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DISCID=05115e12
DTITLE=The Pretenders / Pretenders II (Remastered + Expanded) - Disc 2
DTITLE= of 2
DYEAR=2006
DGENRE=Rock
TTITLE0=The Wait (Live at Santa Monica Auditorium 4-9-1981)
TTITLE1=The Adultress (Live at Santa Monica Auditorium 4-9-1981)
TTITLE2=Message Of Love (Live at Santa Monica Auditorium 4-9-1981)
TTITLE3=Louie Louie (Live at Santa Monica Auditorium 4-9-1981)
TTITLE4=Talk Of The Town (Live at Santa Monica Auditorium 4-9-1981)
TTITLE5=Birds Of Paradise (Live at Santa Monica Auditorium 4-9-1981)
TTITLE6=The English Roses (Live at Santa Monica Auditorium 4-9-1981)
TTITLE7=Up The Neck (Live at Santa Monica Auditorium 4-9-1981)
TTITLE8=Bad Boys Get Spanked (Live at Santa Monica Auditorium 4-9-1981
TTITLE8=)
TTITLE9=Stop Your Sobbing (Live at Santa Monica Auditorium 4-9-1981)
TTITLE10=Private Life (Live at Santa Monica Auditorium 4-9-1981)
TTITLE11=Kid (Live at Santa Monica Auditorium 4-9-1981)
TTITLE12=Day After Day (Live at Santa Monica Auditorium 4-9-1981)
TTITLE13=Brass In Pocket (Live at Santa Monica Auditorium 4-9-1981)
TTITLE14=Higher and Higher (Live at Santa Monica Auditorium 4-9-1981)
TTITLE15=Talk Of The Town (Demo - 1979)
TTITLE16=I Go To Sleep (Guitar Version - Outtake)
TTITLE17=Pack It Up (Radio Mix - Outtake)
EXTD=Tracks 1-15 Live at Santa Monica Auditorium 4/9/81\nTrack 16 Demo
EXTD=\nTrack 17 Guitar Version/Outake\nTrack 18 Radio Mix/Outake\n\nPr
EXTD=etenders II (Remastered + Expanded) - Disc 2 of 2\n2006 Sire Reco
EXTD=rds/Rhino\n\nOriginally Released August 15, 1981\nCD Edition Rele
EXTD=ased 1987 ??\nRemastered + Expanded 2CD Edition Released October 
EXTD=3, 2006\n\nAMG EXPERT REVIEW: The Pretenders' second album receiv
EXTD=ed a much-deserved upgrade in the fall of 2006, as Rhino reissued
EXTD= it as a double-disc set containing a remastered version of the o
EXTD=riginal album on the first disc and a wealth of rarities on the s
EXTD=econd. If this bonus disc pales in comparison to the bonus disc o
EXTD=n the reissue of The Pretenders, it's because it packs few revela
EXTD=tions or unexpected rarities among its 18 tracks. Which isn't to 
EXTD=say that there's a lot of familiar recordings here: all but two o
EXTD=f the tracks are previously unreleased, but all but three are liv
EXTD=e tracks. Since the original lineup of the Pretenders was one of 
EXTD=the great rock & roll bands of its time, these live tracks are al
EXTD=l very good, bordering on excellent, but it's not quite the same 
EXTD=as hearing rough demos and unheard songs, which is what makes the
EXTD= bonus disc on The Pretenders so good. That said, the live cuts h
EXTD=ere are all excellent, the demo of "Talk of the Town" is fine, an
EXTD=d the alternate guitar version of "I Go to Sleep" is worth having
EXTD=, so this will hardly be a disappointment to those who love the a
EXTD=lbum. In fact, since this lineup of the Pretenders didn't leave m
EXTD=uch of a recorded legacy behind, it's easy to argue that this is 
EXTD=closer to being essential than being a curiosity for those who lo
EXTD=ve this band.  -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW: A
EXTD= fitting title, since Pretenders II essentially follows the formu
EXTD=la as the band's debut, only with lesser songs. Though a handful 
EXTD=of songs could rival cuts from the debut -- "Message of Love," "T
EXTD=he Adultress" and "Talk of the Town" in particular -- the songs a
EXTD=ren't particularly distinctive, and the band sounds too tired to 
EXTD=give them the energy they need to make the music work. It's a sad
EXTD= way for the original lineup of the Pretenders to bow out. -- Ste
EXTD=phen Thomas Erlewine\n\nAMG EXPERT REVIEW: The Pretenders' debut 
EXTD=album was such a powerful, monumental record that its sequel was 
EXTD=bound to be a bit of a disappointment, and Pretenders II is. Esse
EXTD=ntially, this album is an unabashed sequel, offering more of the 
EXTD=same sound, attitude, and swagger, including titles that seem lik
EXTD=e rips on their predecessors and another Ray Davies cover. This g
EXTD=ives the record a bit too much of a pat feeling, especially since
EXTD= the band seems to have a lost a bit of momentum -- they don't ro
EXTD=ck as hard, Chrissie Hynde's songwriting isn't as consistent, Jam
EXTD=es Honeyman-Scott isn't as inventive or clever. These all are dis
EXTD=appointments, yet this first incarnation of the Pretenders was a 
EXTD=tremendous band, and even if they offer diminished returns, it's 
EXTD=still diminished returns on good material, and much of Pretenders
EXTD= II is quite enjoyable. Yes, it's a little slicker and more styli
EXTD=zed than its predecessor, and, yes, there's a little bit of fille
EXTD=r, yet any album where rockers as tough as "Message of Love" and 
EXTD="The Adultress" are balanced by a pop tune as lovely as "Talk of 
EXTD=the Town" is hard to resist. And when you realize that this fanta
EXTD=stic band only recorded two albums, you take that second album, w
EXTD=arts and all, because the teaming of Hynde and Honeyman-Scott was
EXTD= one of the great pairs, and it's utterly thrilling to hear them 
EXTD=together, even when the material isn't quite up to the high stand
EXTD=ards they set the first time around.  -- Stephen Thomas Erlewine\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nA Stand-Alone Classic, March 1, 200
EXTD=6\nReviewer: James Burke (San Francisco)\nThe issue Pretenders II
EXTD= faces is that it's rarely critiqued on its own merit. This album
EXTD= finds itself in the impossible position of being the bridge betw
EXTD=een their seminal classic debut and the body of work most fans kn
EXTD=ow, the (IMO) bland, MOR Tom Pettyish "Pretenders" of the mid-80s
EXTD= and 90s. \n\nThe result? Many fans of the first album find this 
EXTD=one a bit of a letdown, many fans of the later work don't get it 
EXTD=-- it's constantly being compared rather than reviewed. \n\nBut i
EXTD=f you could imagine for a moment a world in which this were the o
EXTD=nly album the Pretenders released, it would almost certainly be a
EXTD= different story. Instead of a letdown, I'm certain this would be
EXTD= regarded as one of the better albums of its era. \n\nThat aside,
EXTD= the fact remains that this is a great Pretenders album for one s
EXTD=imple reason: "Message of Love" is the band's best song. If every
EXTD= other song on the album were crap, it would still be worth ownin
EXTD=g. But they're not. In fact, it's a very strong set; "Talk of the
EXTD= Town" and "Day After Day" are classics in their own right. But e
EXTD=ven barring THAT, there's still much to love in the rarely heard 
EXTD=deep cuts -- could an album that incudes anything as beautiful as
EXTD= "Birds of Paradise" honestly be considered a failure? \n\nSo, vi
EXTD=ewed as a stand-alone album versus a part their body of work, Pre
EXTD=tenders II shines -- it's terrific. In fact, if you don't own any
EXTD= Pretenders albums, I'd strongly suggest buying this first so you
EXTD= can give it an unbiased listen and move on from there. \n\nTo su
EXTD=m, a great album that never got its due.\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nTime has been kind., April 22, 2005\nReviewer: Armchair Ra
EXTD=mbo (MINNEAPOLIS, MN United States)\nThis record sounds very diff
EXTD=erent to me now. Some distance from it's release leaves this one 
EXTD=sounding like a companion to the first record. The songwriting is
EXTD= at times tenative, but who cares -- this band can get over on it
EXTD='s playing alone, and some of the songwriting was very fine indee
EXTD=d. \n\nThe second album was greeted as a disappointment by pretty
EXTD= much everyone when it came out. Some of the best songs had alrea
EXTD=dy been released and the songwriting was criticized. IMO there wa
EXTD=s filler on their first album too. \n\nBut it was all pretty damn
EXTD= exciting, filler included. Pretenders played like a band. Then t
EXTD=he guitar players flamed out doing stupid drug tricks and everyth
EXTD=ing changed. Not necessarily for good or bad, just different. The
EXTD=y've gone on to make great music, but they've never sounded like 
EXTD=such a powerful, cohesive unit as on these records. \n\nAs for P2
EXTD=, everything on that first album is here: sex, lust, threats, fea
EXTD=rs, Chrissie's tremulous low voice (and a couple of choice scream
EXTD=s), good-to-great songs, exciting playing. \n\nSome of the highli
EXTD=ghts: 'Talk of the Town' is as good as anything written by Hynde'
EXTD=s hero, Ray Davies; 'Message of Love' another perfect pop single;
EXTD= 'I Go to Sleep', another great Kinks cover; and it kicks off wit
EXTD=h a couple of ridiculous, funny songs that show off the band's pl
EXTD=aying. \n\nThis is not the best Pretenders album. But it is most 
EXTD=improved - in hindsight P2 sounds strong. It's *one* of their bes
EXTD=t. \n\nAMAZON.COM CUSTOMER REVIEW\nNot as good as the debut, but 
EXTD=keep reading..., January 28, 2005\nReviewer: J. H. Hohman "Failed
EXTD= songwriter" (Erie, PA)\nThe debut is one of the greatest albums 
EXTD=that any artist ever released, so it would be virtually impossibl
EXTD=e to top it. \n\nHowever, this album features the two songs that 
EXTD=are probably my favorite Pretenders songs: Message of Love and Ta
EXTD=lk of the Town. \n\nIt is worth it to buy this album just for tho
EXTD=se two songs. \n\nI am a grown man. I have a wife, I have kids, a
EXTD=nd I've been around the block a little bit. I have been listening
EXTD= to music my entire life; I have played and written music for mos
EXTD=t of it. I know that doesn't count for anything, but here it is: 
EXTD=when Chrissie sings "I want you, I want you but not as the talk o
EXTD=f the town" toward the end of that song, you are listening to the
EXTD= most honest and unaffected singing that anyone has ever committe
EXTD=d to tape. This is the kind of emotional depth and bravery that m
EXTD=usic is supposed to be about; no one sings like this anymore. Aft
EXTD=er more than twenty years and literally hundreds of listenings, I
EXTD= still get the chills when I hear this line. \n\nChrissie, if you
EXTD= ever read this, thank you for making this song.\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nLike Brigitte Bardot!, September 5, 2001\nReviewer
EXTD=: Gundy Brain (Orlando, FL USA)\nOK lets get one thing straight. 
EXTD=This is a great album--of course it can't compare to the debut, b
EXTD=ut what can? The original Pretenders were one of those rare bands
EXTD= where all players figure prominently into the final sound. (List
EXTD=en to how you can hear Pete Farndon's bass in almost every song) 
EXTD=Chrissie's songwriting is still great, Martin Chambers and James 
EXTD=Honeyman Scott are in fine form. Message of Love is just a flat o
EXTD=ut great rollicking(that is the word that keeps coming to mind) s
EXTD=ingle, The Adultress and Jealous Dogs keep rockin' right where th
EXTD=e first record stopped. Birds of Paradise and The English Roses a
EXTD=re beatifully written and performed songs comparable to Kid from 
EXTD=the debut. But my favorite song and one of the Pretenders finest 
EXTD=tunes has got to be Talk of the Town--gorgeous driving melody and
EXTD= wistful lyrics with that Chrissie Hynde stamp "Oh but its hard t
EXTD=o live by the rules, I never could and still never do" \nIn 20 ye
EXTD=ar hindsight there are some weaknesses that I can reluctantly adm
EXTD=it--Some critics have rightfully accused Pack It Up as self parod
EXTD=y (but it still sounds cool), a second Kinks cover in as many alb
EXTD=ums, and as one astute reviewer noted, Bad Boys Get Spanked is a 
EXTD=re-write of Tattooed Love Boys. (But check out that Clint Eastwoo
EXTD=d/Dirty Harry sample)\nIn 1982 Pete Farndon was kicked out of the
EXTD= band for being unreliable and two days later James Honeyman Scot
EXTD=t died of a coke induced heart attack thus ending the original ba
EXTD=nd. Eight months later Pete Farndon also died. (In his bathtub wi
EXTD=th a needle in his arm) One of the most tragic wastes in rock his
EXTD=tory-- There are only two cds featuring this extremely talented a
EXTD=nd versatile band so kids, chemistry like this doesnt come along 
EXTD=very often and this second record is a nice followup to the debut
EXTD=.\n\nAMAZON.COM CUSTOMER REVIEW\nBad Reviews Get Spanked, January
EXTD= 21, 2001\nReviewer: A music fan\nSorry, but anyone who is down o
EXTD=n this album is missing out on what was the 2nd half of an amazin
EXTD=g group. Though Hynde went on to do much more in the name of the 
EXTD=Pretenders, in many ways she was "pretending". This original grou
EXTD=p had an edge (in the shape of Pete Farndon and James Scott) that
EXTD= stood up to Hynde's lyrical bullying and her tough girl posturin
EXTD=g. In a musical sense it pushed back and told her to shut up. It 
EXTD=is obvious that this quartet is a group, as opposed to the rent f
EXTD=or hire mentality and sound of the later incarnations of the Pret
EXTD=enders. (Clean sound and subservient chords.) It is hard to fully
EXTD= appreciate what Farndon and Scott contribute until you listen to
EXTD= anything following P II. It is missing its seriously edgy/unstab
EXTD=le mentality and is wholly without its nasty, big, bad groove. Th
EXTD=is is a great work . . . .\n\nHalf.com Details \nProducer: Chris 
EXTD=Thomas \n\nAlbum Notes\nThe Pretenders: Chrissie Hynde (vocals, g
EXTD=uitar); James Honeyman Scott (guitar, vocals); Pete Farndon (bass
EXTD=, vocals); Martin Chambers (drums, \n(vocals).\n\nAdditional pers
EXTD=onnel: Chris Mercer (tenor saxophone); Henry Lowther, Jim Wilson 
EXTD=(trumpet); Geoff Bryant (French horn); Chris Thomas.\n\nRecorded 
EXTD=at Wessex Studios, London, England and Pathe Marconi Studios, Par
EXTD=is, France.\n\nThe band look magnificent on the cover as they pos
EXTD=e with make-up or heavily retouched faces. They look confident, k
EXTD=nowing that their follow-up is almost as good as the debut. Chris
EXTD=sie and Ray Davies were stepping out at this time, hence the open
EXTD=ing track, "The Adultress," as Hynde whispers her confession over
EXTD= a furious wall of sound, to be immediately followed by her remin
EXTD=der that "Bad Boys Get Spanked." If only Chrissie, if only. The a
EXTD=lbum drives and dives, pausing for "I Go To Sleep," another old R
EXTD=ay Davies song. There is not a bad track in sight.\n\n\nROLLING S
EXTD=TONE REVIEW\nPretenders II is likely to put off a lot of people. 
EXTD=It lacks the brittle drive of the debut album, and the loaded sex
EXTD=ual provocation. It's less single-mindedly focused. And yet it's 
EXTD=a record to exult over--passionate, recklessly engaged and, in so
EXTD=me ways, far richer than its predecessor. The reason is simple: C
EXTD=hrissie Hynde.\n\nThe key to the Pretenders' music has never been
EXTD= their music. The band's sound is distinctive but mostly for its 
EXTD=archness, and the playing doesn't evoke much except a nervousness
EXTD= as random as fingers drumming on a table. Nor is Hynde, by any f
EXTD=ormal yardstick, a great singer: her pitch is dubious, her abilit
EXTD=y to sustain a melody questionable. What counts is her ability to
EXTD= project herself as a personality, to turn herself into the heroi
EXTD=ne of her own life and make it compelling to the big audience. Th
EXTD=is is what great rock & rollers have always done.\n\nOn the first
EXTD= LP, Hynde's personality was based almost entirely upon her sexua
EXTD=lity, which, as a stratagem, worked sensationally. Pretenders was
EXTD= so charged that listening to it was like having to watch your gi
EXTD=rlfriend get it on with another man. Yet sex gave this artist an 
EXTD=inside track on themes that even Janis Joplin and Joni Mitchell h
EXTD=ad treated only under the guise of romance. For Chrissie Hynde, s
EXTD=ex was an endless journey -- a will to power and a search for fai
EXTD=th, the real war in all human relations. Pretenders was often che
EXTD=ap and tawdry, but to Hynde, tawdriness was where the meat was, a
EXTD=nd the best way to put across her truths.\n\nMuch of the debut al
EXTD=bum's feverish energy also came from Hynde's feral ambition: few 
EXTD=rockers find it so crucial to justify themselves by making their 
EXTD=mark in public. Few rockers, too, depend as deeply on having succ
EXTD=eeded at becoming a star as Hynde does on Pretenders II. Her new 
EXTD=sense of place -- fame is the home she's always looked for--grant
EXTD=s her new authority: she can explore herself in a more complex ma
EXTD=nner than ever before and send out fresh messages.\n\nBut though 
EXTD=the subjects may be somewhat different, the trip goes on. Chrissi
EXTD=e Hynde's basic role is that of an adventuress. She's a pop desce
EXTD=ndant of the Faustian heroines in Nathaniel Hawthorne's novels, a
EXTD=nd of the expatriate seekers in Henry James', and she instinctive
EXTD=ly exploits the part's mythic and or trashy overtones even as she
EXTD= rebels against being trapped by its stereotypes. All of the reco
EXTD=rd's separate motifs--love and sex; the dislocations of stardom, 
EXTD=freedom and exile -- dovetail into that double game.\n\nStill, se
EXTD=xual relationships are the LP's main theme: more painful, adult v
EXTD=ersions than the cocky power ploys of Pretenders. The deflations 
EXTD=of the first album's "Up the Neck" were pure strut, but the lyric
EXTD=ism of "I laughed in my bed/At the stupid things you said," in Pr
EXTD=etenders II's "Birds of Paradise," is an authentic recapturing of
EXTD= lost time. Acting out a fantasy of the ultrafree modern woman, H
EXTD=ynde is trapped between her paradoxically old-fashioned morality 
EXTD=and her pride that the new life she's chosen is better and braver
EXTD= than the alternatives. The very excess of "The Adultress" (sic) 
EXTD=suggests how strongly felt the guilt is, yet in the same situatio
EXTD=n in "Jealous Dogs," she's just as passionately defending herself
EXTD= against the rabble at the door.\n\nEvery cut is made vivid by Hy
EXTD=nde's intense desire to give voice to the meanings of her experie
EXTD=nce -- a gift she now extends outside herself as well. What's so 
EXTD=wonderful about "Talk of the Town," for example, is how beautiful
EXTD=ly she grasps the rapturousness of success: she's the girl who go
EXTD=t left behind, but she's also the boy who's changed his place in 
EXTD=the world, and we understand them both. "Pack It Up" succeeds whe
EXTD=re fifty other put-downs of Hollywood hustlers don't, first becau
EXTD=se it's hilarious, then because there's a great rant in the middl
EXTD=e -- about finding new lovers and new enemies -- that comes right
EXTD= from the heart of Hynde's questing nature.\n\nAs a singer, Chris
EXTD=sie Hynde only pretends to be outspoken -- emotionally, she's the
EXTD= most elusive of vocalists. If the mood turns vulnerable, her voi
EXTD=ce will go tight with scorn. Or, in the middle of a harsh passage
EXTD=, she'll be unexpectedly, breathily tender. Her singing is a seri
EXTD=es of brilliant defense mechanisms: the self-protection of someon
EXTD=e who was fundamentally an innocent but had to learn too many tri
EXTD=cks to ever trust sincerity completely again.\n\nHynde's constant
EXTD= shifting captures her ambiguities perfectly, just as the music's
EXTD= jittery rhythms jell in context -- that arch nervousness, after 
EXTD=all, is what the lyrics are all about. The star's edgy rhythm gui
EXTD=tar defines the search at the center of each number, while the ba
EXTD=nd provides the bash and clatter needed to spur the singer on.\n\n
EXTD=Pretenders II does have its flaws. Chrissie Hynde's obsessive app
EXTD=roach often impels her to deal in the trashiest pop terms, and so
EXTD=metimes she can't rise above them. A ?? like "Bad Boys Get Spanke
EXTD=d" seems meant to be contemptuous of people who'd find such an id
EXTD=ea arousing, but the song doesn't always make that clear. And a c
EXTD=ouple of tunes -- "Louie Louie," for instance -- though winning, 
EXTD=don't quite come off. But this is a brave record and a good one: 
EXTD=the fiercely ambitious work of a woman determined, by whatever me
EXTD=ans, to make herself the greatest heroine in the history of rock 
EXTD=& roll. The odds are certainly against her. I hope she makes it. 
EXTD=(RS 353 - Oct 1, 1981)  -- TOM CARSON
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