The band’s slower songs drew one’s attention to Hynde’s lyrics, which tended to serve up devastating critiques of relationships. The album would kick off with one of the Pretenders’ most potent rockers, “Precious,” matched by up tempo numbers like “The Phone Call” and the closing track, “Mystery Achievement.”īut the album also demonstrated the group’s versatility. The previously released “Stop Your Sobbing,” “Kid,” and “Tattooed Love Boys” would appear on the record, though “The Wait” would be re-recorded. “Kid” was a surprisingly contemplative number, with a fine vocal from Hynde, while “Tattooed Love Boys” was an out and out rave up, with a stinging guitar line, propulsive drumming, and a particularly tart vocal from Hynde (“Stop sniveling/You’re gonna make some plastic surgeon a rich man”).īy the time of the single’s release, the Pretenders were already working on their debut album. The band soon became regulars on the UK club circuit, with their next single, “Kid”/“Tattooed Love Boys” (produced by Chris Thomas) helping to build their growing reputation. Honeyman Scott and Fardon suggested yet another friend they knew from Hereford, Martin Chambers, who’d previously played with Honeyman Scott in the band Cheeks (led by ex-Mott The Hoople keyboardist Verdon Allen).ġ979 began with the release of “Stop Your Sobbing,” and the Pretenders playing in Paris. Though Mackleduff’s work on the single had been fine, the other Pretenders decided he wasn’t quite what they were looking for in a drummer. The group finally settled on the Pretenders, inspired by Sam Cooke’s version of the Platters’ hit “The Great Pretender.” It fit in nicely with the band’s down-to-earth” style “totally unpretentious,” Hynde explained to “NME.” Hynde had already shot down one obvious choice, telling “NME,” “From the first day I met Dave, I made it perfectly clear that no way would it be just the Chrissie Hynde Band.” One name under consideration was the Rhythm Method, but it was dropped because of concern it might prove too controversial. With a single now ready for release, the band needed a name. I definitely want in on this act.” The group entered the studio, and, with Lowe producing, recorded their first single in a single day: “Stop Your Sobbing”/“The Wait.” Both songs sound fuller in comparison to the earlier demos, and the single perfectly encapsulates the band’s musical intentions, as Farndon explained to an interviewer to combine the energy of the Who with the toughness of ‘60s girl groups like the Shangri-Las. Hynde took the demo to her friend Nick Lowe, who was immediately interested in working with the group, telling Hynde, “Chrissie, I’m amazed and stunned. For his part, Hill quickly became a strong supporter of Hynde, confident enough in her abilities that he’d introduce her by saying, “This is Chrissie Hynde, she’s a star.” Hynde had fallen out with Secunda by the time of the meeting, clearing the way for her to develop a stronger business relationship with Hill. Secunda told Hynde that a friend of his, Dave Hill, then working for Anchor Records, was planning on setting up his own label, Real Records and suggested the two should meet. By the end of 1977 she was working with Tony Secunda, formerly the manager of Steeleye Span and the Move. Hynde found some work doing back vocals on records by Mick Farren, Chris Spedding, and Johnny Thunders, but she later admitted her lack of progress in establishing herself as a performer in her own right often reduced her to tears of frustration. None of them made any lasting impression as Nick Kent later wrote in “NME,” “Some lasted one day, some three, but none lasted more than a week.” While very much a part of the scene gathering around the growing punk movement, Hynde spent the next few years in limbo, working with various bands McLaren tried to set up (such as Masters of the Backside, who, sans Hynde, later became the Damned), and numerous other groups and musicians, including future Clash guitarist Mick Jones. Hynde was by now anxious to get in a band herself, and worried that, at age 24, she might be too old. Hynde’s former boss, Malcolm McLaren was working with the Sex Pistols, and eager to expand his empire. When I saw the Sex Pistols, I remembering thinking London was the thing.” “I could smell something was happening in London. “I left everything I had in France at the beginning of 1976,” she told writer Jon Savage. But she quickly sensed the musical action was now in England and was on the move again. She ultimately decided to give Europe another shot and returned to France. She next moved to Tucson, Arizona, but became depressed by the heat and the prevailing musical tastes (“Everyone was into country music”). She joined R&B band Jack Rabbit, but the band fell apart.
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