The problem with the first Pretenders record was that it was so damn good it set expectations of the band incredibly high, and Scott & Farndon cracked under pressure.

In this album, you have the perfect mix of four musicians at a time when it was satori for them to get together.

First,Chrissie, who was at here cocky I'm-a-woman-of-the-world-and I'll-kick-your-ass-if-you-abuse-me-again best voice, sounds like a dominatrix with a hidden heart of gold & not the PETA militant we get now (although you can see it coming on this album, but it seems like it would be more). She has the perfect balance of rage AND sensitivity on this album. It's watching oragami fragile idealism wrapped in Kevlar armor with leather & studs over it. It's fascinating as to how the combo got wedded together. She sings tender-but-wary ballads ("Kid") along side of fever sex dreams that show that the mystery of sex still outweighs the mistrust ("Mystery Achievement", "Up The Neck", "The Wait") and tales of survival ("Tatooed Love Boys", "The Phone Call") & confidence ("Brass In Pocket", "Private Life").

Secondly, you have James-Honeyman Scott. Why, oh why, you a**hole did you have to O.D.? Didn't you know you were probably the greatest new wave guitar player this side of Tom Verlaine?
This album is rife with extrodinarily economic but blistering riffs. JHS was old enough to rock out melodically like guitarists of yore, but added enough punkish noise to the fuel like Nostradamus's match, predicting the coming of Sonic Youth & Nirvana. The use of the atmospheric harmonic line from "Tatooed Love Boys" is STILL brilliant. And, my god you played like a hot rod drives: foot on the floor to the end of the quarter whether you were going to explode or not. Maybe it's not a wonder that you flamed out...

Lastly, you had Farndon & Chambers. It's such a cliche to put the rythm section together, but they really did work as a unit. Like Scott, they mixed the best old school with a brave new edge of the new. Best of all, they were learned in the thump of R&B which kicked the Pretenders to the top of the heap in playing. Having been an O.P. (origional punker) in those days, let me tell you, it wasn't the snottiness or the aggression that made bands bad, it was the fact that they didn't GROOVE. These guys, however, had it in SPADES. Tragically, Petey decided to follow Jimmie & loaded the essence of poppy flower in his veins once too many times. So, after one more album, Chambers sounded lost without his groove mate.

One of the other reviewers was talking about the philosophy that old school punk was an attitude. This is SOOO true. This album was the first living proof that you could sell an album with it. It just took street smarts.

A classic.

If you're thinking of buying the Audio Fidelity version because you believe it won't have any compression, don't because it does. Despite the marketing claims on the cover there is compression. The cover states "The original dynamic range of this recording was not maximized, brickwalled, limited, or compressed in anyway during remastering." Just put up Space Invader (as and example) from this release in any garden variety audio editing program and compare it to the 1980's cd version and you'll see that some substantial limiting and compression has be done.

Audio Fidelity and Steve Hoffman have really tarnished their image with this one, and the fact that emails to AF have not been answered makes me think they don't care what they're selling. So if the 'no compression' thing is deceptive, what else about this reissue also is? Is it from the master tapes? Personally, I'm not going to buy anymore AF or Hoffman releases because I don't like being lied to and I no longer trust them.

BTW, the one star is for the AF release, not the music which is 5 stars all the way.

The Pretender's first LP is one of the single greatest debut albums ever. Chrissie Hynde snarls when she wants to and doesn't feel the need to paint herself into a struggling female, instead a strong human. The Pretenders don't paint within the lines, instead coloring their first album with a range of influences from ballsy punk ("Precious") to vampy R&B ("Brass In Pocket"). Few albums make punk rock this accessible and immediately appealing. One of the greatest of all time and a massive entry in the rock and roll history books. Best tracks: "Precious," "Kid," "Stop Your Sobbing," "Brass In Pocket" Rating: 10/10

To think that this jewel of an album was released almost twenty years ago during the dark days of disco/Styx/Foreigner/Journey. A macho, guy band fronted by a woman, no less. This release heralded a renaissance of clean, honest, straight ahead rock, without the vulgarity of punk. This album features Chrissy's signature vocal styling, Honeyman-Scott's melodic and uniquely inventive guitar work (he will re-incarnate as a Beach Boy), great songwriting, a pulsating bass/backbeat, with the occasional whiff of a wired Bo Diddely. Martin Chambers' energy & drive on this and future Pretenders' albums is exceptional. There is not a dead moment on this album as it is one of the few releases of the time to which you can both sing and dance. Special mention - "Stop your sobbing" sounds as if it were produced by Phil Spector, "Mystery Achievement" - minimalist brilliance, "Kid" - accessible pop. Magnificent accomplishment by a band, whose members paid a steep price for their success, in two instances, the ultimate price.

This is an absolute stunner of a debut album with an incredible band that meshes together in an amazing chemistry rarely found in rock. Bassist Pete Farndon, unsung drum hero Martin Chambers, and especially guitar wizard James Honeyman Scott provide the perfect vehicle for Chrissie Hynde to get her point across. (I find it just amazing that what with all the great bands coming out of England in the late 70's that these guys were not already in another band.)
The album starts with the barely under control thrash of Precious, truly a legendary song. Chrissie wonders if she is pregnant, says a couple of naughty words, and in the end decides so what lets rock. Musician magazine once speculated that this is the greatest use of the f-word in rock history. Hard to believe now, but this attitude from the women's point of view was considered so shocking at the time--1980. (I just remember that I was nearly kicked off my college radio station for playing this song in 1982)
The rest of the first side has some more great thrash punk songs in The Wait and Up the Neck, but the centerpiece of the first half is definitely Tattooed Love Boys. Check out James Honeyman-Scott's short but inventive solo and especially Martin Chamber's drum part--this track has got to have the greatest drumming of any punk/new wave song ever recorded. (as a previous reviewer noted, it is not 4/4 time but some weird 7/5 time that is virtually impossible to play)
The 2nd half features the tender side of Chrissie's songwriting with Kid (the sequel to Precious?) and the hit Brass In Pocket. The beauty of the 2nd side is in sharp contrast to the 1rst side.

This version of the band would only last for one more album before ending tragically so I strongly suggest if you are any kind of a fan of post punk to give this record a listen. The importance of Chrissie Hynde cannot be understated--she virtually alone proved that chicks can rock (intelligently and it is OK for a guy to listen)