女性ロッカー最大のアイコンにして、ロック・シーンのカリスマ/姉御と称される、クリッシー・ハインド率いるTHE PRETENDERSが、前作より約8年振りとなる新作を完成させた!ロック・シーンを背負って立つ彼女がTHE BLACK KEYSのダン・オーバクと共に作り上げたサウンドを手に、今THE PRETENDERSを復活させる…!
発売・販売元 提供資料(2016/09/30)
Rolling Stone - 3.5 stars out of 5 -- "[Hynde is] still mouthing off over brass-knuckled rock & roll, flexing command and carnality with no apology....Her introspect is unsparing."
Uncut - "On the ballads, Hynde's smoky contralto glides lazily up to the correct tone and then swoops down at the end of each phrase, rather like the saxophonist Coleman Hawkins. It's a virtuoso performance."
Rovi
Chrissie Hynde sneers "I like being alone" on the title track and opening song on Alone, the first Pretenders album since 2006's Break Up the Concrete. That much is true. She may have revived the Pretenders name for Alone, the follow-up to her belated 2014 solo debut, Stockholm, but, just like in 2006, Martin Chambers isn't in the studio. Instead, Hynde is collaborating with Black Key Dan Auerbach, who brings in half of his side project the Arcs to help him play the instruments on Alone. Unsurprisingly, this studio incarnation of the Pretenders shares some '60s AM aesthetics with the Arcs, sometimes cooking along with the cool grace of Memphis soul and sometimes feeling as thick as rockers cranked out in a greasy garage. The latter is familiar territory for Hynde but the former is a new wrinkle for her, so one of the pleasures of Alone is hearing her laying back in a slow, soulful groove. "Roadie Man" simmers like classic Booker T. & the MG's, "Never Be Together" feels like a dispatch from an alternate Stax, while "One More Day" trades in a bit of bossa nova, a bit of rhythmic flair that illustrates how often Hynde and Auerbach play with forgotten '60s pop sounds. This gives Alone a supple, attractive feel, but Auerbach also encourages Hynde to lean into her tough side so that Alone swaggers like a classic Pretenders album. Attitude counts for a lot with Chrissie Hynde, but the true appeal of Alone is how it marries solid songwriting with a sympathetic, surprising production, all of which amounts to a very satisfying Pretenders album. ~ Stephen Thomas Erlewine|
Rovi
Chrissie Hynde sneers "I like being alone" on the title track and opening song on Alone, the first Pretenders album since 2006's Break Up the Concrete. That much is true. She may have revived the Pretenders name for Alone, the follow-up to her belated 2014 solo debut, Stockholm, but, just like in 2006, Martin Chambers isn't in the studio. Instead, Hynde is collaborating with Black Key Dan Auerbach, who brings in half of his side project the Arcs to help him play the instruments on Alone. Unsurprisingly, this studio incarnation of the Pretenders shares some '60s AM aesthetics with the Arcs, sometimes cooking along with the cool grace of Memphis soul and sometimes feeling as thick as rockers cranked out in a greasy garage. The latter is familiar territory for Hynde but the former is a new wrinkle for her, so one of the pleasures of Alone is hearing her laying back in a slow, soulful groove. "Roadie Man" simmers like classic Booker T. & the MG's, "Never Be Together" feels like a dispatch from an alternate Stax, while "One More Day" trades in a bit of bossa nova, a bit of rhythmic flair that illustrates how often Hynde and Auerbach play with forgotten '60s pop sounds. This gives Alone a supple, attractive feel, but Auerbach also encourages Hynde to lean into her tough side so that Alone swaggers like a classic Pretenders album. Attitude counts for a lot with Chrissie Hynde, but the true appeal of Alone is how it marries solid songwriting with a sympathetic, surprising production, all of which amounts to a very satisfying Pretenders album. ~ Stephen Thomas Erlewine
Rovi
2014年にソロへ転向したクリッシー・ハインドが、ダン・オーバックとアルバム作りを進めていくうちに〈これはバンド名義で出すべき!〉となり、8年ぶりにプリテンダーズを復活。果たしてお目見えした本作は、ブラック・キーズにも通じるザラついたギターの効いた、過去最高にアメリカン・テイストの強いロックンロール盤だ。しかし、あのシャウトが乗ればすべてプリテンダーズになってしまうのだから、いやはや凄い存在感。
bounce (C)吾郎メモ
タワーレコード(vol.397(2016年11月25日発行号)掲載)