![]() “Chill Factor” is better as a Motown flavored, soulful ballad with a steady, slow beat and rich backing vocals. “I Remember You” features a reggae arrangement, driven by various keys and methodical rhythms, followed by “How Much Did You Get for Your Soul?”, full-fledged devolution into eighties synth pop which is a bit embarrassing for the talents of Hynde and the group. This song’s slight rotating bridge is the only deviation from the original verse pattern and is followed by a lead that is very slight and mimicks Hynde’s main vocal melody. The most indelible song on the album is the happy-go-lucky rock jaunt “Don’t Get Me Wrong”, driven by the Stevens’ thumping bass line and McIntosh’s choppy guitar chords. The album returns to form with the moderate ballad “Tradition of Love”, featuring a fine musical arrangement, melodic vocals and the ever slightest twist of psychedelic through its guitar and voice-effect fused outro. While this latter track does contain some fine droning guitar and Hammond organ leads, the dry vocals and mind-numbing repetition make this extended track a chore to listen to. This moody and well-produced track also features some layered synths strategically placed later in the track.Īfter these initial fine tracks, the album devolves a bit starting with the slicker rock arrangement of the cover, “Light of the Moon” and followed by the rhythm and beat oriented “Dance!”. “When I Change My Life” is another mellow track with strummed acoustic, persistent lead guitar notes and a waltz-like beat by the bass and drums. ![]() Released as a single, this album opener spent two weeks at #1 on the Mainstream Rock charts. ![]() The bright and jangly chords of “My Baby” enter to a steady beat in this moderate love song filled with suspended fourth chords, strategic double-track vocals and some crowd sound effects later on. Recorded: Air Studios, London Power Station and Right Track Recording, New York City Bearsville Studio, Bearsville N.Y. Produced by: Bob Clearmountain & Jimmy Iovine Stevens and drummer Blair Cunningham, were eventually hired as The Pretenders’ new rhythm section. Hynde and McIntosh recorded the rest of the album with producers Bob Clearmountain and Jimmy Iovine in multiple studios and with multiple session musicians. It was here that Hynde decided that Chambers’ playing had deteriorated and fired him from the band, which sparked a discouraged Foster to quit shortly after. Produced by Steve Lillywhite, the first recording sessions for Get Close resulted in the album’s final track, a slick pop cover of Jimi Hendrix’s “Room Full of Mirrors”. The band built on this success with a performance at Live Aid in 1985. ![]() Hynde and Chambers decided to continue with the band and eventually added guitarist Robbie McIntosh and bassist Malcolm Foster for the 1984 album Learning to Crawl, a critical and commercial success. The Pretenders’ original guitarist and bassist, James Honeyman-Scott and Pete Farndon, each died from substance abuse in 19 respectively. In fact, by the end of recording sessions for this album Hynde would be the only original member of the group remaining, as original drummer Martin Chambers was released from the band early in the recording process. The fourth overall album by The Pretenders, the 1986 release Get Close, shows a radical musical transition by the group firmly controlled by composer and lead vocalist Chrissie Hynde. ![]()
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