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DISCID=bb0aeb0c
DTITLE=The Pretenders / Pretenders II (Remastered + Expanded) - Disc 1
DTITLE= of 2
DYEAR=1981
DGENRE=Rock
TTITLE0=The Adultress
TTITLE1=Bad Boys Get Spanked
TTITLE2=Message Of Love
TTITLE3=I Go To Sleep
TTITLE4=Birds Of Paradise
TTITLE5=Talk Of The Town
TTITLE6=Pack It Up
TTITLE7=Waste Not Want Not
TTITLE8=Day After Day
TTITLE9=Jealous Dogs
TTITLE10=The English Roses
TTITLE11=Louie Louie
EXTD=Pretenders II (Remastered + Expanded) - Disc 1 of 2\n2006 Sire Re
EXTD=cords/Rhino\n\nOriginally Released August 15, 1981\nCD Edition Re
EXTD=leased 1987 ??\nRemastered + Expanded 2CD Edition Released Octobe
EXTD=r 3, 2006\n\nAMG EXPERT REVIEW: The Pretenders' second album rece
EXTD=ived a much-deserved upgrade in the fall of 2006, as Rhino reissu
EXTD=ed it as a double-disc set containing a remastered version of the
EXTD= original album on the first disc and a wealth of rarities on the
EXTD= second. If this bonus disc pales in comparison to the bonus disc
EXTD= on the reissue of The Pretenders, it's because it packs few reve
EXTD=lations or unexpected rarities among its 18 tracks. Which isn't t
EXTD=o say that there's a lot of familiar recordings here: all but two
EXTD= of the tracks are previously unreleased, but all but three are l
EXTD=ive tracks. Since the original lineup of the Pretenders was one o
EXTD=f the great rock & roll bands of its time, these live tracks are 
EXTD=all very good, bordering on excellent, but it's not quite the sam
EXTD=e as hearing rough demos and unheard songs, which is what makes t
EXTD=he bonus disc on The Pretenders so good. That said, the live cuts
EXTD= here are all excellent, the demo of "Talk of the Town" is fine, 
EXTD=and the alternate guitar version of "I Go to Sleep" is worth havi
EXTD=ng, so this will hardly be a disappointment to those who love the
EXTD= album. In fact, since this lineup of the Pretenders didn't leave
EXTD= much of a recorded legacy behind, it's easy to argue that this i
EXTD=s closer to being essential than being a curiosity for those who 
EXTD=love this band.  -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW:
EXTD= A fitting title, since Pretenders II essentially follows the for
EXTD=mula as the band's debut, only with lesser songs. Though a handfu
EXTD=l of songs could rival cuts from the debut -- "Message of Love," 
EXTD="The Adultress" and "Talk of the Town" in particular -- the songs
EXTD= aren't particularly distinctive, and the band sounds too tired t
EXTD=o give them the energy they need to make the music work. It's a s
EXTD=ad way for the original lineup of the Pretenders to bow out. -- S
EXTD=tephen Thomas Erlewine\n\nAMG EXPERT REVIEW: The Pretenders' debu
EXTD=t album was such a powerful, monumental record that its sequel wa
EXTD=s bound to be a bit of a disappointment, and Pretenders II is. Es
EXTD=sentially, this album is an unabashed sequel, offering more of th
EXTD=e same sound, attitude, and swagger, including titles that seem l
EXTD=ike rips on their predecessors and another Ray Davies cover. This
EXTD= gives the record a bit too much of a pat feeling, especially sin
EXTD=ce the band seems to have a lost a bit of momentum -- they don't 
EXTD=rock as hard, Chrissie Hynde's songwriting isn't as consistent, J
EXTD=ames Honeyman-Scott isn't as inventive or clever. These all are d
EXTD=isappointments, yet this first incarnation of the Pretenders was 
EXTD=a tremendous band, and even if they offer diminished returns, it'
EXTD=s still diminished returns on good material, and much of Pretende
EXTD=rs II is quite enjoyable. Yes, it's a little slicker and more sty
EXTD=lized than its predecessor, and, yes, there's a little bit of fil
EXTD=ler, yet any album where rockers as tough as "Message of Love" an
EXTD=d "The Adultress" are balanced by a pop tune as lovely as "Talk o
EXTD=f the Town" is hard to resist. And when you realize that this fan
EXTD=tastic band only recorded two albums, you take that second album,
EXTD= warts and all, because the teaming of Hynde and Honeyman-Scott w
EXTD=as one of the great pairs, and it's utterly thrilling to hear the
EXTD=m together, even when the material isn't quite up to the high sta
EXTD=ndards they set the first time around.  -- Stephen Thomas Erlewin
EXTD=e\n\nAMAZON.COM CUSTOMER REVIEW\nA Stand-Alone Classic, March 1, 
EXTD=2006\nReviewer: James Burke (San Francisco)\nThe issue Pretenders
EXTD= II faces is that it's rarely critiqued on its own merit. This al
EXTD=bum finds itself in the impossible position of being the bridge b
EXTD=etween their seminal classic debut and the body of work most fans
EXTD= know, the (IMO) bland, MOR Tom Pettyish "Pretenders" of the mid-
EXTD=80s and 90s. \n\nThe result? Many fans of the first album find th
EXTD=is one a bit of a letdown, many fans of the later work don't get 
EXTD=it -- it's constantly being compared rather than reviewed. \n\nBu
EXTD=t if you could imagine for a moment a world in which this were th
EXTD=e only album the Pretenders released, it would almost certainly b
EXTD=e a different story. Instead of a letdown, I'm certain this would
EXTD= be regarded as one of the better albums of its era. \n\nThat asi
EXTD=de, the fact remains that this is a great Pretenders album for on
EXTD=e simple reason: "Message of Love" is the band's best song. If ev
EXTD=ery other song on the album were crap, it would still be worth ow
EXTD=ning. But they're not. In fact, it's a very strong set; "Talk of 
EXTD=the Town" and "Day After Day" are classics in their own right. Bu
EXTD=t even barring THAT, there's still much to love in the rarely hea
EXTD=rd deep cuts -- could an album that incudes anything as beautiful
EXTD= as "Birds of Paradise" honestly be considered a failure? \n\nSo,
EXTD= viewed as a stand-alone album versus a part their body of work, 
EXTD=Pretenders II shines -- it's terrific. In fact, if you don't own 
EXTD=any Pretenders albums, I'd strongly suggest buying this first so 
EXTD=you can give it an unbiased listen and move on from there. \n\nTo
EXTD= sum, a great album that never got its due.\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nTime has been kind., April 22, 2005\nReviewer: Armchair
EXTD= Rambo (MINNEAPOLIS, MN United States)\nThis record sounds very d
EXTD=ifferent to me now. Some distance from it's release leaves this o
EXTD=ne sounding like a companion to the first record. The songwriting
EXTD= is at times tenative, but who cares -- this band can get over on
EXTD= it's playing alone, and some of the songwriting was very fine in
EXTD=deed. \n\nThe second album was greeted as a disappointment by pre
EXTD=tty much everyone when it came out. Some of the best songs had al
EXTD=ready been released and the songwriting was criticized. IMO there
EXTD= was filler on their first album too. \n\nBut it was all pretty d
EXTD=amn exciting, filler included. Pretenders played like a band. The
EXTD=n the guitar players flamed out doing stupid drug tricks and ever
EXTD=ything changed. Not necessarily for good or bad, just different. 
EXTD=They've gone on to make great music, but they've never sounded li
EXTD=ke such a powerful, cohesive unit as on these records. \n\nAs for
EXTD= P2, everything on that first album is here: sex, lust, threats, 
EXTD=fears, Chrissie's tremulous low voice (and a couple of choice scr
EXTD=eams), good-to-great songs, exciting playing. \n\nSome of the hig
EXTD=hlights: 'Talk of the Town' is as good as anything written by Hyn
EXTD=de's hero, Ray Davies; 'Message of Love' another perfect pop sing
EXTD=le; 'I Go to Sleep', another great Kinks cover; and it kicks off 
EXTD=with a couple of ridiculous, funny songs that show off the band's
EXTD= playing. \n\nThis is not the best Pretenders album. But it is mo
EXTD=st improved - in hindsight P2 sounds strong. It's *one* of their 
EXTD=best. \n\nAMAZON.COM CUSTOMER REVIEW\nNot as good as the debut, b
EXTD=ut keep reading..., January 28, 2005\nReviewer: J. H. Hohman "Fai
EXTD=led songwriter" (Erie, PA)\nThe debut is one of the greatest albu
EXTD=ms that any artist ever released, so it would be virtually imposs
EXTD=ible to top it. \n\nHowever, this album features the two songs th
EXTD=at are probably my favorite Pretenders songs: Message of Love and
EXTD= Talk of the Town. \n\nIt is worth it to buy this album just for 
EXTD=those two songs. \n\nI am a grown man. I have a wife, I have kids
EXTD=, and I've been around the block a little bit. I have been listen
EXTD=ing to music my entire life; I have played and written music for 
EXTD=most of it. I know that doesn't count for anything, but here it i
EXTD=s: when Chrissie sings "I want you, I want you but not as the tal
EXTD=k of the town" toward the end of that song, you are listening to 
EXTD=the most honest and unaffected singing that anyone has ever commi
EXTD=tted to tape. This is the kind of emotional depth and bravery tha
EXTD=t music is supposed to be about; no one sings like this anymore. 
EXTD=After more than twenty years and literally hundreds of listenings
EXTD=, I still get the chills when I hear this line. \n\nChrissie, if 
EXTD=you ever read this, thank you for making this song.\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nLike Brigitte Bardot!, September 5, 2001\nRevie
EXTD=wer: Gundy Brain (Orlando, FL USA)\nOK lets get one thing straigh
EXTD=t. This is a great album--of course it can't compare to the debut
EXTD=, but what can? The original Pretenders were one of those rare ba
EXTD=nds where all players figure prominently into the final sound. (L
EXTD=isten to how you can hear Pete Farndon's bass in almost every son
EXTD=g) Chrissie's songwriting is still great, Martin Chambers and Jam
EXTD=es Honeyman Scott are in fine form. Message of Love is just a fla
EXTD=t out great rollicking(that is the word that keeps coming to mind
EXTD=) single, The Adultress and Jealous Dogs keep rockin' right where
EXTD= the first record stopped. Birds of Paradise and The English Rose
EXTD=s are beatifully written and performed songs comparable to Kid fr
EXTD=om the debut. But my favorite song and one of the Pretenders fine
EXTD=st tunes has got to be Talk of the Town--gorgeous driving melody 
EXTD=and wistful lyrics with that Chrissie Hynde stamp "Oh but its har
EXTD=d to live by the rules, I never could and still never do" \nIn 20
EXTD= year hindsight there are some weaknesses that I can reluctantly 
EXTD=admit--Some critics have rightfully accused Pack It Up as self pa
EXTD=rody (but it still sounds cool), a second Kinks cover in as many 
EXTD=albums, and as one astute reviewer noted, Bad Boys Get Spanked is
EXTD= a re-write of Tattooed Love Boys. (But check out that Clint East
EXTD=wood/Dirty Harry sample)\nIn 1982 Pete Farndon was kicked out of 
EXTD=the band for being unreliable and two days later James Honeyman S
EXTD=cott died of a coke induced heart attack thus ending the original
EXTD= band. Eight months later Pete Farndon also died. (In his bathtub
EXTD= with a needle in his arm) One of the most tragic wastes in rock 
EXTD=history-- There are only two cds featuring this extremely talente
EXTD=d and versatile band so kids, chemistry like this doesnt come alo
EXTD=ng very often and this second record is a nice followup to the de
EXTD=but.\n\nAMAZON.COM CUSTOMER REVIEW\nBad Reviews Get Spanked, Janu
EXTD=ary 21, 2001\nReviewer: A music fan\nSorry, but anyone who is dow
EXTD=n on this album is missing out on what was the 2nd half of an ama
EXTD=zing group. Though Hynde went on to do much more in the name of t
EXTD=he Pretenders, in many ways she was "pretending". This original g
EXTD=roup had an edge (in the shape of Pete Farndon and James Scott) t
EXTD=hat stood up to Hynde's lyrical bullying and her tough girl postu
EXTD=ring. In a musical sense it pushed back and told her to shut up. 
EXTD=It is obvious that this quartet is a group, as opposed to the ren
EXTD=t for hire mentality and sound of the later incarnations of the P
EXTD=retenders. (Clean sound and subservient chords.) It is hard to fu
EXTD=lly appreciate what Farndon and Scott contribute until you listen
EXTD= to anything following P II. It is missing its seriously edgy/uns
EXTD=table mentality and is wholly without its nasty, big, bad groove.
EXTD= This is a great work . . . .\n\nHalf.com Details \nProducer: Chr
EXTD=is Thomas \n\nAlbum Notes\nThe Pretenders: Chrissie Hynde (vocals
EXTD=, guitar); James Honeyman Scott (guitar, vocals); Pete Farndon (b
EXTD=ass, vocals); Martin Chambers (drums, \n(vocals).\n\nAdditional p
EXTD=ersonnel: Chris Mercer (tenor saxophone); Henry Lowther, Jim Wils
EXTD=on (trumpet); Geoff Bryant (French horn); Chris Thomas.\n\nRecord
EXTD=ed at Wessex Studios, London, England and Pathe Marconi Studios, 
EXTD=Paris, France.\n\nThe band look magnificent on the cover as they 
EXTD=pose with make-up or heavily retouched faces. They look confident
EXTD=, knowing that their follow-up is almost as good as the debut. Ch
EXTD=rissie and Ray Davies were stepping out at this time, hence the o
EXTD=pening track, "The Adultress," as Hynde whispers her confession o
EXTD=ver a furious wall of sound, to be immediately followed by her re
EXTD=minder that "Bad Boys Get Spanked." If only Chrissie, if only. Th
EXTD=e album drives and dives, pausing for "I Go To Sleep," another ol
EXTD=d Ray Davies song. There is not a bad track in sight.\n\n\nROLLIN
EXTD=G STONE REVIEW\nPretenders II is likely to put off a lot of peopl
EXTD=e. It lacks the brittle drive of the debut album, and the loaded 
EXTD=sexual provocation. It's less single-mindedly focused. And yet it
EXTD='s a record to exult over--passionate, recklessly engaged and, in
EXTD= some ways, far richer than its predecessor. The reason is simple
EXTD=: Chrissie Hynde.\n\nThe key to the Pretenders' music has never b
EXTD=een their music. The band's sound is distinctive but mostly for i
EXTD=ts archness, and the playing doesn't evoke much except a nervousn
EXTD=ess as random as fingers drumming on a table. Nor is Hynde, by an
EXTD=y formal yardstick, a great singer: her pitch is dubious, her abi
EXTD=lity to sustain a melody questionable. What counts is her ability
EXTD= to project herself as a personality, to turn herself into the he
EXTD=roine of her own life and make it compelling to the big audience.
EXTD= This is what great rock & rollers have always done.\n\nOn the fi
EXTD=rst LP, Hynde's personality was based almost entirely upon her se
EXTD=xuality, which, as a stratagem, worked sensationally. Pretenders 
EXTD=was so charged that listening to it was like having to watch your
EXTD= girlfriend get it on with another man. Yet sex gave this artist 
EXTD=an inside track on themes that even Janis Joplin and Joni Mitchel
EXTD=l had treated only under the guise of romance. For Chrissie Hynde
EXTD=, sex was an endless journey -- a will to power and a search for 
EXTD=faith, the real war in all human relations. Pretenders was often 
EXTD=cheap and tawdry, but to Hynde, tawdriness was where the meat was
EXTD=, and the best way to put across her truths.\n\nMuch of the debut
EXTD= album's feverish energy also came from Hynde's feral ambition: f
EXTD=ew rockers find it so crucial to justify themselves by making the
EXTD=ir mark in public. Few rockers, too, depend as deeply on having s
EXTD=ucceeded at becoming a star as Hynde does on Pretenders II. Her n
EXTD=ew sense of place -- fame is the home she's always looked for--gr
EXTD=ants her new authority: she can explore herself in a more complex
EXTD= manner than ever before and send out fresh messages.\n\nBut thou
EXTD=gh the subjects may be somewhat different, the trip goes on. Chri
EXTD=ssie Hynde's basic role is that of an adventuress. She's a pop de
EXTD=scendant of the Faustian heroines in Nathaniel Hawthorne's novels
EXTD=, and of the expatriate seekers in Henry James', and she instinct
EXTD=ively exploits the part's mythic and or trashy overtones even as 
EXTD=she rebels against being trapped by its stereotypes. All of the r
EXTD=ecord's separate motifs--love and sex; the dislocations of stardo
EXTD=m, freedom and exile -- dovetail into that double game.\n\nStill,
EXTD= sexual relationships are the LP's main theme: more painful, adul
EXTD=t versions than the cocky power ploys of Pretenders. The deflatio
EXTD=ns of the first album's "Up the Neck" were pure strut, but the ly
EXTD=ricism of "I laughed in my bed/At the stupid things you said," in
EXTD= Pretenders II's "Birds of Paradise," is an authentic recapturing
EXTD= of lost time. Acting out a fantasy of the ultrafree modern woman
EXTD=, Hynde is trapped between her paradoxically old-fashioned morali
EXTD=ty and her pride that the new life she's chosen is better and bra
EXTD=ver than the alternatives. The very excess of "The Adultress" (si
EXTD=c) suggests how strongly felt the guilt is, yet in the same situa
EXTD=tion in "Jealous Dogs," she's just as passionately defending hers
EXTD=elf against the rabble at the door.\n\nEvery cut is made vivid by
EXTD= Hynde's intense desire to give voice to the meanings of her expe
EXTD=rience -- a gift she now extends outside herself as well. What's 
EXTD=so wonderful about "Talk of the Town," for example, is how beauti
EXTD=fully she grasps the rapturousness of success: she's the girl who
EXTD= got left behind, but she's also the boy who's changed his place 
EXTD=in the world, and we understand them both. "Pack It Up" succeeds 
EXTD=where fifty other put-downs of Hollywood hustlers don't, first be
EXTD=cause it's hilarious, then because there's a great rant in the mi
EXTD=ddle -- about finding new lovers and new enemies -- that comes ri
EXTD=ght from the heart of Hynde's questing nature.\n\nAs a singer, Ch
EXTD=rissie Hynde only pretends to be outspoken -- emotionally, she's 
EXTD=the most elusive of vocalists. If the mood turns vulnerable, her 
EXTD=voice will go tight with scorn. Or, in the middle of a harsh pass
EXTD=age, she'll be unexpectedly, breathily tender. Her singing is a s
EXTD=eries of brilliant defense mechanisms: the self-protection of som
EXTD=eone who was fundamentally an innocent but had to learn too many 
EXTD=tricks to ever trust sincerity completely again.\n\nHynde's const
EXTD=ant shifting captures her ambiguities perfectly, just as the musi
EXTD=c's jittery rhythms jell in context -- that arch nervousness, aft
EXTD=er all, is what the lyrics are all about. The star's edgy rhythm 
EXTD=guitar defines the search at the center of each number, while the
EXTD= band provides the bash and clatter needed to spur the singer on.
EXTD=\n\nPretenders II does have its flaws. Chrissie Hynde's obsessive
EXTD= approach often impels her to deal in the trashiest pop terms, an
EXTD=d sometimes she can't rise above them. A ?? like "Bad Boys Get Sp
EXTD=anked" seems meant to be contemptuous of people who'd find such a
EXTD=n idea arousing, but the song doesn't always make that clear. And
EXTD= a couple of tunes -- "Louie Louie," for instance -- though winni
EXTD=ng, don't quite come off. But this is a brave record and a good o
EXTD=ne: the fiercely ambitious work of a woman determined, by whateve
EXTD=r means, to make herself the greatest heroine in the history of r
EXTD=ock & roll. The odds are certainly against her. I hope she makes 
EXTD=it. (RS 353 - Oct 1, 1981)  -- TOM CARSON
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