The Cure started out in the late-70's as a three piece singing heavily punk-influenced pop/rock ditties that revolved around frontman Robert Smith's knack for writing catchy tunes, that either had a deep-rooted meaning else were very modal pieces.
Smith was an existential, minimalist, obsessively instrospective fellow who really knew how to bang out a catchy tune. After two albums in 1981, the band moved on from proto-indie/pop into the territory they would most often be associated with for the rest of their career: gloomy Goth/rock (except it wasn't really Goth).
So, two albums of minimal moody pieces, followed by the full on Goth attack of 1982's Pornography
, marked the beginning of one of the most enduring careers for a New Wave rock act. And the band's musical stylings seemed to change as often as their lineup. I mean, not only are The Cure known as one of the key Goth bands of the 80's, but also for wuss-rock anthems like "Boys Don't Cry" and "Just Like Heaven".
The Cure had an ever-changing lineup of players, the definitive one and fan favorite being Smith of course, Bamonte, Williams, Thompson, and Gallup, a lineup that proved to be the most satisfying and cohesive, both in the studio and live.
Although I do quite like most of the band's output, I personally prefer their first three albums over the rest of their discography, because while still the same conceptually, the execution is much more minimal and to the point. I like things that are done simply.
Three Imaginary Boys
is the band's (not-so) punk album, made up of catchy, quirky, 3-minute songs that jangle. There are no keyboards at all - The Cure were just a three piece at this point - so people only familiar with their later "Just Like Heaven" / "Close To Me" sound will hardly recognize the band on this album. It does include some of my more favorite stuff of theirs though: "10.15 Saturday Night" / "Accuracy" / "Fire In Cairo" especially.Rated:
by Reviewer: Austin
(blogging at Austin's Page