like syncopation, especially in the slower songs. But one still listens to a Pretenders album for Hynde's throaty, murmuring alto and lacerating observations, and she fulfills expectations immediately with the harsh leadoff track, "Lie to Me," beginning a song series devoted to romantic conflict and recrimination. Some of that criticism is self-directed, notably on "Complex Person" and "I Should Of," two appealing songs and could-be-hits, that is, if Hynde didn't deliberately drop an expletive into the lyrics of each. A major label probably would have argued against that sort of thing, and maybe there's the difference in being on an indie. ~ William Ruhlmann, All Music Guide
What The Critics Say
Since Packed! (at least), each new record from the Pretenders has been hailed as Chrissie Hynde's return to form (praise that was thrown at Learning to Crawl, by the way), and it's hard not to resist to say the same of Viva el Amor!, the seventh studio album from the Pretenders. So, we won't say that, even though it may be true. At the very least, Viva el Amor! is a very appealing, focused album from Hynde and Martin Chambers, their most consistent album in years. It's not just that the songs are uniformly good (Hynde's writing is sharp again, without seeming bitter or jaded), it's that the record sounds excellent -- a clean, uncluttered production that enhances the muscular performances. For the first time since Get Close, there is a minimum of sentiment -- the ballads are never saccharine, even when the melody is lovely -- and Hynde resists her temptation for exaggerated metaphors or embarrassing phrases (even if her continuing fascination with bikers is puzzling). Viva el Amor! never provides a knock-out punch, even on the level of "Night in My Veins," but it never lags in momentum, as many Pretenders records do. Hynde sounds committed and convincing on each song, turning the album into one of the group's strongest. ~ Stephen Thomas Erlewine, All Music Guide
'The Isle of View'
Release Date 1/1/1995
Tracks 15
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Essentially, Isle of View is The Pretenders' "unplugged" album. Chrissie Hynde runs through 15 of the group's songs, from hits like "Back on the Chain Gang" to more obscure numbers like "Lovers of Today." Occasionally, she is backed by a string quartet, including on a drastically rearranged (and poorly conceived) "Kid," but the the strings aren't as effective or startling as the piano of Blur's Damon Albarn on "I Go to Sleep." Even though it features a number of reinterpretations of some of The Pretenders' greatest songs, Isle of View is one of the group's lesser efforts, simply because none of the new versions surpass the originals. ~ Stephen Thomas Erlewine, All Music Guide
'Last of the Independents'
Release Date 5/9/1994
Tracks 13
Label Warner
See Album Tracklist and Review
What The Critics Say
Chrissie Hynde rebounds from the directionless Packed! with Last of the Independents, a tough album that proves she can mature without losing her edge. Most of the record crackles with the lean power of Learning to Crawl, occasionally stopping for a lushly produced number recalling Get Close. Although the record goes on a little too long and there are a couple of weak songs, particularly the anthemic "I'm a Mother," Last of the Independents re-establishes Hynde as a powerful and insightful rocker. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Few rock & roll records rock as hard or with as much originality as the Pretenders' eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn't a singer/songwriter's tour de force -- it's a rock & roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of "Precious," "Tattooed Love Boys," "Up the Neck," and "The Wait," as well as the more measured pop of "Kid," "Brass in Pocket," and "Mystery Achievement." He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn't fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It's a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Produced by Mitchell Froom, Packed! includes a cover of Hendrix's "May This Be Love" and "When Will I See You," a collaboration with guitarist Johnny Marr. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
In the first edition of the Pretenders, Chrissie Hynde was a smart and streetwise rock & roller with just enough maturity to make something of what life had shown her by her mid-twenties -- and she had the rough-and-tumble band to match for her first two albums. The second version of the group cast her as an unwitting but unbowed survivor, determined to move on and keep rocking despite the deaths of two of her bandmates, and the tough, no-nonsense approach of her new collaborators on Learning to Crawl reflected her attitude. Released in 1986, Get Close marked the debut of the Pretenders' Mark Three, and on this album listeners are introduced to Chrissie Hynde, Mature Professional Musician with a band to match. Get Close is never less than solid as a work of craft, and guitarist Robbie McIntosh, drummer Blair Cunningham, and bassist T.M. Stevens deliver tight and emphatic performances throughout, but they also sound like what they are -- journeymen musicians who bring their chops to their projects while leaving their personalities at the door. While Hynde always dominated the Pretenders, by this time it was obvious that this was fully her show, and if she felt less like rocking and more like exploring her emotions and thoughts about parenthood on midtempo pop tunes, no one in the group was going to prod her into doing otherwise; the presence of a large number of additional session players further buffs away any of Get Close's potential sharp edges. Despite all this, Hynde's voice is in great form throughout, and when she gets her dander up, she still has plenty to say and good ways to say it; "How Much Did You Get for Your Soul?" is a gleefully venomous attack on the musically unscrupulous; "Don't Get Me Wrong" is a superb pop tune and a deserved hit single; and the Motown-flavored "I Remember You" and the moody "Chill Factor" suggest she'd been learning a lot from her old soul singles. But after three great albums from the Pretenders, Get Close sounded good but not especially striking, and its hit-and-miss approach, with a few great songs surrounded by lesser material, was something Hynde's fans would find themselves getting used to over the group's next few releases. ~ Mark Deming, All Music Guide
What The Critics Say
Chrissie Hynde took a long, hard road to rock & roll stardom, but when her band, the Pretenders, finally broke through in 1979, they wasted no time, growing from promising newcomers on the British music scene to major international stardom with a pair of smash albums to their credit in a mere three years. But the Pretenders' meteoric rise came to a crashing halt in 1982, when drug abuse claimed the life of guitarist James Honeyman-Scott and forced Hynde and drummer Martin Chambers to dump bassist Pete Farndon, who would also succumb to an OD in April 1983. Hynde was forced by circumstance to reinvent the Pretenders for their third album, 1984's Learning to Crawl, but if the new edition of the group lacked some of the spark of the band that made the first two LPs, through sheer force of will Hynde created a masterpiece. While Hynde hardly held back in her emotionally potent songwriting in the Pretenders' early work, on Learning to Crawl there's a gravity to her lyrics that blended with her tough but wiry melodic sense and streetwise intelligence to create a set of truly remarkable tunes. "Back on the Chain Gang" is a touching tribute to her fallen comrades that still sounds bitterly rueful, "Middle of the Road" is a furious rocker that explores the emotional and physical toll of a musician's life, "Time the Avenger" is a taut, literate examination of a businessman's adulterous relationship, "My City Was Gone" deals with the economic and cultural decay of the Midwest in a manner both pithy and genuinely heartfelt, and "2000 Miles" is a Christmas number that demonstrates Hynde can be warm without getting sappy. As a guitarist, Robbie McIntosh brought a simpler and more elemental style to the Pretenders than James Honeyman-Scott, but his tough, muscular leads fit these songs well, and bassist Malcolm Foster's solid punch fits Chambers' drumming perfectly. Three albums into her recording career, Chrissie Hynde found herself having to put the past to bed and carve out a new beginning for herself with Learning to Crawl, but she pulled it off with a striking mixture of courage, strength, and great rock & roll; with the exception of the instant-classic debut album, it's the Pretenders' finest work. ~ Mark Deming, All Music Guide
What The Critics Say
The Pretenders' debut album was such a powerful, monumental record that its sequel was bound to be a bit of a disappointment, and Pretenders II is. Essentially, this album is an unabashed sequel, offering more of the same sound, attitude, and swagger, including titles that seem like rips on their predecessors and another Ray Davies cover. This gives the record a bit too much of a pat feeling, especially since the band seems to have a lost a bit of momentum -- they don't rock as hard, Chrissie Hynde's songwriting isn't as consistent, James Honeyman-Scott isn't as inventive or clever. These all are disappointments, yet this first incarnation of the Pretenders was a tremendous band, and even if they offer diminished returns, it's still diminished returns on good material, and much of Pretenders II is quite enjoyable. Yes, it's a little slicker and more stylized than its predecessor, and, yes, there's a little bit of filler, yet any album where rockers as tough as "Message of Love" and "The Adultress" are balanced by a pop tune as lovely as "Talk of the Town" is hard to resist. And when you realize that this fantastic band only recorded two albums, you take that second album, warts and all, because the teaming of Hynde and Honeyman-Scott was one of the great pairs, and it's utterly thrilling to hear them together, even when the material isn't quite up to the high standards they set the first time around. ~ Stephen Thomas Erlewine, All Music Guide
