The Pretenders: Pretenders II (Disk 2) CD Track Listing

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The Pretenders Pretenders II (Disk 2) (2006)
Tracks 1-15 Live at Santa Monica Auditorium 4/9/81\nTrack 16 Demo\nTrack 17 Guitar Version/Outake\nTrack 18 Radio Mix/Outake\n\nPretenders II (Remastered + Expanded) - Disc 2 of 2\n2006 Sire Records/Rhino\n\nOriginally Released August 15, 1981\nCD Edition Released 1987 ??\nRemastered + Expanded 2CD Edition Released October 3, 2006\n\nAMG EXPERT REVIEW: The Pretenders' second album received a much-deserved upgrade in the fall of 2006, as Rhino reissued it as a double-disc set containing a remastered version of the original album on the first disc and a wealth of rarities on the second. If this bonus disc pales in comparison to the bonus disc on the reissue of The Pretenders, it's because it packs few revelations or unexpected rarities among its 18 tracks. Which isn't to say that there's a lot of familiar recordings here: all but two of the tracks are previously unreleased, but all but three are live tracks. Since the original lineup of the Pretenders was one of the great rock & roll bands of its time, these live tracks are all very good, bordering on excellent, but it's not quite the same as hearing rough demos and unheard songs, which is what makes the bonus disc on The Pretenders so good. That said, the live cuts here are all excellent, the demo of "Talk of the Town" is fine, and the alternate guitar version of "I Go to Sleep" is worth having, so this will hardly be a disappointment to those who love the album. In fact, since this lineup of the Pretenders didn't leave much of a recorded legacy behind, it's easy to argue that this is closer to being essential than being a curiosity for those who love this band. -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW: A fitting title, since Pretenders II essentially follows the formula as the band's debut, only with lesser songs. Though a handful of songs could rival cuts from the debut -- "Message of Love," "The Adultress" and "Talk of the Town" in particular -- the songs aren't particularly distinctive, and the band sounds too tired to give them the energy they need to make the music work. It's a sad way for the original lineup of the Pretenders to bow out. -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW: The Pretenders' debut album was such a powerful, monumental record that its sequel was bound to be a bit of a disappointment, and Pretenders II is. Essentially, this album is an unabashed sequel, offering more of the same sound, attitude, and swagger, including titles that seem like rips on their predecessors and another Ray Davies cover. This gives the record a bit too much of a pat feeling, especially since the band seems to have a lost a bit of momentum -- they don't rock as hard, Chrissie Hynde's songwriting isn't as consistent, James Honeyman-Scott isn't as inventive or clever. These all are disappointments, yet this first incarnation of the Pretenders was a tremendous band, and even if they offer diminished returns, it's still diminished returns on good material, and much of Pretenders II is quite enjoyable. Yes, it's a little slicker and more stylized than its predecessor, and, yes, there's a little bit of filler, yet any album where rockers as tough as "Message of Love" and "The Adultress" are balanced by a pop tune as lovely as "Talk of the Town" is hard to resist. And when you realize that this fantastic band only recorded two albums, you take that second album, warts and all, because the teaming of Hynde and Honeyman-Scott was one of the great pairs, and it's utterly thrilling to hear them together, even when the material isn't quite up to the high standards they set the first time around. -- Stephen Thomas Erlewine\n\nAMAZON.COM CUSTOMER REVIEW\nA Stand-Alone Classic, March 1, 2006\nReviewer: James Burke (San Francisco)\nThe issue Pretenders II faces is that it's rarely critiqued on its own merit. This album finds itself in the impossible position of being the bridge between their seminal classic debut and the body of work most fans know, the (IMO) bland, MOR Tom Pettyish "Pretenders" of the mid-80s and 90s. \n\nThe result? Many fans of the first album find this one a bit of a letdown, many fans of the later work don't get it -- it's constantly being compared rather than reviewed. \n\nBut if you could imagine for a moment a world in which this were the only album the Pretenders released, it would almost certainly be a different story. Instead of a letdown, I'm certain this would be regarded as one of the better albums of its era. \n\nThat aside, the fact remains that this is a great Pretenders album for one simple reason: "Message of Love" is the band's best song. If every other song on the album were crap, it would still be worth owning. But they're not. In fact, it's a very strong set; "Talk of the Town" and "Day After Day" are classics in their own right. But even barring THAT, there's still much to love in the rarely heard deep cuts -- could an album that incudes anything as beautiful as "Birds of Paradise" honestly be considered a failure? \n\nSo, viewed as a stand-alone album versus a part their body of work, Pretenders II shines -- it's terrific. In fact, if you don't own any Pretenders albums, I'd strongly suggest buying this first so you can give it an unbiased listen and move on from there. \n\nTo sum, a great album that never got its due.\n\nAMAZON.COM CUSTOMER REVIEW\nTime has been kind., April 22, 2005\nReviewer: Armchair Rambo (MINNEAPOLIS, MN United States)\nThis record sounds very different to me now. Some distance from it's release leaves this one sounding like a companion to the first record. The songwriting is at times tenative, but who cares -- this band can get over on it's playing alone, and some of the songwriting was very fine indeed. \n\nThe second album was greeted as a disappointment by pretty much everyone when it came out. Some of the best songs had already been released and the songwriting was criticized. IMO there was filler on their first album too. \n\nBut it was all pretty damn exciting, filler included. Pretenders played like a band. Then the guitar players flamed out doing stupid drug tricks and everything changed. Not necessarily for good or bad, just different. They've gone on to make great music, but they've never sounded like such a powerful, cohesive unit as on these records. \n\nAs for P2, everything on that first album is here: sex, lust, threats, fears, Chrissie's tremulous low voice (and a couple of choice screams), good-to-great songs, exciting playing. \n\nSome of the highlights: 'Talk of the Town' is as good as anything written by Hynde's hero, Ray Davies; 'Message of Love' another perfect pop single; 'I Go to Sleep', another great Kinks cover; and it kicks off with a couple of ridiculous, funny songs that show off the band's playing. \n\nThis is not the best Pretenders album. But it is most improved - in hindsight P2 sounds strong. It's *one* of their best. \n\nAMAZON.COM CUSTOMER REVIEW\nNot as good as the debut, but keep reading..., January 28, 2005\nReviewer: J. H. Hohman "Failed songwriter" (Erie, PA)\nThe debut is one of the greatest albums that any artist ever released, so it would be virtually impossible to top it. \n\nHowever, this album features the two songs that are probably my favorite Pretenders songs: Message of Love and Talk of the Town. \n\nIt is worth it to buy this album just for those two songs. \n\nI am a grown man. I have a wife, I have kids, and I've been around the block a little bit. I have been listening to music my entire life; I have played and written music for most of it. I know that doesn't count for anything, but here it is: when Chrissie sings "I want you, I want you but not as the talk of the town" toward the end of that song, you are listening to the most honest and unaffected singing that anyone has ever committed to tape. This is the kind of emotional depth and bravery that music is supposed to be about; no one sings like this anymore. After more than twenty years and literally hundreds of listenings, I still get the chills when I hear this line. \n\nChrissie, if you ever read this, thank you for making this song.\n\nAMAZON.COM CUSTOMER REVIEW\nLike Brigitte Bardot!, September 5, 2001\nReviewer: Gundy Brain (Orlando, FL USA)\nOK lets get one thing straight. This is a great album--of course it can't compare to the debut, but what can? The original Pretenders were one of those rare bands where all players figure prominently into the final sound. (Listen to how you can hear Pete Farndon's bass in almost every song) Chrissie's songwriting is still great, Martin Chambers and James Honeyman Scott are in fine form. Message of Love is just a flat out great rollicking(that is the word that keeps coming to mind) single, The Adultress and Jealous Dogs keep rockin' right where the first record stopped. Birds of Paradise and The English Roses are beatifully written and performed songs comparable to Kid from the debut. But my favorite song and one of the Pretenders finest tunes has got to be Talk of the Town--gorgeous driving melody and wistful lyrics with that Chrissie Hynde stamp "Oh but its hard to live by the rules, I never could and still never do" \nIn 20 year hindsight there are some weaknesses that I can reluctantly admit--Some critics have rightfully accused Pack It Up as self parody (but it still sounds cool), a second Kinks cover in as many albums, and as one astute reviewer noted, Bad Boys Get Spanked is a re-write of Tattooed Love Boys. (But check out that Clint Eastwood/Dirty Harry sample)\nIn 1982 Pete Farndon was kicked out of the band for being unreliable and two days later James Honeyman Scott died of a coke induced heart attack thus ending the original band. Eight months later Pete Farndon also died. (In his bathtub with a needle in his arm) One of the most tragic wastes in rock history-- There are only two cds featuring this extremely talented and versatile band so kids, chemistry like this doesnt come along very often and this second record is a nice followup to the debut.\n\nAMAZON.COM CUSTOMER REVIEW\nBad Reviews Get Spanked, January 21, 2001\nReviewer: A music fan\nSorry, but anyone who is down on this album is missing out on what was the 2nd half of an amazing group. Though Hynde went on to do much more in the name of the Pretenders, in many ways she was "pretending". This original group had an edge (in the shape of Pete Farndon and James Scott) that stood up to Hynde's lyrical bullying and her tough girl posturing. In a musical sense it pushed back and told her to shut up. It is obvious that this quartet is a group, as opposed to the rent for hire mentality and sound of the later incarnations of the Pretenders. (Clean sound and subservient chords.) It is hard to fully appreciate what Farndon and Scott contribute until you listen to anything following P II. It is missing its seriously edgy/unstable mentality and is wholly without its nasty, big, bad groove. This is a great work . . . .\n\nHalf.com Details \nProducer: Chris Thomas \n\nAlbum Notes\nThe Pretenders: Chrissie Hynde (vocals, guitar); James Honeyman Scott (guitar, vocals); Pete Farndon (bass, vocals); Martin Chambers (drums, \n(vocals).\n\nAdditional personnel: Chris Mercer (tenor saxophone); Henry Lowther, Jim Wilson (trumpet); Geoff Bryant (French horn); Chris Thomas.\n\nRecorded at Wessex Studios, London, England and Pathe Marconi Studios, Paris, France.\n\nThe band look magnificent on the cover as they pose with make-up or heavily retouched faces. They look confident, knowing that their follow-up is almost as good as the debut. Chrissie and Ray Davies were stepping out at this time, hence the opening track, "The Adultress," as Hynde whispers her confession over a furious wall of sound, to be immediately followed by her reminder that "Bad Boys Get Spanked." If only Chrissie, if only. The album drives and dives, pausing for "I Go To Sleep," another old Ray Davies song. There is not a bad track in sight.\n\n\nROLLING STONE REVIEW\nPretenders II is likely to put off a lot of people. It lacks the brittle drive of the debut album, and the loaded sexual provocation. It's less single-mindedly focused. And yet it's a record to exult over--passionate, recklessly engaged and, in some ways, far richer than its predecessor. The reason is simple: Chrissie Hynde.\n\nThe key to the Pretenders' music has never been their music. The band's sound is distinctive but mostly for its archness, and the playing doesn't evoke much except a nervousness as random as fingers drumming on a table. Nor is Hynde, by any formal yardstick, a great singer: her pitch is dubious, her ability to sustain a melody questionable. What counts is her ability to project herself as a personality, to turn herself into the heroine of her own life and make it compelling to the big audience. This is what great rock & rollers have always done.\n\nOn the first LP, Hynde's personality was based almost entirely upon her sexuality, which, as a stratagem, worked sensationally. Pretenders was so charged that listening to it was like having to watch your girlfriend get it on with another man. Yet sex gave this artist an inside track on themes that even Janis Joplin and Joni Mitchell had treated only under the guise of romance. For Chrissie Hynde, sex was an endless journey -- a will to power and a search for faith, the real war in all human relations. Pretenders was often cheap and tawdry, but to Hynde, tawdriness was where the meat was, and the best way to put across her truths.\n\nMuch of the debut album's feverish energy also came from Hynde's feral ambition: few rockers find it so crucial to justify themselves by making their mark in public. Few rockers, too, depend as deeply on having succeeded at becoming a star as Hynde does on Pretenders II. Her new sense of place -- fame is the home she's always looked for--grants her new authority: she can explore herself in a more complex manner than ever before and send out fresh messages.\n\nBut though the subjects may be somewhat different, the trip goes on. Chrissie Hynde's basic role is that of an adventuress. She's a pop descendant of the Faustian heroines in Nathaniel Hawthorne's novels, and of the expatriate seekers in Henry James', and she instinctively exploits the part's mythic and or trashy overtones even as she rebels against being trapped by its stereotypes. All of the record's separate motifs--love and sex; the dislocations of stardom, freedom and exile -- dovetail into that double game.\n\nStill, sexual relationships are the LP's main theme: more painful, adult versions than the cocky power ploys of Pretenders. The deflations of the first album's "Up the Neck" were pure strut, but the lyricism of "I laughed in my bed/At the stupid things you said," in Pretenders II's "Birds of Paradise," is an authentic recapturing of lost time. Acting out a fantasy of the ultrafree modern woman, Hynde is trapped between her paradoxically old-fashioned morality and her pride that the new life she's chosen is better and braver than the alternatives. The very excess of "The Adultress" (sic) suggests how strongly felt the guilt is, yet in the same situation in "Jealous Dogs," she's just as passionately defending herself against the rabble at the door.\n\nEvery cut is made vivid by Hynde's intense desire to give voice to the meanings of her experience -- a gift she now extends outside herself as well. What's so wonderful about "Talk of the Town," for example, is how beautifully she grasps the rapturousness of success: she's the girl who got left behind, but she's also the boy who's changed his place in the world, and we understand them both. "Pack It Up" succeeds where fifty other put-downs of Hollywood hustlers don't, first because it's hilarious, then because there's a great rant in the middle -- about finding new lovers and new enemies -- that comes right from the heart of Hynde's questing nature.\n\nAs a singer, Chrissie Hynde only pretends to be outspoken -- emotionally, she's the most elusive of vocalists. If the mood turns vulnerable, her voice will go tight with scorn. Or, in the middle of a harsh passage, she'll be unexpectedly, breathily tender. Her singing is a series of brilliant defense mechanisms: the self-protection of someone who was fundamentally an innocent but had to learn too many tricks to ever trust sincerity completely again.\n\nHynde's constant shifting captures her ambiguities perfectly, just as the music's jittery rhythms jell in context -- that arch nervousness, after all, is what the lyrics are all about. The star's edgy rhythm guitar defines the search at the center of each number, while the band provides the bash and clatter needed to spur the singer on.\n\nPretenders II does have its flaws. Chrissie Hynde's obsessive approach often impels her to deal in the trashiest pop terms, and sometimes she can't rise above them. A ?? like "Bad Boys Get Spanked" seems meant to be contemptuous of people who'd find such an idea arousing, but the song doesn't always make that clear. And a couple of tunes -- "Louie Louie," for instance -- though winning, don't quite come off. But this is a brave record and a good one: the fiercely ambitious work of a woman determined, by whatever means, to make herself the greatest heroine in the history of rock & roll. The odds are certainly against her. I hope she makes it. (RS 353 - Oct 1, 1981) -- TOM CARSON
This data cd contains 18 tracks and runs 74min 8sec.
Freedb: 05115e12

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