Although it tends to fade out a bit too long, it’s an enjoyable fade. Backing vocals by Priscilla Jones gives it another layer but the song is solid on its own. Thankfully the soul she exposes on “The Losing” atones for the previous mistake. Hynde also doesn’t give much lyrically here as she talks about the personal baggage found in couples and relationships. Coming across like filler at best, it plods along in a reggae style that is a bit of a mess like that song says. The album’s low point is the mediocre “Clean Up Woman”. It’s probably the highlight of the album. Despite the grammatical solecism, the song has the same pomp and orchestrated structure that Pulp is famous for, even down to Hynde giving the lyrics more of a breathy tone during the homestretch. Although Cocker has co-written the last track on the album, it’s quite obvious Pulp’s His N Hers was an influence on “I Should Of”. Perhaps the biggest surprise is Hynde’s love of Brit popsters Pulp and its lead singer Jarvis Cocker. “I wasn’t this shook in the LA earthquake / How much can one heart break”, Hynde asks in a style that Sheryl Crow should seriously consider. “Nothing Breaks Like a Heart” is a slow and melodic reggae pop track that thankfully doesn’t change pace or tempo. Unlike some of the group’s previous records, there is a great deal of consistency on the record in terms of repeatable listens. Andy Hobson’s bass line carries the song while Hynde competes with her delayed harmony vocals. The groove is also quite present on the sultry and sexy blues-tinged “Kinda Nice, I Like It”. It also ends rather quickly after two and a half minutes. “Fools Must Die” is another rock-oriented track that is simple and harks back to material from 1986’s Get Close album. “I’m a messed up, f–ked up, singer of a song,” she sings before talking about giving construction workers something to shout about. The electronica layers on “Complex Person” are also appealing, but the lyrics are the strong point. It’s close to being the album’s highlight but definitely is singles material. The song also has a certain dance or techno feeling to it.Ī lot of the album has positive images or thoughts, particularly on the groove-riddled “You Know Who Your Friends Are”, a pop melody that gives way to Hynde’s lovable vocal abilities. Part of the reason is producer Kevin Bacon’s (Finley Quaye, Ziggy Marley) influence, but Hynde isn’t exactly foreign to reggae given her Sonny and Cher cover with UB40. “Time” is more in line with a majority of the songs, slow and soulful reggae laced narratives. Guitarist Adam Seymour and original drummer Martin Chambers put their sonic fingerprints over most of the song. There is also a rather primal feeling to the track in the vein of main of the “The” bands currently soaking up sales. “I’m not in my head yet I don’t believe you”, Hynde sings before repeating the song’s main hook. Starting off with the brief and abruptly cut “Lie To Me”, the song has a melodic rock beginning before moving on to a pulsating drums and guitar heavy chorus. The mix of fast paced rockers with more reflective reggae and dub-inspired tracks make this eighth offering one of the group’s better albums. Some opening slots recently for the Rolling Stones put those fears to rest. Recorded rather quickly and described by Hynde as “easy listening”, it might give the wrong impression to fans. Between that album and this new one, though, her true mood seems to have come to the fore resulting from what appears to be a relationship gone sour. A few PETA-related scuffles also landed Hynde in the spotlight and slammer for one evening, but Hynde was no worse for wear. After releasing a relatively return-to-form album with 1999’s Viva El Amor, the Pretenders and lead singer Chrissie Hynde spent some time doing headlining tours but also supporting Neil Young.
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