The Cure

I actually spent some time on the topic of the Cure… who would’ve ever thought?

Head On the Door (1985) is excellent, Three Imaginary Boys (1979) is really good and The Top (1984) is alright too. Amazingly, I also enjoy Seventeen Seconds (1980) despite that album’s similarity to one of my least favorite bands ever (hint: a dreary group of martyr-led Mancunians). The difference between The Cure and those other fog-mopers is that Smith and Co. played with sufficient tactility and didn’t sound as if they were suffering from carpel tunnel syndrome.

Back to the brilliant Head On the Door, the thing I really like with this one is how they jettisoned all their boring sub-Joy Divisionisms and instead re-embraced their hearty ’70s art rock lineage, paying due respect to The Stranglers on the fuzzy bass romp “Screw” (echoes of the classic Black and White LP), Gentle Giant on the xylophonic choppiness of “Six Different Ways” (think: “Give It Back”) and Dizrythmia-era Split Enz on “In Between Days” and “Sinking”, which respectively recall the likes of the strummy “Bold as Brass” and the submersibly key-soaked “Without a Doubt”.

A friend of yore once asserted, upon viewing my collection of Split Enz videos, that their 1977 clip for “Bold as Brass” was totally cribbed by The Cure for the latter’s 1985 clip of “In Between Days”. I can’t say I necessarily concur on that matter, but those were nonetheless pointed observations coming from such a die-hard Cure fan as himself.

(Originally posted on progressiveears.com)

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