![]() This information is being stored and processed by Securenet Systems, and is not shared with anyone else.Īll personal information obtained by Securenet Systems is processed and stored in the United States of America.įor the purposes of the EU General Data Protection Regulation (GDPR), the controller of your personal information is Securenet Systems, 356 SW 12th Ave, Deerfield Beach, Florida, United States of America. When a broadcaster restricts access to authenticated users, in which case said broadcaster provides Securenet Systems with login credentials for validation purposes only.In this case, Securenet Systems collects the data and forwards it to the station we do not store it, nor share it with anyone else. When a broadcaster displays an information collection form (such as demographics, where you can tell the station more about you, song requests, or similar types of contact forms).Securenet Systems does not process and/or store personal information about you, except as outlined below: This streaming player is provided by Securenet Systems on behalf of the broadcaster. Since Adobe Flash is not supported on most mobile devices, you may not be able to listen to the audio stream however, you can use most of the interactive features of the player.If this station has a mobile app, we recommend installing and using it for the best experience.If you accessed the player from a mobile device The player is known to work on Windows, Mac OS and Linux, using Chrome, Firefox, Safari or Internet Explorer.If the stream is not audible, or doesn't start, please verify that you have the latest version of Adobe Flash plug-in installed.For the best experience, we recommend upgrading to the latest version of your Internet browser.The title song, a rough sequel to “My City Was Gone,” is an environmental anthem that doesn’t see conservation as passive, or even particularly nonviolent: Hynde’s idea of caring for the planet involves destroying what’s been built by industry, with impunity (“thwack it, crack it, lineback it / break up the concrete”), and chronicling the assault with a Bo Diddley beat.If you accessed the player from a desktop computer (PC or Mac) The songs gain immediacy through direct address (“Don’t Cut Your Hair,” “You Didn’t Have To,” “Rosalee”), and the exceptions tend to be irresistible pop songs like “Love’s a Mystery,” in which Hynde employs a slightly elevated class of moon-June-spoon rhymes (morning/warning, mystery/history), but with the added benefit of context, sensibility, wisdom, and her nearly undiminished upper register. Her persona is largely the same as it was on the band’s 1979 début, which is to say that it is tough and smart and confident and questioning and vulgar and philosophical and energetic and weary all at once. ![]() The band’s enthusiasm is easy to understand Hynde has written a superb set of songs here. The punky “Don’t Cut Your Hair” blasts first and asks questions later “Almost Perfect” steals along with a lovely tiptoe movement. That’s true of the entire band, in fact: the English guitarist James Walbourne, the pedal-steel player Eric Heywood, and the bassist Nick Wilkinson. This time, Chambers is absent, though his replacement-the session veteran Jim Keltner-is a great deal more than capable. For years, the Pretenders have been a band in name only, consisting of a bunch of young hired hands doing the bidding of Hynde and, usually, the founding drummer, Martin Chambers. “Break Up the Concrete” is the first album of new material from the Pretenders since “Loose Screw,” in 2002, and while that record found the band going for a seductive reggae vibe, this time the charge is straightforward roots rock.
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