![]() Gibbons says of Hynde’s demeanor, “The songs are strong, direct and basic. Sanguine, never sentimental, she writes terse songs, but never at the expense of the notion of “fun.” While the title track calls out avaricious greed jockeys who place pleasure and plastic aesthetics over the common good and “Junkie Walk” paints a picture of addiction, she eschews moralizing and allowing truth to puncture the thrust. I loved going for that Lou Rawls proper R&B thing on ‘You Can’t Hurt A Fool.’ The song ‘Lightning Man’ was for a mate of mine who died, and I really wanted to commemorate him I pretty much haven’t done a reggae song since the first album - and it fit.” ![]() Never missing a beat, she enthuses, “I love ‘Turf Accountant Daddy’ because it has a very ‘Top of the Pops,’ this British television show, feel. “On this album, I wouldn’t change anything …” As the conversation circles the various tracks, the desired outcomes, Hynde utters the most stunning words a musician can say. But nothing beats a road-forged band hitting on all cylinders. You can hear everyone at the height of their powers.”Ĭertainly working with Dan Auerbach - and his cast of rockers - on Alone created that Akron-smelted grittiness. James Walbourne is really off the scale, a guitar hero who’s just untouchable. “Martin (Chambers) is so recognizable, so powerful, and we’ve been playing together almost 50 years. “I’ve been wanting to do an album with this band … we’ve been on tour for 12 years, and the four of us together, we’ve been longing to do this the whole time but didn’t for logistical reasons. This sort of ‘old maid in the studio,’ because it doesn’t speak to everyone. I’ve heard people say, ‘It’s proper rock,’ or ‘old school.’ Whatever. “I mean, I keep doing the same thing, over and over. “Not that many people are making actual rock records,” she concedes. At a time when programming and hip-hop dominate, the immediacy to what’s been created reminds listeners why that charge from great rock ’n’ roll is so narcotic. The energy bristles the playing’s exact, ferocious. For the first time in a dozen years, Hynde recorded with her road band. With Hate for Sale, all those truths are on full display. It just took me a while to catch up musically.” I recognized myself in Chrissie when I first heard her. “That aspect of tough yet vulnerable is what drew me to her,” admits Lucinda Williams, whose Good Souls Better Angels is equally straight-up rock. That tough girl bravado held up, making Hynde an authentic rock voice that transcended gender without relinquishing her truth as a woman. Everything about me says, ‘This is what it is.’”įrom that moment in 1976 when the expatriated Hynde returned to America via import single – a wide-open, resolute take on The Kinks’ “Stop Your Sobbing” – the woman with the kohl liner and bangs in her eyes has been as rock ’n’ roll as Keith Richards and as feminine as Stevie Nicks. She almost laughs, then offers, “Because I don’t come out and say, ‘I’m a feminist,’ people think I’m an anti-feminist. “If that’s how someone’s perceiving (the larger truth), fair enough.
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