Chrissie Hynde approximated the classic early Pretenders sound on the Dan Auerbach-produced Alone, a 2016 album where she was the only Pretender on record. Hate for Sale flips this situation on its head. Hiring Stephen Street as producer -- he last worked with the group on 1999's Viva el Amor -- Hynde brought the touring Pretenders lineup into the studio, a configuration that includes founding drummer Martin Chambers, who hasn't played on an album by the band since 2002's Loose Screw. The result is a back-to-basics move ...
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Chrissie Hynde approximated the classic early Pretenders sound on the Dan Auerbach-produced Alone, a 2016 album where she was the only Pretender on record. Hate for Sale flips this situation on its head. Hiring Stephen Street as producer -- he last worked with the group on 1999's Viva el Amor -- Hynde brought the touring Pretenders lineup into the studio, a configuration that includes founding drummer Martin Chambers, who hasn't played on an album by the band since 2002's Loose Screw. The result is a back-to-basics move performed without an ounce of cynicism. Much of the liveliness of Hate for Sale is due to Street capturing the Pretenders as a straight-up rock & roll band, adding a little flair to the mix but being sure there's enough color and groove so it's not monochromatic. It helps that the songs are good, too. Writing solely with lead guitarist James Walbourne, Hynde chooses not to explore new territory but rather accentuate the band's strengths. The band roars through the title track, dips into reggae on "Lightning Man," rocks to a Bo Diddley beat on "Didn't Want to Be This Lonely," swaggers to a New Wave rhythm on "Turf Accountant Daddy," and simmers soulfully on "You Can't Hurt a Fool." None of these sounds are precisely new, but they are executed with vigor and spirit by a band who seems to enjoy playing as a band again, which makes for a vivid contrast with Alone. ~ Stephen Thomas Erlewine, Rovi
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