Boys Don't Cry
Boston Globe
May 1, 1980
Jeff McLaughlin
reproduced without permission
The 13 songs on this powerful American debut album are
three-minute new wave tone poems. (The album is compiled from
their UK release on the Fiction label, "Three Imaginary Boys," and
from singles.) The Cure makes subtle but compelling rock music that
is rooted in a bleak British vision of personal relationships in the
1980s. Lol Tolhurst's strong but spare drumming provides the power
for the trio, pumping a lean mix that never misses a beat. Michael
Dempsey on bass is accomplished, inventive and melodic throughout,
and in several places, particularly on "Fire in Cairo," the word
masterful is not inappropriate. Robert Smith plays guitar, handles
almost all the vocals and writes the group's material. He is perhaps
the most intriguing musician in the bunch. His guitar rarely leads,
indeed on "Accuracy" he seems merely to be offering commentary
behind Dempsey's thematic statements, but when Smith does come
to the forefront, as on "10:15 Saturday Night," he shows his
reticence is deliberate, not dictated by any lack of ability.
Smith's
lyrics are simple, but not simplistic, and his voice has fashionable
intensity without sounding forced. The melodies are not arresting on
first listen, rather they insinuate themselves. The two songs
getting
airplay, "Jumping Someone Else's Train" and "Boys Don't Cry," were
well chosen - they are as catchy as The Cure gets here - but they
are
by no means the only reason to listen to this album. In fact,
commercial considerations aside, they are not even the best cuts on
the LP. "Subway Song," which closes Side One and is a musical tour
de force, gets my vote. I won't spoil it for you by explaining why.
Last Revised: Monday, 15-May-2006 14:59:50 CDT
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