Show Me 6. Thumbelina 7. My City Was Gone 8. I Hurt You Get Close 1. My Baby 2. When I Change My Life 3. Light Of The Moon 4. Tradition Of Love 6. Don't Get Me Wrong 7. I Remember You 8. Chill Factor Hymn To Her Room Full Of Mirrors. Last Of The Independents 1. Hollywood Perfume 2. Night In My Veins 3. With Foster's departure shortly afterwards, this left the band without a rhythm section.
With Jimmy Iovine and Bob Clearmountain taking over production duties, about half of the album was recorded by Hynde and McIntosh with high-profile session players. Carlos Alomar made further contributions on percussion and synthesizer programming. The later album sessions featured contributions from two further musicians - former James Brown bass guitarist T.
Towards the end of the sessions, Stevens and Cunningham were recruited into the band full-time. On release, Get Close was credited to a formal Pretenders lineup of Hynde, McIntosh, Stevens and Cunningham, despite the latter two members only having played on half of the album. All four musicians appeared on the album cover art, as had been the case with previous Pretenders albums.
Unlike previous albums, however, this time Hynde was the only member pictured on the front cover, emphasizing her dominance of the band as would be the case with all subsequent Pretenders album art.
In comparison to the New Wave stylings of the first three Pretenders albums, Get Close had a strong funk element partially due to the substantial session contributions from American funk, soul and rhythm and blues players. The album also featured Pretenders' first power ballad: "Hymn to Her", a paean to femaleness written by Hynde's former schoolfriend Meg Keene. The band also recorded a Carlos Alomar song, "Light of the Moon". As the Pretenders embarked on their tour in support of the album, Bernie Worrell was added to the live band on keyboards.
Despite the strength of the musicians in the new lineup, it only took a few gigs for Hynde to realise that what had seemed to work for Pretenders in the studio was not right for live work, and that she was now fronting a slick funk band poorly suited to her ideas. Malcolm Foster and Rupert Black were rapidly re-hired to complete the band's live commitment.
Stevens deliver tight and emphatic performances throughout, but they also sound like what they are -- journeymen musicians who bring their chops to their projects while leaving their personalities at the door. While Hynde always dominated the Pretenders, by this time it was obvious that this was fully her show, and if she felt less like rocking and more like exploring her emotions and thoughts about parenthood on midtempo pop tunes, no one in the group was going to prod her into doing otherwise; the presence of a large number of additional session players further buffs away any of Get Close's potential sharp edges.
Despite all this, Hynde's voice is in great form throughout, and when she gets her dander up, she still has plenty to say and good ways to say it; "How Much Did You Get for Your Soul? But after three great albums from the Pretenders, Get Close sounded good but not especially striking, and its hit-and-miss approach, with a few great songs surrounded by lesser material, was something Hynde's fans would find themselves getting used to over the group's next few releases.
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Thank you for your patience and continued support.How much Did you get for your soul? You had the gospel When you were shackled to a tree Now you've got your freedom You sing for the money Soul Soul Soul Soul How much did ya How much did ya How much did ya get? Hey babe Tell me please How much Did you get for that sleaze? You finally made it Right up to the top Millions of kids are looking at you.