The Pretenders - Original Album Series (5CD BoxSet)

The Pretenders - Original Album Series is a budget-friendly 5CD collection from Rhino Records that offers an efficient way to own the band's core studio output, including their 1980 self-titled debut, Pretenders II, Learning to Crawl, Get Close, and Last of the Independents. Critics and fans from sites like AllMusic and Amazon highlight the set as an exceptional value—often costing less than a single standard CD—for 13 years of influential music featuring hits like "Brass in Pocket" and "Back on the Chain Gang". However, it is strictly a "no-frills" package; the discs are housed in simple cardboard replica sleeves without any bonus tracks, booklets, or extensive liner notes. While the sound quality is generally praised for its authenticity, some reviewers note that certain discs may suffer from original production qualities that can sound "muffled" or "compressed" compared to higher-end remastered editions.

The Pretenders - Last Of The Independents

Released in 1994, Last of the Independents is widely celebrated as the Pretenders' definitive comeback album, marking a return to the gritty, guitar-driven energy of their early work. After a period of shifting lineups and lackluster sales, Chrissie Hynde revitalised the band’s sound by reuniting with original drummer Martin Chambers and recruiting guitarist Adam Seymour, resulting in a cohesive mix of punk-influenced rockers like "Night in My Veins" and chart-topping power ballads like "I'll Stand by You." While the slicker 90s production and professional co-writing sessions gave the record a more commercial sheen, Hynde’s signature snarl and vulnerable songwriting remained at the forefront, proving the band could still dominate the rock landscape more than a decade after their debut.

The Pretenders - Get Close

Released in 1986, Get Close captures The Pretenders in a state of transition, leaning into a polished, high-gloss 1980s production style that contrasts with their earlier punk-rooted grit. While it delivered some of Chrissie Hynde’s most enduring radio hits—most notably the jangly "Don't Get Me Wrong" and the ethereal "Hymn to Her"—the album is often described by critics as having a "split personality." It oscillates between soulful pop-rock and experimental, funk-inflected tracks like "Dance!" that reflected the studio-heavy influence of producers Bob Clearmountain and Jimmy Iovine. Though it lacks the cohesive band identity of their debut or Learning to Crawl due to frequent lineup shifts, it remains a commercially successful showcase of Hynde’s versatility and vocal command.

The Pretenders - Learning To Crawl

Released in January 1984, The Pretenders' third studio album, Learning to Crawl, is widely celebrated as a resilient masterpiece and a "triumph of art over adversity". Following the tragic drug-related deaths of original members James Honeyman-Scott and Pete Farndon, frontwoman Chrissie Hynde rebuilt the band with a new lineup featuring guitarist Robbie McIntosh. Critics from publications like Rolling Stone and AllMusic praise the record for its "harder won wisdom" and a "muscular" sound that balances driving rockers like "Middle of the Road" with poignant, soulful tracks such as "Back on the Chain Gang" and "2000 Miles". While some reviewers note it lacks the raw, revolutionary spark of their debut, many consider it the band's most "fully realized" and "emotionally resonant" work, successfully navigating themes of motherhood, loss, and maturity.

The Pretenders - Pretenders II

Released in 1981, Pretenders II is often viewed as a sophisticated but slightly fragmented successor to the band's explosive debut. While it leans more heavily into melodic pop and textured ballads—most notably the hit "Talk of the Town" and their cover of "I Go to Sleep"—it still retains the gritty, new-wave edge that defined their early sound. Critics generally regard it as a "transitional" record; it lacks the raw, cohesive punch of the first album, yet it remains a essential piece of rock history as the final studio effort from the original lineup. It serves as a bittersweet showcase of the unique chemistry between Chrissie Hynde’s coolly defiant vocals and James Honeyman-Scott’s inventive guitar work before the band was struck by tragedy.

The Pretenders - Pretenders

The Pretenders’ self-titled 1980 debut is a landmark release that bridged the gap between punk's aggression and new wave's melodic pop. Driven by Chrissie Hynde’s commanding, cool-headed vocals and James Honeyman-Scott’s inventive guitar work, the album moves effortlessly from the swagger of "Brass in Pocket" to the jagged intensity of "Tattooed Love Boys." It remains one of the most celebrated debuts in rock history, praised for its tight musicianship and a rare "street-smart" attitude that feels both tough and vulnerable.

Pretending

Few rock & roll records rock as hard or with as much originality as the Pretenders' eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn't a singer/songwriter's tour de force -- it's a rock & roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of "Precious," "Tattooed Love Boys," "Up the Neck," and "The Wait," as well as the more measured pop of "Kid," "Brass in Pocket," and "Mystery Achievement." He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn't fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It's a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive.