Chrissie Hynde possesses an undeniable, enduring cool. From her roots in Akron, Ohio, to her pivotal role in London’s punk scene alongside figures like Malcolm McLaren and Vivienne Westwood, Hynde carved her own path. She was present during the formation of punk rock, even brushing shoulders with early iterations of bands like The Clash. Ultimately, she forged her own legendary group, The Pretenders, alongside James Honeyman-Scott, Pete Farndon, and Martin Chambers. The impact was immediate and lasting. Hearing “Brass In Pocket” for the first time remains a vivid memory for many, a song that captured a specific moment and feeling, forever linking Hynde’s distinctive voice to personal nostalgia. It was clear from the start: Chrissie Hynde demanded attention, and deservedly so.
The Pretenders: Triumphs and Tragedies
Following their acclaimed debut and the equally potent Pretenders II, the band faced profound tragedy. Bassist Pete Farndon was dismissed due shortly before his fatal overdose. Soon after, lead guitarist James Honeyman-Scott also succumbed to drug addiction. These losses were devastating, a stark reminder of the perils within the rock and roll lifestyle. Yet, Hynde, alongside drummer Martin Chambers, persevered. This resilience led to the 1984 release of Learning To Crawl, three years after the last album featuring the original lineup. For many fans discovering the band during that era, this album became a defining soundtrack, prompting a deeper dive into the essential first two records. The raw energy and emotional depth captured on that early vinyl still resonate today.
Witnessing The Pretenders live often leaves a lasting impression. Even when opening for colossal acts like The Rolling Stones, Hynde’s presence is captivating. She commands the stage with a unique blend of toughness and sensuality, her voice retaining its power and nuance over the decades. Her respect for musical heritage is also evident, as seen when she acknowledged the Stones’ often-overlooked role in popularizing reggae music – another touch demonstrating her inherent coolness and musical understanding.
Chrissie Hynde singing and playing guitar live on stage, highlighting her continued musical journey in 2021.
Navigating 2021: From Hate For Sale to Dylan Inspiration
Fast forward to more recent times, The Pretenders released Hate For Sale in 2020, a record hailed by many as a powerful late-career statement, crackling with the band’s signature attitude. It found significant airplay among long-time fans and critics alike, echoing the high rotation of classics like Learning To Crawl in dorm rooms years ago. Unfortunately, the global pandemic prevented the band from touring to support the album, leaving fans eager for their return to the stage. Like many artists and individuals during the lockdown periods, Chrissie Hynde 2021 found herself navigating unexpected downtime. According to Hynde, hearing Bob Dylan’s epic 2020 single “Murder Most Foul” sparked a period of deep exploration into his vast catalog. This inspiration led her to begin recording acoustic interpretations of Dylan’s songs at home. She would send these raw tracks to the current Pretenders’ lead guitarist, James Walbourne, who would add his own layers before sending them back – a remote collaboration born from necessity but yielding compelling results.
These Dylan covers began surfacing online, shared through the band’s website or YouTube channel throughout the latter part of 2020 and into 2021. Tracking artist releases across multiple platforms can be challenging, and news of a full Chrissie Hynde 2021 Dylan covers album circulated. However, amidst the anticipation, the album, Standing In The Doorway: Chrissie Hynde Sings Bob Dylan, was quietly released in May 2021. Its arrival caught some followers by surprise, a discovery perhaps stumbled upon in online discussions praising specific tracks, like her take on “Blind Willie McTell.”
Standing In The Doorway: An Intimate Look at Hynde Sings Dylan
The timing of this release felt serendipitous for fans immersed in Dylan’s work, perhaps exploring his extensive Bootleg Series or simply revisiting his iconic songwriting. Hynde tackling Dylan is a convergence of compelling elements: a revered vocalist interpreting the work of a master songwriter. Cover songs offer a unique pleasure, allowing listeners to appreciate both the new interpretation and the resonance of the original. An entire album dedicated to covers is a rare treat; one dedicated entirely to a single artist like Dylan, performed by an artist of Hynde’s stature, is rarer still and demands attention.
Standing In The Doorway is defined by Hynde’s voice and the album’s distinct atmosphere. She expertly uncovers layers of vulnerability and melancholy within Dylan’s lyrics, presenting them in a fresh light. The production is characterized by lush, velvety acoustic guitars, creating an intimate, almost meditative listening experience. Stripped of drums and excessive instrumentation, the focus remains squarely on the raw emotion conveyed through Hynde’s vocals and Dylan’s words. It’s an album perfectly suited for late-night reflection, perhaps accompanied by a quiet drink.
Track by Track: Highlights from Hynde’s Dylan Songbook
Hynde’s song selection is particularly noteworthy. She largely bypasses Dylan’s most ubiquitous hits, choosing instead to delve deeper into his extensive catalog, with a welcome emphasis on his later work alongside a few carefully chosen classics. This thoughtful curation results in a cohesive and deeply personal collection. She selects tracks known for their intimacy and emotional weight, making the entire record feel like a hidden gem.
Only three tracks hail from Dylan’s widely recognized “classic” period (mid-60s to mid-70s). “Love Minus Zero/No Limit” receives a beautiful treatment, shimmering with Byrds-esque guitars. “Tomorrow Is A Long Time,” famously covered by Rod Stewart, is presented here with delicate finger-picking. Perhaps the most impactful classic interpretation is “You’re A Big Girl Now” from the seminal Blood On The Tracks. Hynde delivers a knockout performance, fully inhabiting the song’s pathos and regret. Her vocal captures the bittersweet ache of a final farewell, a warm yet sorrowful embrace.
The majority of the material, however, comes from Dylan’s 80s output and beyond, a period that aligns well with ongoing explorations like the Bootleg Series. The opener, “In The Summertime,” becomes a warm, almost joyful greeting in Hynde’s hands. “Sweetheart Like You,” another track previously covered by Rod Stewart, is a standout. Hynde’s delivery of lines like, “She used to call me sweet daddy when I was only a child…” is captivating, wringing emotion from every syllable. Her rendition of the epic “Blind Willie McTell” stands confidently among the best interpretations of this masterpiece. Lesser-covered but deeply personal Dylan tracks like “Don’t Fall Apart On Me Tonight” and the profoundly moving “Every Grain of Sand” are also given heartfelt interpretations, feeling almost confessional coming from Hynde, an artist who has undoubtedly weathered her own share of life’s storms.
This quiet, unassuming album might not grab major headlines, but the commitment and emotional depth evident in Chrissie Hynde’s performances make Standing In The Doorway a truly special listening experience. It’s a record that rewards repeated listens, revealing new nuances in the interplay between Dylan’s lyrics and Hynde’s interpretive power. Exploring this collection feels nourishing, a reminder of the enduring artistry of both Bob Dylan and Chrissie Hynde. It’s a testament to her continued relevance and a reason to be thankful that Chrissie Hynde 2021 continued to create and share her remarkable voice with the world, even under challenging circumstances. Anyone seeking soulful, intimate music should undoubtedly check this one out.
