Rare Tracks & Hidden Gems Chrissie Hynde & The Pretenders Rock Review

Chrissie Hynde & The Pretenders Rare Tracks, Hidden Gems, and Rock History Review

Early Work, Demos, Remasters, Deep Cuts, Concerts, Clubs and Rare, Hidden Gems of The Pretenders Rock History!

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"Standing In The Doorway" (Album) ~ Chrissie Hynde Sings Bob Dylan (Covers) --- This is a brilliant work of genius Masterpiece, a Historical Album; two songs in and I knew I'd listen to this the rest of my life. I listened to "Don't Fall Apart on Me Tonight" crying, like when I hear Cash/Carter or "American IV: The Man Comes Around" Studio album by Johnny Cash.

A Catharsis. Relief. Bath. Clearing. Baptism By Fire. Whoa, so beautiful it makes you cry, a lot. I thought I was a Dylan Fan with a fair memory of a few dozen radio loops. I've never, ever heard an album like, "Standing In The Doorway" = Chrissie Hynde Sings Bob Dylan ---

"Summertime" and "You're a Big Girl Now" go by so slowly, so quick, quick, play it again. These are songs that, yesteryear, you would have scratched up vinyl lowering the tone arm, over and over. This entire album is a study in rhyme, double-entendre, understated nuance and surprises that go into your subconscious. "Love Minus Zero / No Limit" is both Dylan's and Hynde's fondness of exploring love and the complexities that inhabit this most primal of all desires. Is love spam, does it meet "our community standards of decency?" The whole album catches the secrets of whimsical humans and the hurt they give and get, all the while, lonely for love. This song follows the standards of its peers, love exploration. It is an imbalanced (not his/her song, in real life, here)... equation imbalanced. On one side, the 1 Corinthians 13:1 tinkling bells and banging cymbals of "our community standards of decency"; on the other side is Dylan and Hynde's version of true love. He cannot hold a candle beside these two poetic thunderhouses.

"Standing in the Doorway" is so solemn and sad, so familiar to anyone over 11 years old. "Every Grain of Sand" -- I don't possess the musical turpitude to explain Time Signatures, what is 2/4, 3/5, 4/4 and 5/4? It is beyond me. The songs are all in various meters, gripping at any speed, begging the listener to stop, turn them up and be humanly present. Be here now. "Tomorrow Is a Long Time"... Femininity as an Apparition of Bob Dylan. This is a much larger, more important lost gem that I had never heard of, both in stand-alone songs and in its entirety. The Poetry of Bob Dylan and Chrissie Hynde, Mr. and Mrs. Rock'n Roll ear-lollipops of "Sweetheart Like You."

Yes, lyrics I recognized "Love Minus Zero / No Limit" by the 5th or 6th note, from ages ago. A former tune, from age 14, 22, coming back to inspire me again. 5-string banjo(s), mandolin, harpsichord are my clumsy guesses, the album is like watching Dr. Zhivago. Blind Willie McTell is celebrated for his songs such as "Statesboro Blues" and "Atlanta Blues." His life was marked by struggle and setback, losing his eyesight at a young age. He overcame much adversity, something Americans used to be known for. McTell led a life of both struggle and determination. Blind since a very young age, he still lived a life and made music that would be remembered for generations.

I feel almost ashamed I did not hear this work of Bob Dylan's and Chrissie Hynde's until now. I just read the lyrics, listened to Dylan first then Hynde, this is something to explore for years --- to listen to these two readers of all of our mail. Something like brutal honesty, only more healing. The song, "Sweetheart Like You" ...sigh. Who has not been on one side or the other of this equation, this romantically charged Algebra? From the song "Wasted on the Way," where David Crosby speaks the line about "not wanting to play mumbly-peg with this guy." You don't want to play mumbly peg outdoors with Bob Dylan or Chrissie Hynde, metaphorically. These are some of the sharpest musical geniuses of our era, in nuances, tones, harmonies, musical notes and lyrics. This work is rife with Infatuation, Pining, Unrequited Love, Yearning, and Great Longing. The Pretenses and Coyness are Striped back to the sheer terror of uncontrollable Love.

If you are still on this page, did you have a paradigm shift? Iconic.

Review of The Pretenders

Emotional Coherence

I'd give anything to be able to have tea and biscuits with Chrissie Hynde for at least a long afternoon. She has driven a nail of chords and truth straight through my heart and soul over and over. Have "Every Day is Like Sunday" playing softly in the background.

We would talk about... Whether it is by time, distance, circumstances, or death, we all grieve. When I am submerged deep in my grief, an overwhelming urge to be free from the pain forces its way from a part of me that wants relief. Yet another voice reminds me of the expectations and duties of mourning, imploring me to honor the memory of what I've lost. I find my way in turmoil, striving to find a way to express my sorrow while trying to deal with the conflicting desires within. I feel expressionless, mute, sometimes. But her music somehow transcends the void left in my heart by time.

From "The Night in My Veins" to "Nothing Breaks Like a Heart, she writes and composes everything from Euphoria to Loss of Loved Ones and Lost Love; raw emotion oozes from The Pretenders through incomparable Chrissie Hynde. How did she cope with losing so many people? How do I cope with losing so many people? How do you cope with losing your flesh and blood?

Songs like "Back on the Chain Gang" and "I'll Stand By You" are good examples of Chrissie capturing a vulnerable moment with a powerful focus. She could be a big, tough, jaded, globally famous rockstar, and we could be mere fans and disconnected minions. I feel no such disconnect in my soul, I feel like each song is tea with her half in a room, half on the veranda, song dependent. I completely stopped listening to some 90s gurus, their deepness just became annoying as more of my people died or left.

This deep poignancy transports the listener to introflection upon their "shared" experiences and sustains the momentary escape from the personal anguish of loved ones lost and the still loved missing.

Live Shows for Thinkers and Those With Souls

Reviewing The Pretenders at numerous venues (albeit, online with Bose Headphones), I found that this band's reputation for an electrifying live show has been well-deserved. Songs such as "Tattooed Love Boys" and "Middle of the Road" shoot out fire from a Tesla Coil.

Hynde's peremptory presence and tight-fitting instrumentation make for concert experiences that, if that weren't enough, would further seal their reputation as one of rock's most dynamic acts to this day.

Song Range Diversity

The Pretender's Magic is their diversity in musical range. Mystifying the sultry blues of "Blue Sun" to the punk-infused anthems like "Brass in Pocket," the band slips into these heterogeneous grooves with greased skids. Chrissie's wide-ranging influences pair with The Pretenders, evolving while retaining core elements of its personality. The eclectic portfolio will consistently deliver a "new" live surprise. Sorry, but there is no raucous Lynyrd Skynyrd "Play Free Bird" here. Everybody has a favorite, many favorites. The diversity of the songs makes every new and old fan curious to learn more about one aspect or another of the band's expression.

Themes of a Personal and Reflective Nature

Most Pretenders songs orbit around introspective alienation and longing—loss, love, sadness, devotion, accountability, loyalty, , melancholy, betrayal and friendship - the messiness of live, so unlike Black & White TV. The latter does not understand blind rage at injustice and insurmountable anger the the monopoly game thrust upon billions of us. We all know, in her Mother Hindu Way, she feels and thinks symbiotically with us. Songs like "Human" and "Where Has Everybody Gone" are unusually contemplative about personal struggles; thus, listeners can relate to such music. She composes lyrics and chords you cannot find in canned laughter sitcoms. People don't need them, but everyone wishes to feel connected to life, love, and humanity. In Unix or AI, programmers use "echo." In Chrissie Hynde's The Pretenders, they echo back what was already in your heart, what is in Chrissie's heart. She has symbiosis and coevolution with the listeners. Even when they are alone in their cars, listening.

Cover Songs and Interpretations

The Pretenders, for instance, Jimi Hendrix's "Bold As Love" is One Genius Paying Homage to The Genius of Another. When we all go to Heaven, perhaps Chrissie will be up there playing the entire Hendrix catalog. Such covers Baptize new Spirit into these classic standards by revealing The Pretender's craftsmanship and respect for the original yet still providing interpretation.

Pretenders Songs with Syncopation, Unusual or Exotic Time Signatures

The Pretenders Brass In Pocket Live in London 2009 - 4/4 (with syncopation)
While the song is in 4/4, it features syncopated accents and off-beat phrasing, especially in the vocal delivery, giving it a swing-like feel.

The Adultress (Live in Santa Monica, Sept. 1981) - 5/4
This track features a distinct 5/4 rhythm, creating a slightly off-kilter, jagged feel that adds to the emotional tension of the song.

Pretenders - Back On The Chain Gang (Radio 2 Live At Home) - 4/4 (with syncopation and swing feel)
While the song is in 4/4, it incorporates syncopation, especially in the rhythm guitar and the vocal phrasing, which gives the groove a subtle swing.

Pretenders - My City Was Gone (Loose in L.A.) Live HD - 3/4
The live version of this track incorporates a waltz-like 3/4 rhythm, contrasting with the more straightforward 4/4 version found on *Learning to Crawl*.

Pretenders - Don't Get Me Wrong (Live in London) - 7/4 (sections)
The verses feature a subtle 7/4 rhythm, which adds rhythmic tension before resolving into the more conventional 4/4 chorus.

THE PRETENDERS – The Wait [Live Audio] Paris Theatre, London 1979/01/02 - 7/4
The song is structured around a repeating 7/4 pattern in the verses, giving it a driving and slightly off-kilter feel.

Kid - The Pretenders (1980) 192kHz/24bit FLAC 1080p Video - 6/8
This track features a 6/8 time signature, giving it a swaying, triplet-based groove that's more complex than standard rock time signatures.

Pretenders - Mystery Achievement (Loose in L.A.) Live HD - 5/4
The song is built on a 5/4 time signature, with Chrissie Hynde's vocals adding fluidity over the odd rhythm, creating a sense of tension and release.

Talk of the Town - Pretenders - LIVE - 5/4
This track also follows a 5/4 time signature, with the rhythm section driving the song forward and the vocals providing a melodic contrast.

THE PRETENDERS ROOM FULL OF MIRRORS 1984-06-24.Dortmund - 3/4 (sections)
The song shifts between time signatures, with some sections featuring a 3/4 waltz feel, adding an unsettled quality to the overall track.

The Pretenders - Hymn To Her (Live in Sydney) | Moshcam - 6/8
This track features a 6/8 rhythm in the verses, creating a lilting, soulful quality that contrasts with more straightforward pop tracks.

The Pretenders on Austin City Limits "Middle of the Road" - 5/4 (intro and verses)
The intro and verses are in 5/4, adding a staggered, driving feel, which contrasts with the more straightforward 4/4 sections that follow.

Pretenders - Tattooed Love Boys (Official Music Video) - 3/4
The intro and rhythm guitar sections have elements of 3/4 or 6/8, giving the track a jittery, yet rhythmic feel with a bit of swagger.

Pretenders - I Go To Sleep (Official Music Video) - 3/4
This cover of Ray Davies' song features a 3/4 time signature, lending it a dreamy, waltz-like quality that contrasts with the band’s more typical rock rhythms.

The Pretenders Private Life (live) - 7/4
The song features sections with a 7/4 time signature, creating a rhythmic tension that complements the song’s edgy, rebellious feel.

Live Versions - Reverbs, Wah-Wahs, Special Pedals, Special Effects, Steel Guitar, James Honeyman Scott Influence

"Cuban Slide" (from *Pretenders*, 1980)
The dreamy, energetic riff in "Cuban Slide" is an illustrious reverb that gives it instant song cognition. The guitar in "Cuban Slide" has a really gritty, overdriven tone, adding to the warmth and bite. The overdrive could be through a classic Tube Screamer or some other type of overdrive pedal. Honeyman-Scott usually combined slight overdrive with a little fuzz, giving the song a punch and texture without burying the tone. It gets that classic rock grit without becoming too heavy into distortion.

"Brass in Pocket" (from *Pretenders*, 1980)
The iconic riff in "Brass in Pocket" benefits from a lush, shimmering reverb that gives it space and depth. The guitar tone is sharp and slightly metallic, with a hint of delay to create a dreamy atmosphere, making it one of the most instantly recognizable Pretenders songs.

"Stop Your Sobbing" (from *Pretenders*, 1980)
This song, a cover of The Kinks' classic, features a guitar tone that’s both warm and spacious, with subtle reverb used to provide a fuller sound. The use of delay is also apparent, especially in the bridge, where it adds to the song's emotional depth.

"Kid" (from *Pretenders*, 1980)
"Kid" uses spacey reverb and delay to give the song an atmospheric quality. The jangly, chorus-inflected guitar creates a shimmering texture that complements the raw energy of the song, giving it a unique edge compared to other tracks on the album.

"Private Life" (from *Pretenders*, 1980)
The song has a moody, edgy quality, with a punchy, distorted guitar riff in the intro. The use of reverb and phaser effects contributes to the disorienting and almost "psychedelic" atmosphere of the track, making it one of the more experimental songs in their early catalog.

"Back on the Chain Gang" (from *Learning to Crawl*, 1984)
The iconic intro to "Back on the Chain Gang" features a lush use of reverb and delay on the guitar, giving it a haunting, atmospheric quality. The clean, spacious sound of the guitar contrasts with the rhythm section, creating a sense of tension and release throughout the song.

"The Wait" (from *Pretenders*, 1980)
"The Wait" features some of the most pronounced use of wah-wah effects in The Pretenders' catalog. The wah pedal gives the guitar riff a pronounced, expressive sound, adding to the sense of urgency and frustration conveyed in the lyrics.

"Mystery Achievement" (from *Pretenders*, 1980)
"Mystery Achievement" features some subtle yet effective use of reverb and delay to create a spacious, expansive atmosphere. The light delay gives the riff a ghostly quality, adding to the song’s sense of mystery.

"Tattooed Love Boys" (from *Pretenders*, 1980)
One of the more aggressive tracks on the debut album, "Tattooed Love Boys" uses wah-wah for expressive solos and raucous, distorted riffing. The song's dynamic shifts are enhanced by subtle reverb, giving it a sense of space despite the raw intensity of the performance.

"Middle of the Road" (from *Learning to Crawl*, 1984)
The intro riff and the breakdowns in "Middle of the Road" make heavy use of wah-wah, giving it a funky, rhythmic quality. The reverb helps expand the track’s sound, and the effects add a sense of energy and playfulness that fits the song’s carefree attitude.

"2000 Miles" (from *Learning to Crawl*, 1984)
This song features an expansive guitar sound, aided by reverb and delay, creating a cold, wintery atmosphere. The reverb helps to give the guitar part space and room to breathe, while the delay adds a dream-like quality that fits the melancholy mood of the song.

"Room Full of Mirrors" (from *Learning to Crawl*, 1984)
This song has some of the most experimental guitar work in The Pretenders’ catalog, with strong use of wah-wah in the intro and throughout the track. The reverb and delay effects add texture to the rhythmic guitar patterns, creating a full, immersive sound.

"Show Me" (from *Learning to Crawl*, 1984)
"Show Me" has a driving, funky rhythm with the wah-wah effect prominently featured. The distortion helps create a more aggressive sound, but the reverb keeps the guitar tone spacious and wide.

Historical Context

From their punk roots to the later, Captivating and Gracious sound, The Pretenders have negotiated with a constantly shifting musical landscape. The sound went from raw energy into polished and mature, retaining its peculiar character.

With Chrissie Hynde as the Front Woman, the band has undulated for three and a half decades, packing an extensive portfolio that original and new fans alike cannot remember. The Pretender's many-hued palette of sound is mesmerizing. Try to get a grip on them musically; it is so tough and delicious. Their live shows continue to torment their fan base. This longtime fan wishes to switch bucket list priorities and hear "May This Be Love" live by The Pretenders. The song "The Message of Love" is a Litmus test for the mind, body, and soul. Read it and weep, sing it, throw your hands over your head, and dance. This classic/punk electro-pop has a much deeper meaning than everyone else.

She looks upon the complexity in life and channels the nuances into her music with brutal honesty to embrace pain or joy. The authenticity and resilience she inspires remind one that to live and love fully is to love fiercely and create boldly. Her steadfast spirit beckons us to savor every drop of honey in a transient world.

Back On the Chain Gang

I found a picture of you, o-o-oh, o-o-oh

Well it hijacked my world at night

To a place in the past we've been cast out of, o-o-oh, o-o-oh

Now we're back in the fight

We're back on the train, yeah (ho-ah)

O-oh, back on the chain gang (ho-ah)

Circumstance beyond our control, o-o-oh, o-o-oh

The phone, the TV and the news of the world

Got in the house like a pigeon from Hell, o-o-oh, o-o-oh

Threw sand in our eyes and descended like flies

And put us back on the train, yeah (ho-ah)

O-oh, (ho-ah) back on the chain gang

The powers that be

That force us to live like we do

Bring me to my knees

When I see what they've done to you

Well, I'll die as I stand here today

Knowing that deep in my heart

They'll fall to ruin one day

For making us part

I found a picture of you, o-o-oh, o-o-oh

Those were the happiest days of my life

Like a break in the battle was your part, o-o-oh, o-o-oh

In the wretched life of a lonely heart

Now I'm back on the train, yeah(ho-ah)

O-oh, back on the chain gang(ho-ah)

She often sings of the irony of a big, tender, lovingly-spiritual heart existing in our plastic monopoly-money poisoned war for profit planet. Writers, poets, musicians and philosophers exist so the planet does not entirely implode.

Chrissie Hynde, with her '60s-rooted values, is a bridge to a past culture that resists the fear-driven compliance pushed by the military-industrial-tech complex and the NSA. Her music and persona challenge conformity, reflecting a more profound resistance.

She walks in a relatively quiet humility through life, unspoiled by pride, and her excellent nature speaks louder than words in an often greedy and envious world. Her grace, wisdom, intelligence, creativity, and beauty are boundless and timeless.

Awards & Accolades

Inducted into the Rock and Roll Hall of Fame (2005).

Two Grammy Awards: Best New Artist (1980), Best Female Rock Vocal (1995).

Multiple Grammy nominations across various categories.

UK Music Hall of Fame inductee (2005).

Received the Ivor Novello Award for Outstanding Song Collection (2014).

Gold and Platinum certifications for several albums.

Platinum: "Pretenders" (1980), "Learning to Crawl" (1984).

Gold: "Get Close" (1986), "Last of the Independents" (1994).

Voted one of the "100 Greatest Singers" by Rolling Stone.

Honored by the American Society of Composers, Authors, and Publishers (ASCAP).

Recognized for contributions to music and culture internationally.

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