REVIEWS

The Pretenders’ 11th studio album marks the first time the touring lineup that has been in place for the last 15 years — lead vocalist/ guitarist Chrissie Hynde, drummer Martin Chambers, guitarist James Walbourne and bassist Nick Wilkinson — have recorded an LP together. The album’s 10 songs were penned by Hynde and Walbourne, and this was the first time they’ve written together. The result is a fantastic piece of work, quite arguably the best album by the band since their classic first two LPs.

The album, which was produced by Stephen Street and recorded at RAK Studios in London, kicks off with the title track. It’s a propulsive rocker with the classic Pretenders sound and a great vocal by Hynde, who said that the song is their tribute to The Damned. Lead single “The Buzz” has an intro that brings to mind “Kid” from 1981. It’s a laid-back track that is highlighted by the guitar work and Hynde’s terrific vocal. The ska song “Lightning Man” sounds like it could be a track on The Specials’ recent album. It’s outstanding and has a great flow to it. The rocker “Turf Accountant Daddy” has Hynde in top voice with excellent backing by the band.

“You Can’t Hurt A Fool” is a chilled-out track with light instrumentation and Hynde’s vocal at the top of the mix. Producer Street added organ and percussion to the song. “I Didn’t Know When To Stop” rocks in parts and downshifts in others. It’s a terrific and rollicking song with a very abrupt ending that features some nice harmonica from Hynde and keyboards by Street. The truly stunning “Maybe Love Is in NYC” brings to mind the songs on PJ Harvey’s stellar Stories From The City, Stories From The Sea album. The guitar work on the track is outstanding as is Hynde’s vocal. Damn! What a song!

“Junkie Walk” is about the head-down, brisk walk that junkies do when they are on their way to score, and Hynde provides a spoken-word-style vocal. There is some great guitar work in the song’s midsection. The rockabilly “Didn’t Want to Be This Lonely” puts Chambers’ drums in the spotlight. It also features a nice vocal by Hynde and terrific backing by the band. The lovely closing song, “Crying In Public,” opens with just piano and Hynde’s vocal. Strings, with arrangements by John Metcalfe, and then Wilkinson’s bass join in. Hynde’s vocal on the track is both sad and beautiful.

Hate For Sale should be one of the top rock albums of this year. Here’s hoping that it gets the exposure and airplay that it truly deserves. —John Curley

may be the most important record that the Grateful Dead ever put to tape. It was their fourth studio album and followed the complex where the band had experimented with a variety of exotic sounds. was trippy and a fitting close to the remaining days of the psychedelic era. But the excessive studio time it had required left the band in considerable debt to their record label. There was also a drug bust in New Orleans that had members of the