The Head On The Door (CD) ~ The Cure (Artist) Cover Art

The Head On The Door (CD)

By: The Cure (Artist)

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The Cure Artist Snapshot:

Led by depressive pop prince Robert Smith, the Cure have taken their legions of fans on a journey from post-punk to gothic to new wave to art rock, stopping only for refills of hairspray along the way. An amazing band both live and in the studio, the Cure may have shifted its lineup numerous times, but Smith has remained a consistently fascinating rock icon throughout the changes. The group's most popular work (DISINTEGRATION, THE HEAD ON THE DOOR) was recorded in the 1980s, but it has held up incredibly well, leading to continued tours and albums despite exaggerated rumors of their demise.

Product Description

Track Listing

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DISC 1 for The Head On The Door (CD) Album By The Cure (Artist)
1   In Between Days
2   Kyoto Song
3   Blood, The
4   Six Different Ways
5   Push
6   Baby Screams, The
7   Close To Me
8   Night Like This, A
9   Screw
10   Sinking
 

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Review

Spin (p.107) - 4 star out of 5 -- "[A] 1985 poptopian tour de force."
Uncut (p.91) - "[M]agnificently realised..."

Title Note

The Cure: Robert Smith (vocals, guitar, keyboards); Porl Thompson (guitar, keyboards); Laurence Tolhurst (keyboards); Simon Gallup (bass); Boris Williams (drums, percussion).

Additional personnel: Ron Howe (saxophone).

Producers: Robert Smith, Dave Allen, Howard Gray.

The Cure: Robert Smith (vocals, guitar, keyboards); Porl Thompson (guitar, keyboards); Laurence Tolhurst (keyboards); Simon Gallup (bass guitar); Boris Williams (drums).

Recording information: 1985.

With THE HEAD ON THE DOOR Robert Smith and the boys achieve a distinctively Cure-like pop sensibility. These 10 songs combine the dreary dreamscape that is Smith's mind with melodies that are about as catchy as Goth music gets (just try not clapping your hands to "Close to Me"). Included on the album are "In Between Days" and "A Night Like This," each a successful single, and each a staple of the Cure's live show.

Also noteworthy are the haunting lyrics of "The Blood" and "Kyoto Song," which Smith sings in his trademark high-pitched howl. Despite the gloom, this album represents perhaps the Cure's first real pop effort. It also represents a transition from the sparse instrumentation that characterizes the early Cure sound, to the fuller, more complex incarnation typical of the almost psychedelic soundscapes of later albums.

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