The great Pretenders

Press, 8 May 1980, Page 18

The great Pretenders

PRETENDERS “Pretenders” (Real Records). Last! week’s top 50 singles’ chart showed the Pretenders’"single," “Brass in- Pocket,” at No. 2, and the album at No. 3 in the top 50 albums’’ chart*. It would not be surprising to see both single and album at No. 1 in the > coming week, for the Pretenders play with”, ; astonishing style and variety to give rock music its true .worth. After the demise of the Beatles, the . record industry spent much: money and soul-searching looking for someone/ or a group, which could fill the gap and‘coffers left by the Fab Four. But it is an indication of the new maturity in ‘ rock music - when people and groups like Elvis Costello, the Specials, and now the Pre-

tenders come on the scene making their own kind of music, making record companies forget the sixties. The Pretenders’ album is hot for the faint-hearted. The language is strong and the music, generally, is unusual and driving. But move over Debbie (Harry) Doll for Chrissie Hynde is here, and her vocals - are so good that she must be regarded as the top female singer this year, varying in style from Aretha Franklin to McVie and Nicks of Fleetwood Mac —- only better. “Brass In Pocket” is merely a short introduction to what the group can do. The thumping hypnotic bass drum on the single does not give an indication of the stuttering guitar work of James Honeyman-Scotf.

The English music press were not all that enthusiastic about side one because “Tattoed Love Boys,” “The Wait,” and the Kinks’ song, “Stop Your Sobbing,” produced by Nick Lowe, were previously released? c on singles. But in New Zealand it- does not matter, but it makes the ear judge side two more critically, and gives the album its true worth. “Precious” is the opening track, and its straight rocking style with intertwining lead breaks give the album its consistency throughout, before moving into one of the band’s oldest numbers, “The Phone Call,” which is good, but fails to shine compared with the next tracks, “Up The Neck” and “Tattooed Love Boys.” “Up The Neck” is worth a close

listen, for the lyrics alone show Chrissie 7 Hynde’s contribution to rock music.

Side two shows Hynde’s vocals to the best effect, especially “Private Life,” and “Lovers Of Today.” Both are slow, drawn out tracks,which show how the group works as a unit, the two lead guitars, and Chrissie’s vocals coming in as an extra instrument such is the use of her voice. “Brass In Pocket” is the gap between these two tracks, which show how “Kid,” the opening side two song, is even better. Since obtaining the album last Thursday it has hardly left the turntable. Essential listening for the start of the eighties, in the words of Chris Brazier, reviewer for “Melody Maker.” '