“He’s got a curly tongue and a curly tail, but mostly he’s got hate for sale” – Pretenders, “Hate For Sale”
Could any of us expected, this far down the line, this gift of a fabulous Pretenders’ album? I, for one, needed this record!
I was an early adopter on the Pretenders. Their seminal debut album Pretenders came out when I was in high school and I bought it immediately. I think of the album cover as iconic. I have always considered the Pretenders to be a punk band, but since their first record didn’t come out until 1979 in the UK and 1980 in the US (and I’ll admit I thought it was 1978) perhaps they were post-punk or even New Wave or Next Wave? Labels be damned in this case. Ohioan guitarist/singer/songwriter Chrissie Hynde was living in London in the 70s immersed in the punk scene when she formed the original Pretenders’ with James Honeyman-Scott (guitar), Pete Farndon (bass) and her once and future drummer Martin Chambers (if I can sneak in a T.H. White reference).
The songs on that first album still blow me away. The Kinks’ cover, “Stop Your Sobbing” was the first single, but that isn’t the track that sticks out in my mind – although it is great. The opening salvo “Precious” was a call to arms. When she sang in “Tattooed Love Boys” the lyric “I shot my mouth off and you showed me what that hole was for…” I was smitten. “Kid” and “Mystery Achievement” remain favorites today. Although I’m going to admit – with a touch of embarrassment – the song that drew me in was the big hit single, “Brass In Pocket,” an admittedly “pop” tune.
There’s a reason that song hooked me. I was a sophomore in high school and in my Study Hall (aka “free period”) there was a girl who was a senior. She was tall with long legs and dirty blonde hair that always seemed to be in a fashionable mess. As a lowly sophomore I never had the temerity to even look her in the eye let alone speak to her, she was a vaunted senior, high above me socially – such is the fear and inexperience of youth. There were two sides of Study Hall, the silent side for well, studying, and then the social side. I know this can’t be true but I have this memory that they played music on the social side of Study Hall. While it may be apocryphal, I have this memory of her walking toward me in an angora sweater, to her gaggle of friends – who I viewed with a mix of awe and fear – while that song played in the background…its like the whole world slowed down… My memory is like a scene from Fast Times At Ridgemont High. There’s just something about a strong woman like Chrissie Hynde singing and that senior who was also pretty damn strong that stuck in my psyche. Paging Dr. Freud.
The Pretenders’ success continued on their strong sophomore effort, creatively named Pretenders II, in 1981. “Message Of Love” and “The Adultress” continued the riff rocking theme established on the first album. Especially commendable is the guitar playing of James Honeyman-Scott. Then tragedy struck. The band fired Pete Farndon because of his drug addiction…namely heroin. I read somewhere that Honeyman-Scott was the one who insisted on Farndon’s dismissal but who really knows outside the band? Ironically, two days after sacking Farndon, Honeyman-Scott died from what Wikipedia calls “cocaine-intolerance,” which sounds like an O.D. Less than a year later Farndon drowned in his own bathtub. That’s Allman Brothers level tragedy. And then, as the saying goes, there were two – Chrissie Hynde and drummer Martin Chambers.
Somehow, Hynde and Chambers were able to shoulder on. It took three years, but the follow up, 1984’s Learning To Crawl with Robbie McIntosh manning the guitar and Malcolm Foster on bass may have been their biggest album. It had the huge songs “Back On the Chain Gang,” and “Middle of the Road.” The latter song finds Chrissie confessing, “I’m going home, I’m tired as Hell, I’m not the cat I used to be, I’ve gotta kid I’m thirty-three.” I have to admit, after that stunning success, I sort of lost track of the Pretenders. I was always aware they were out there. I’d hear the occasional hit on the radio like “Don’t Get Me Wrong,” but I wasn’t paying the same level of attention to them. I also knew that there had been numerous line-up changes, including Chambers coming and going. When they were inducted into the Rock Hall of Fame – Chambers thanked the “drummers who’d been keeping my seat warm” and Chrissie quickly jumped to the mic and said, “I had to remain true to the music.”
It would be easy to describe Hate For Sale as the Pretender’s best album since Learning to Crawl or quite possibly since Pretenders II. Its really that good – in this case, believe the hype. However, that does discount some of the fine music the Pretenders have put out since the early, salad days. Their last album, 2016’s Alone produced by the Black Keys’ Dan Auerbach felt more like a Chrissie Hynde solo project. The record companies like to press artists into “staying with the brand” and force people like Billy Corgan or Chrissie Hynde into putting out solo albums under the moniker of the old band. However, if you go back to 2006’s Breaking Up the Concrete you’ll discover a great Pretenders’ record. Despite Chambers being replaced by famous session drummer Jim Keltner, Concrete felt more like a “band” record.
That band feel carries the day on Hate For Sale. It’s really nice to see Martin Chambers back on the drum kit for the first time in ages – although he does play drums on tour, its nice to see him back in the studio with Hynde. I think they have a chemistry that can’t be duplicated. Joining Hynde and Chambers are James Walbourne on guitar, Nick Wilkinson on bass with Carwyn Ellis on keyboards. Hynde’s wit and wisdom are fully present in these lyrics. What I really like is that she cowrote all the songs with Walbourne which again, gives this more of a full band feel. The rockers are energetic and punchy. The ballads are beautiful and wistful. This is truly a complete Pretenders’ record without a dud on it.
The title track opens the record. They actually have a false start that they kept on the song. It sounds like a band jamming, losing the thread but being tight enough to pull it back together. I thought it was kinda cool. “Hate For Sale” is punky, energetic with a great riff. It’s the perfect kick off to this album… and even has some nice harmonica. “Turf Accountant Daddy” is another strong rocker with a big riff and galloping gait. “I Didn’t Know When To Stop,” with crashing drums and guitars (and again, harmonica) has a great guitar solo and simply rocks. I also liked the atmospheric “Junkie Walk,” with its fuzzed out guitars and heavy riff. I actually added that one to our Heroin playlist, B&V Playlist: Chasing the Dragon – Songs About Heroin.
“The Buzz” was the first single from the album and it’s a great pop-rock tune. Hynde provides us with her typical great vocal on the track. The woman is a legend. It’s their best single in a long, long while. “Lightning Man” is a great reggae tune. I saw the Pretenders open for the Stones in Chicago years ago and Hynde said on stage, “The Stones have brought us a lot of great things but one of the best was spreading reggae to a bigger audience.” The Pretenders certainly deliver on this track – I put it on my Rockers Playing Reggae list, B&V Playlist: Rockers Playing Reggae: It’s Not Just For Vacation Any More. “Didn’t Want to Be This Lonely” may be my favorite track here. It just sticks in my head. It’s got a great rockabilly feel and Bo Diddley beat. I find myself mumbling “I didn’t want to be this lonely but losing you was a relief…” Ah, mixed emotions. “Maybe Love Is In NYC” is another bang up track. With all of these great songs, this record should be as big as Learning to Crawl.
There are the classic, Chrissie Hynde ballads, sung with full emotion. “You Can’t Hurt A Fool” has another great Hynde vocal. “Crying In Public” is a heart wrenching track with Hynde singing over piano. Ballads aren’t for everybody, but I dig these two. The Pretenders do everything they do well perfectly on this album.
Hate For Sale is the kind of late-career gem that B&V was created to extoll. It’s just so great to hear a classic band pull it together and release something this vital and alive this far into their career. I’d love to see some of this played live, but alas, pandemic. I urge every rock fan out there – or Pretenders’ fans out there – to check out this rewarding album.