Throughout the years, The Pretenders have always conveyed an attractively mysterious, yet honest persona. During their early days, they brought a bright spark in a musical scene that was already blessed by the wide spread growth of eclectic genres like punk, new wave and reggae, the antithesis of today’s stale, sugarcoated mess cluttering the airwaves. While their music continues to satisfy long-time fans and critics, it has gained even wider exposure over recent years, whether one realizes it or not, via talk radio shows and television. As well, their personality and focus has evolved with the addition of two new band members in the early 1990’s. Near the end of January, the band embarked on a short, but busy, tour across the country, doing over 30 shows in little more than a month’s time to promote their new album, “Loose Screw.” They’ll be playing two unique Connecticut venues - The Warner Theater in Torrington, February 3, and Foxwoods Casino’s Fox Theater, February 7. Anchored by Chrissie Hynde, lead vocals/guitar, the band’s core line-up includes Pretenders original drummer Martin Chambers, Adam Seymour, lead guitar, and Andy Hobson, bass.

“Loose Screw” was released in mid-November, and is paced by lyrics that are instinctual, at times seemingly free-floating. Hynde’s intention for the album was to produce something with a strong reggae focus. As noted in a Hynde interview about “Loose Screw” posted on the Artemis Records website, she says “in ’76 and ‘77 reggae was the only music any of us listened to. And that was a big influence on me, huge influence.” The completed album, however, evolved into a multi-faceted mix, reflecting the reggae influence, but more notably packed with the emotion and melodic edge that defines the Pretenders. Use of modern recording technology is also evident in this release. Hynde notes in the same interview that the band’s creative process is changing. Where previously she had written songs “sitting alone in a room with a guitar, not using tape recorders,” she implies that her lifestyle doesn’t allow this seclusion anymore, and the band is “now using modern technology, i.e. tape recorders.” A few of the album’s differences will stand out immediately, like the overdubbed chorus of “Lie To Me.” Technology aside, Hynde’s lead vocals remain as consistently powerful and attractive as ever. Seeing them in concert on a few occasions over the last ten years, I can say that her voice projects equally well in a concert setting. During the current tour, it will be intriguing to see how their live show will integrate the technology used on some of the new songs.

Their last U.S. tour in 2000 went quietly through Southeastern Connecticut, playing with little fanfare at the free Mohegan Sun Wolf Den venue. The last album, 1999’s “Viva El Amor!,” however, was grand and produced some widely played hits like “Popstar” and “Human.” By traversing the far corners of the State, and playing these great venues, this tour promises to bring them more local attention. The new album is their first release on the evolving, socially conscious Artemis Records label. With Hynde’s publicly displayed activism, and a line-up of peer artists, such as Peter Wolf, Susan Tedeschi, Boston, and Warren Zevon, Artemis and The Pretenders certainly seem to be a perfect fit.

The current line-up that includes two originals (Hynde and Chambers) has managed to steadily evolve and develop its own personality. Hynde seems to enjoy a unique creative partnership with, Adam Seymour, guitarist for the last ten years. She notes in the same Artemis website interview that “he [Adam] knows me better than anyone.” And goes on to say how they understand each other and that “our whole relationship is based on this musical interest – I mean, there isn’t anything outside that.” This musical partnership becomes more apparent in the pacing and experimenting on “Loose Screw.”

As previously noted, over recent years, Pretenders music – past and present - has crept outside the boundaries of mainstream rock radio. Having a gritty, yet cool and accessible sound, the music has been used as backing for political and sports talk radio, and even television shows. Most surprisingly is Rush Limbaugh’s ironic use of their scathing tune, “My City Was Gone,” which is an off-handed attack on the policies of his idol, Ronald Reagan, as lead-in music. But that subject is for another story.

In their various incarnations, which have always included Hynde and Chambers, The Pretenders have released 8 albums of new music. Though this rate of production may seem a bit sparse for the hard core fan, every release has been meaningful. The timeless sound and universal themes have kept the music circulating through the airwaves - and the band within the upper echelon of rock music culture. Chrissie Hynde, of course, has reached rock and roll legend status, being proclaimed at Number 7 in VH1’s Top 100 list of Woman in Rock. Hynde has always shown an appreciation for other musicians as well by covering songs by various artists, from Ray Davies, “Stop Your Sobbing,” on the first album to this album’s “Walk Like A Panther” by The All Seeing I. In fact, Hynde notes in the Artemis website interview that “it’s kind of a Pretender’s tradition, we’ve always done a cover song on every album.” And she humorously adds that doing a cover is “lightweight comic relief from Chrissie Hynde lyrics.”

Since the release of their 3rd album, critics have called the band a front for Chrissie Hynde. Whether this was the case or not at times during the middle years of their tenure, a little closer focus will show that this is not the case with their current line-up. The musical influences of the new members, in particular, guitarist Seymour, have become quite clear. Related to this, according to Hynde during the same interview, Seymour brought the band Pulp to her attention, and Jarvis Cocker, the singer for Pulp, wrote the lyrics for “Walk Like A Panther,” on their current album. But of course, with their history, one would have doubted a 3rd release, never mind an 8th, could have been possible.

The Pretenders released their first album in 1980. The self-titled debut was an instant classic. Critics and fans quickly recognized their distinct, adventurous, and quirky rifts. It was one of those bands, like The Smiths, where the lead singer had hypnotic vocal talent, yet the instrumentals sparked a multi-faceted personality. Troubled lead guitarist James Honeyman Scott and bassist Pete Farndon brought unique synchronicity and sonic texture to the semi-autobiographical lyrics of lead singer, Chrissie Hynde. Honeyman Scott was an original, and his style has been noted as an influence on similar musicians over the ensuing years. Backed by solid and steady drummer, Martin Chambers, the band had an immediate presence on the music scene. Carrying a sound that bordered on punk, with reggae and British rock influences, they began to upstage the more flamboyant new wave groups of the time, like Blondie or the Talking Heads. Their edgy musical style mixed technical precision, and jolting swings from raunchy punk pop to sweet melodies.

With the searing hits on their first release that still maintain their sharpness today, like “Precious,” “Tatooed Love Boys,” “Private Life,’ and Stop Your Sobbing,” Hynde distanced herself from the mainstream female rock/pop vocalists, e.g. Joan Jett, Cyndi Lauper, Pat Benatar, etc. She created an image for a female singer that had seldom, if ever, been seen before. Exuding a strong and mysterious persona, ringing out hard core and seething lyrical impressions while not letting go of a passionate, sexy, female side, she captured the imaginations of rock, punk and new wave fans, men and woman alike. After a solid and similarly precocious second album with tunes like the immortal “Bad Boys Get Spanked” (that without question could only be taken seriously when sung by Hynde) and the “Adultress,” the power was cut.

As the tragic and sad story goes, Honeyman Scott met an early end from drug abuse and Farndon was booted from the band, with his demise following shortly thereafter. Most thought that with the integral part these musicians played, the band could not rise again, but they did. Their 3rd release, 1984’s “Learning To Crawl,” was more focused and introspective, but it was clear that Hynde’s passion was stronger than the chaos. Credibly producing both the politically charged “My City Was Gone” and the passionate Christmas influenced song, “2000 Miles” on the same release, this album was certainly a unique feat, and is considered a classic. Though the instrumental grooves were a little less edgy, the sound was solid and well received. In and out of the public eye over the next several years, The Pretenders resurfaced with certainty on 1994’s “Last of the Independents.” With the hit “Night in My Veins” and an appearance on “Saturday Night Live,” one could sense that a new chapter was beginning.

Maintaining the same band lineup since “Last of the Independents,” The Pretenders have developed a subtle and evolving new style, experimenting with technology and addressing current issues, but intertwining familiar lyrical themes. I would anticipate the tour bringing out some of the changes we see on the album because the band continues to move forward and refresh their outlook. In the end, however, their music and spirit is always grounded in the raw feelings and power of Hynde’s emotion.