FLOWERS OF LOVE

www.thecure.cz

The Cure on Press (1979)


Sounds (UK)


INFO

Killing An Arab single review.


TRANSCRIPT

The Cure: Killing An Arab

Strange single, from this rapidly rising three piece. Eerie music, nasaled, tired vocals. Sounds like a single of the year to me. Watch this space for futher scam on these young gentleman. A goodie.

Unknown Magazine (UK)


INFO

Killing An Arab single advert.

NME, MM, RM or Sounds ???


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Scan is available at A Foolish Arrangement website.

Melody Maker (UK)


INFO

Killing An Arab single review by Jon Savage.


TRANSCRIPT

The Cure: Killing An Arab

Apres La Chute, Le Deluge... Camus' The Outsider condensed into a sparse, monotone 45 which, after a marvellous descending guitar figure, manages to slip past with less impact than expected. Maybe that's part of the point: like novel, like record. Another illustration of the (often disturbing) melting-pot that pop has become: another book, another image or selling point - meanwhile the past is neatly plundered, rewritten and re-assembled to be bought and danced to. It has to be said in this case, however, that the Cure do so with commendable understatement and integrity.

by Jon Savage


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New Musical Express (UK)


INFO

Hope And Anchor (19/12/1978) show review by Rick Joseph. Journalist Jive (by Lockjaw) single review written by Max Bell.

Gang of Four on the cover.


TRANSCRIPT

The Cure: Hope & Anchor

This was a cruel date on The Cure's calendar.

Guitarist Robert Smith had flu and Lol Tolhurst's drumkit kept falling over. The Hope's basement displayed the charm of a cross-Channel lorry deck, and the PA vied with the gas heater in the inadequate stakes.

Ostensibly, The Cure had little going for them; yet they salvaged this unluxurious event from oblivion, largely through their own embryonic musical talent and their ability to inject a dose of enjoy-serum into the Mivvied corpuscles of punters present.

Despite their charity-rack instruments, the band played a crisp set. Their sound was compact and effervescent. Each song was a two-minute cameo of ferrous punkrock. Their coup-de-gig was the Camus inspired ditty "Killing An Arab": a zany crossbreed of 4/4 thrash and Moorish bazoukie fever.

The Cure's novel approach to rock is emphasised by bassman Michael Dempsey's skillfully versatile handling of lead and melody lines played over a rhythmic drum / guitar backdrop. Intriguing, but it tended to make things top-heavy. Such is the nature of three-piecedom: streamlined impact is often gained at the expense of amplitude. The Cure are competent enough to add a fourth hand to the crew without sacrificing the excitement and originality of their live performance.

A youthful nervousness, dotted with moments of controlled deadpan enhanced their stage presence; they played with sufficient enthusiasm to overcome the Spartan test-tube conditions of this chilly niterie.

Hollering for two encores, the crowd risked frostbite to clap for The Cure.

by Rick Joseph


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Melody Maker (UK)


INFO

Moonlight Club (17/1/1979) show review entitled "Killer Cure" written by Ian Birch. Also there is Marquee (27/1/1979) show advert.

The Who on the cover.


SCANS


New Musical Express (UK)


INFO

Killing An Arab single review by Tony Parson. Marquee (27/1/1979) show advert.

Elvis Costello on the cover.


TRANSCRIPT

The Cure: Killing An Arab

Apparently based on Albert's The Outsider and, if so, quite possibly the straw that broke Camus' back. Cymbals crash once, twice, three times. A guitar, full of eerie promises, slithering like the sprog of some belly-dancer and a poisonous reptile. Pause. Compact bass guitar motif, descending alone. Then those vocals - taut, terse, tense intonation, very much wired and emotional, the scream that a nervous system might make on the verge of metabolic breakdown. A voice like that feeling you get watching the faces on the workaday tube ride after stepping out at dawn for the third time without sleep. Clipped, concise urgency, occasionally cracking when it arrives at a word or phrase it considers particularly emotive - ain't nothing but another beach party on an alien sandy shore! Kick off your Scholl sandals and listen. Monotonic chant:

Standing on the beach/With a gun in my hand/Staring at the sea/Staring at the sand/Staring down the barrel at the Arab on the ground/Can see his open mouth/But I hear no sound./I'm alive/I'm dead/I'm the stranger/Killing an Arab."

And racism has got nothing to do with it.

by Tony Parson


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Sounds (UK)



INFO

Interview with The Cure entitled "Kill Or Cure" written by Dave McCullough. Marquee (27/1/1979) show advert. "Sounds Playlist" with The Cure.


TRANSCRIPT

Kill Or Cure

When you "do the singles", as we in the trade like to term the chore, it's a harrowing task.

You get a selection of around a hundred singles, on a good week 90% of which should be stamped upon like so many rotten grapes, and you spend the week-end slowly screwing-up your brain to their noisy senselessness. Then you go into the office on Monday morning, correct your multifold typing errors (which in any case are usually three to a sentence) and blankly search around the office for late arrivals that might merit, or simply require, immediate reviewing. Yawn.

You're fed up with the task which once, as a reader, you fancied as being SO appealing and goddamned cool. Yawn, What's this then. The Cure? I've heard of them. I heard The Word about them some time back from some record jockey who was trying to sell me his soul in a sleazy pub. Mmm. I put the single "Killing An Arab", on the endearingly decrepit Sounds record playing machinery. In the wake of Billy Mozart's "Baby, You Are Everything To Me" on the Ameola Fizz label, the effect that the single had upon my weary and battle scarred brain was astonishing. I felt alive again.

"Killing An Arab" is unfair in a way as a record. O.K. The, ah, "A" side (well, the side that gives you the impression of being the "A" side) is nice and fresh and crisp and funny. Quaint. You immediately LOVE it. But it's the reverse side, entitled rather magnificently "10.15", that stops you right in your tracks as you walk lifelessly back from the dust covered record deck.

Music this good and original is always done a grave disservice by being gauchely filtered through the medium of words, words, moreover, that are being hurriedly and excitably hammered out by an over impetuous, over rushed CHILD of a writer, but I'll have to make the effort (as usual).

"10.15" hits upon the value of sparseness in rock and roll like no other record has in, oh, as far as I can think back. There's scarcely any playing on the song at all! Everything is left to your imagination and your only clues along the wispish way of "sitting in the kitchen sing... thinking of yesterday..." are, yes, the bored effortlessly tired vocals, as I called them in the rapidly rapped out review that followed, and the background colours, the splashes and slashes of hues. The music.

"...the tap goes drip, drip, drip, drip, drip..." on a Monday morning. I suppose I was even whistling a pleasant air as I dive-bombed for my trusty phone-book that was to lead me on the trail of this band, this medicine, this, ahem, Cure. Go.

Who are they, what are they, what do they look like, am I going to be disappointed? The inner questioning. It's SO long since I've had a band to believe in musically in the way I can believe in The Clash and The Fall, band's whose music stands heads, eyes and ears above the scrambling mass of silly nowhere combos. Will they be old men? Is it all a con trick? Are they really Genesis or Whatever you call them slyly playing down to their audience? Small Wonder put me quickly in contact with Chris Parry, the band's person in charge. We arrange to meet in The National History Museum South Kensington. The band's idea. Can this be a clue to their nature and character? I don't know.

I merely skid along the tube line to the stately rendez-vous where Chris Parry is waiting for me in the security infested foyer. "Can I look in your bag, sir?" Then: "Oh, you must be Dave". The band are round the corner in the car. Bands are ALWAYS around the corner in cars.

The Cure are Robert Smith, Mick Dempsey and Lawrence Tolhurst. Yeah. A three piece. That much I knew from the sleeve of the single, but, you know, god, they look so young it's not true! They emerge from the trendy car and race along the street to a pub near the museum nearly killing themselves (and me) in the process. They're like little school kids running across the road, weaving in and out of cars, lead singer and guitarist Robert resplendent in baggy, singularly silly and unhip pants. He's skinny and alarmingly handsome, his neat blow-wave enhancing the overall effect of "the good looking one in the group" I suppose. Well, that's what my big sister used to call that type.

We talk in the pub while the ironing-board chested bar-maid gets our orders confused and grows to hate me like everybody else does I know. Robert is 19 and like the other two guys comes from Crawley in deepest Sussex. He's polite and affable. A likeable lad. He and bassist Mick Dempsey are 19 while drummer Lawrence is a year older.

They look younger I guess in the way that most grammar school kids from fairly safe family backgrounds look younger. Unexposed and clean. This isn't a put down. It can't be elsewise I'd be criticizing MYSELF too closely for comfort.

The Cure have a strange and rather long winded history, but I think it's important to understand a little of it in the sense that the band that I witnessed later that same day in W. Hampstead's Moonlight Club convinced me that they have the essentials to be, in short if terribly hackneyed terms, one of the most successful and worthwhile bands to surface in the coming year. I kid you not.

Shall I tell you about the live performance first? Yes. I think it's best. The band wandered around the Moonlight looking apologetic while I nursed my throbbing head.

Parry had bought new equipment and they were unsure of it. Obviously nervous. The club was as usual these days (I hear) packed with the sort of pathetic tinsel hearted posers that make my stomach turn. "Oh, dearie, you've just GOT to meet..." No thanks.

Gio Dadomo stalks around. The word is about. The Cure are on the rise and it's all hands on deck as H.M.S. Hipness starts to cruise from her dock-yard moorings. They stride onstage looking 50% non-descript in a sort of Buzzcocks way, all sweaters and tight narrow trousers.

They kick into "It's Not You" and I'm surprised. Again. The sound is not at all the new-musical squeal that maybe I'd subconsciously expected. Very poppy, but still kept low-key and clipped to the bare essentials. They follow with "Boys Don't Cry" and again your attention is held tight to what's going on up on stage.

Short sharp 2" minute monsters that seep into your head half way through and stay there while you rush to the downstairs loo for an urgent pee. Like the early and late lamented Buzzcocks. Nothing is spared, the whole set is minimal glory and when they do lay both sides of the Single your heart really lifts to them.

"Killing An Arab" makes sense live, fiercer and harder than on record. It's amazing how this trio kick out that much controlled energy live. The framework, the bass, the drums, guitar base is simply immaculate. Robert's lead is killing, but it's that bass sound that steals the evening's honor's, Mick using it like a lead instrument and pushing the whole sound along quite superbly.

"Fire In Cairo" follows, intriguing and with a lovely hidden niche of chorus line, while their disco tune, "Do The Dansa", glowed with the promise of a staggering hit single, believe it or not. The end, and even the poseurs have recognized the ban's excellence and they gape, stupefied over their gin and tonic intensely.

People APPLAUD as well. In Hampstead that means REAL approval.

"We formed in 1976. Well, me and Mick used to play with a few friends, six or seven kids were involved I suppose. We used to hire a church hall. We were still at school..."

As I said, it's a difficult history. The ban started off as a three piece, Mick and Robert being the establishing members, and shifted through various line-up changes and being forced to move in various musical directions, the sum total of which I'm sure is what has provided the three piece with their sheer proficiency. Direction through indirection or something like that I suppose. Robert does nearly all the talking, the other two leaving it quite calmly in his hands to present the band's case.

Again, smart organization and again an inkling of the qualities that shall pave The Cure a fruitful future I suspect.

"We did old Bowie stuff then and the usual new wave sort of thing. Suddenly we started rehearsing properly and we got this guitarist who was going out with my sister".

The new lead player Paul, led them into a "straight new wave" period, while they got a couple of lead vocalists, Robert then finding it hard to handle the duel task of singing and thrashing out rhythm guitar wails. The first gig was at their school, St. Woolfords, and ...", we didn't go out much after it. They hated us."

At the end of '77 they, lo and behold, got a deal with Hansa, the MOR/disco label. A fairly bizarre occurrence I'd guess, but one that has also obviously added to their wealth of experience. Sort of like, y'know, the ideal training for a good rock and roll band.

"We replied to this ad and got signed up as a result. We were a bit naive, a bit green. They just wanted us for what we looked like, not for our music, they didn't even listen to the demo tape we gave them. They just liked the photograph of ourselves that we sent with it!"

At this time they had "Killing An Arab", but Hansa refused to put it out: "They said even if it was a good song (sic) they couldn't put it our cos we had to keep in with the Arabs... it was so ridiculous".

And so The Break came. They realized the lead player had to go, so while he was upstairs one evening, eating scones with Robert's sister, the three ran down to the latter's greenhouse, where amid tumbling tomatoes and shivering cucumbers The Cure of today was conceived.

A demo tape was done, consisting of "Boys Don't Cry", "It's Not You", and "Fire In Cairo". They sent it to all the usual big companies but, of course they didn't want to know, but there had to be one glimmer of hope through the gloom and that's where Chris Parry enters the scene.

Parry at that time was working for Polydor but was nursing the ideas of starting his own label. The Cure's tape impressed him and the start of his label Friction are reaching the first stages of fruition. The fact that "Killing An Arab" has come out on Small Wonder is the result of a one-off deal Parry negotiated with them.

"The single's a taster of what's to come. Small Wonder had initial orders of 2,000 so there was a flood of interest, people phoning up and things".

Since then Peel has phoned and quickly repeated an excellent Cure session and things are moving rapidly.

Flash back to the gig on that day and the impression of Chris sitting at the mixing desk throughout the set, meticulously charting the best sound for the band. No expense will be spared for The Cure, no effort neglected. So how would HE describe his band's sound?

"Very musical. Almost rootless, which makes it very contemporary."

The description is accurate and sincere. But the set started that evening amid the hustle and bustle of getting the gig together. Parry turned to me and through even MY disliking band managers and producer men with the flat statement "It's all great fun, but isn't it?".

I had to agree. They brought back the spark of rock and roll to me. Yes Energy. Character. Even potential and hope.

by Dave McCullough


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Zig Zag (UK)


INFO

Killing An Arab single review.

Issue # 91 with Ian Dury on the cover.

New Musical Express (UK)


INFO

News article entitled "Sunday specials at Lyceum" about the upcoming shows.


SCANS


Record Mirror (UK)


INFO

Moonlight Club (17/1/1979) show review by Giovanni Dadomo. 20 Of Another Kind compilation album advert.

Bette Bright on the cover.


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Scan of the 20 Of Another Kind album advert is available at A Foolish Arrangement website.

Sounds (UK)


INFO

Small article entitled "Killing A Rumour".


SCANS



Scan is available at Pictures Of You website.

Melody Maker (UK)


INFO

The Nash Ville Room (9/2/1979) show advert. 20 Of Another Kind compilation album advert.


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Music Week (UK)


INFO

Killing An Arab single advert.


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New Musical Express (UK)


INFO

Killing An Arab single advert. The Nash Ville Room (9/2/1979) show advert. 20 Of Another Kind compilation album advert.

Stranglers on the cover.


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* scans of these adverts (not Killing An Arab single) are available at A Foolish Arrangement website.

Sounds (UK)


INFO

News article entitled "Taking the Cure" about the single release of Killing An Arab.


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Melody Maker (UK)


INFO

Killing An Arab single and 20 Of Another Kind compilation album adverts.


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New Musical Express (UK)


INFO

News article about the re-release of Killing An Arab single. 20 Of Another Kind compilation album advert and review written by Paul Morley.

Village People on the cover.


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Sounds (UK)


INFO

Small article (or review ???) entitled "Fiction Records Beats Reallity". Killing An Arab single advert. 20 Of Another Kind compilation album advert (in this issue ???).

UFO on the cover.


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Scans are available at Pictures Of You and A Foolish Arrangement websites.

Sounds (UK)


INFO

Birmingham (13/2/1979) show review written by Stephen Gordon.

Tap Dance Anyone on the cover.


TRANSCRIPT

The Cure: Birmingham

So mispromoted was this gig that it wasn't until The cure actually walked on stage at Barbarellas that I realised they were playing and not the Neon Hearts who, had they turned up at all, would only have been supporting anyway.

'Instead' (from the audience's point of view) we got the happy little Cure, who began full bounce and ended full of bile. Faced with an audience of Neon Hearts fans who were not so much hostile as completely indifferent, the band gave up halfway through, brandished two metaphorical fingers and began playing for amusement rather than approval.

A similar attitude was in evidence when they supported Generation X late last year at Aston University, and ended up playing a totally improvised 'Paranoid' for the sake of a dozen or so belligerent greasers heckling from the front row.

Tonight's abandoning of restraint results in a treatment of 'Killing An Arab' that can best be described as 'surreal', and a promising new song, 'Accuracy', was dropped stone dead before it was even halfway through.

The contrasting levels of worthiness in a Cure set are remarkable. The first few numbers ('It's Not You', 'Boys Don't Cry', etc.) are completely derivative, disposable thrashes, only saved from complete contempt by Michael Dempsey's marvellous bass playing. 'Foxy Lady' is a good idea badly executed, whereas 'Do The Hansa' is a good idea well executed (dig that scatting!).

The slower songs are best (the title of one particularly good one unfortunately eldues me) and 'Killing An Arab' and '10.15' have presumably been rammed down your throats already.

In other words, enjoyable. They have numerous good, inventive ideas, but they are some way from making best use of all of them (the only correct element in their front cover a month ago was the 'embryonic' analogy). Someone should lock The Cure back in the closet for six months, or else one more band will shrivel up and die, victims to a time proven syndrome, generally known as Too Much Too Soon.

And that would be a shame indeed.

by Stephen Gordon


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Scan is available at Boys are Forever Drowning in Pornography website.

Melody Maker (UK)


INFO

Marquee (4/3/1979) show advert.


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New Musical Express (UK)


INFO

News article entitled "The Cure - when and where it's available" about upcoming tour. Marquee (4/3/1979) and Isleworth (9/3/1979) show adverts. A Dose Of Sundays advert.

Graham Parker on the cover.


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Sounds (UK)


INFO

News article entitled "Queue for Cure" about upcoming tour. Marquee (4/3/1979) show advert.


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Unknown Magazine (UK)


INFO

News article which begins with: "The Cure are gigging extensively this month in support...".

Smash Hits (UK)



INFO

Killing An Arab single review by Cliff White. 20 Of Another Kind compilation advert.


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Melody Maker (UK)


INFO

Marquee (11/3/1979) show advert.


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New Musical Express (UK)


INFO

Marquee (11/3/1979) show advert.

Van Morrison on the cover.


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Melody Maker (UK)


INFO

Marquee (11/3/1979) show review by James Truman. Also there is Marquee (18/3/1979) show advert.


SCANS


New Musical Express (UK)


INFO

News article about tour changes. Marquee (18/3/1979) show advert.

The Only Ones on the cover.


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Sounds (UK)


INFO

Tour news article about concert changes. Marquee (18/3/1979) show advert. Also there is small 20 Of Another Kind compilation album review entitled "A Beat Around This Month's Vinyl Bush" written by Barry Lazell.

The Modern Dance on the cover.


SCANS



Hot Press (Ireland)



INFO

Article entitled "Doctors Of Insanity" written by Declan Lynch. 2 pages


SCANS



Scan is available at A Foolish Arrangement website.

Smash Hits (UK)



INFO

20 Of Another Kind compilation advert. Competition.


SCANS


Melody Maker (UK)


INFO

Article entitled "Practical poprock" written by Ian Birch. Marquee (25/3/1979) show advert.

Joseph Hill on the cover.


SCANS


New Musical Express (UK)


INFO

Marquee (25/3/1979) show advert.

Iggy Pop on the cover.


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Sounds (UK)


INFO

Marquee (25/3/1979) show advert.


SCANS


Unknown Magazine (UK)


INFO

News article which begins with: "Cure manager and Polydor production mogul Chris Parry..." about arresting Chris Parry.

NME, MM, RM or Sounds ???

Record Mirror (UK)


INFO

Tour report entitled "In search of The Cure" written by Chris Westwood.

Jimmy Pursey of Sham 69 on the cover.


TRANSCRIPT

In search of The Cure

Chris Westwood goes to Cheltenham, a cop shop and The Marquee to find it
The Cure can be a wonderful thing.

The Cure may be a hype, but it may also be three young people geared in the same (positive) direction, creating not a new form or attitude for and towards rock and roll, but re-focusing some of its more vital elements, forcing the observer to adjust his stance, to think and enjoy.

The fact that The Cure are actually good at what they do is just suffice to wipe out that lingering cynicism... the attitude one assumes when faced with a virtually unknown unit springboarding right to the forefront, instantaneously pulling in front-pages, centre-spreads, full-page ads, posters around town, continuous gossip... and the show goes on. I (the writer) am the middle-man, the missing link between a gullible public and an ambitious (Fiction) record company, engaged to write a feature, supported to Cheltenham (Hell) and back by manager Chris Parry's wallet.

Parry, the ex-Polydor man broke from the major at the latter end of '78, with the intention of financing/building his own label; after all, the man's bank balance was far from embarassing, while the business sence and "talent" consciousness were the proverbial food for thought.

No disguising the fact, Parry was able to link up a distribution and finanance deal with Polydor, and go in with both feet once he'd seen and been convinced by The Cure. A deal was organised by November last year and a number from the band's initial demo, '10.15', was coupled with 'Killing An Arab' as a new year Small Wonder/Fiction single. It's quality was almost diminished in the eyes of the sceptics of this world when barrowloads of CureCureCureCure ads found their way into the music press. The single ('10.15') itself was peak through, placed pulselike, dynamic and splendid refreshing, almost de-focused rock and roll, complete in its very sparseness. 'Killing An Arab' was more spontaneous, overtly Eastern, working away around a fluid, tingling, typically Arabic guitar motif.

The initial impressions of that single were hardly shock, awe or instant paranoia: more subtly, the thing seeped and instated itself into the consciousness... the effect lingering. Not a classic, in all honesty, but one which adequately portrayed the level of quality and maturity inherent in this band, one which served to provoke a heady level of public/press interest.

Come Sunday afternoon and the correspondent is waiting outside the Finsbury Park Rainbow, Chris Parry, the man himself, pulls up in his plush new BMW, collects me and sears off in the direction of Cheltenham. Some days previously, Parry had been caught with the three band members in the back of the car, speeding towards Middlestrough at some 90 mph.

Must be careful, Chris.

On our way, Chris plays a tape of The Cure album due for release in early May: brief impressions (two listenings) suggest that the album is very strong, very representative, sympathetically produced by Parry himself. Of the tracks, '10.15' is unchanged, 'Accuracy' is a straight, jumpy-chording number which takes on far rockier proportions in the live setting, a moderately recogniseable version of Hendrix's 'Foxy Lady', an immediate commercial 'Grinding Halt' (the next single).

"It's very different to their live sound," explains Perry, "It's a transparent sound. I'ts been very spactly mixed and it sounds pretty broad on headphones, a lot of the band didn't really like the idea of recording over and over. 'Fire in Cairo' still isn't quite right, but it's a difficult song to record."

Conversation is hampered by the turn of the engine and the roar of the music. Cheltenham in our sights and - by Christ - we fumble onto the one way system, a devastating, frustrating circular that winds round and round town, which takes twice as long to shrug off as it did to find. Eventually, a cut down a one-way and straight into the car park of the Plough Hotel, where The Cure are lined up to play.

By the time we arrive, the band are nowhere to be found: just Julie Wood, the self-confessed "Cure's number one fan," whose hike from Bournemouth (her home town) to London to Bournemouth to Norwich has secured her an accepted place amongst The Cure's entourage. The mixing desk guy skips about from end to end of the hall, occasionally emitting strange yelping noises and frightening the woodlice.

The Plough is an extensive, lavish hotel, serving up good-grade grub, providing practically the only proper rock shows in town, and catering for actual paying guests in the process.

The Cure arrive, and swiftly, deftly, they slip into their soundcheck, keeping the amps low on the stage, preserving excellent clarity in the back line and through the PA. They jut into 'Play With Me' and 'Fire In Cairo' which boast a sister-riff, perhaps too close for comfort, but not so close as to demerit the individual tracks. This band thrive on efficiency, the whole soundcheck lasting less than a half hour, and the sound emerging with triumphant, satisfactory clarity. In the hotel restaurant, where, in truly cultured fashion, we peruse roast beef and red wine, Cure drummer Lol saying, "I had a really funny esperience the other morning. I woke up in the hotel, and kinda went across the room to open up the curtains. I was about four floors up or something... and when I looked down on the car park, there was this Arab just standing there, looking up. I thought he was gonna pull out a shot-gun...".

Historically speaking, The Cure grew out of school, and, as a five-piece, found themselves linked to Hansa records, an unlikely - and promptly terminated - mating. Robert Smith, the band's guitar player, explains a way one of the album tracks, 'So What', which was verbally improvised in the studio, lyrics had already been penned towards a song called 'Cheap Sex'... bored by the ritual of recording, Robert had strutted into the studio, clutching a sugar bag in one hand, and proceeded to verbalise straight from the ingredients thereon.

From the restaurant to the nearest pub back into the gig, and one sees what happens when a town is deprived of music: seems like the whole of Cheltenham's been waiting to get into the Plough, hundreds, seemingly, lining the bar, hundreds more in the dire, sweaty, claustrophobic hall itself. To get onto the stage, The Cure have to walk through the crowd and hassle their way into an alcove: the alcove is the stage.

For encores, the band can no way dismount: they merely crouch on the side of the stage, looking wary and worn, then re-assume their positions. It's the Cheltenham gig in particular where one is brought into full awareness of The Cure's adaptable, energetic, natural approach to rock: a spinal, basic sound, stripping down and re-focusing the instruments... the drums, particularly, are dominant, being hard-driving and surprising, characterised by a glorious cheap-symbol tish. For once, the drum kit becomes far more than a mere rhythmn box, mroe of an individual instument, and a key segment of The Cure's sound. Robert's lucid, piercing guitar sound sprouts from a 20 quid Woolworth's Top Twenty model... and ironically, he holds a Fender Strat in reserve. He plays and sings in a youthful, naive passion... no git down dirty yer pants rock 'n' roll. The Cure are about precision, tempered and channelled energy, ideas and provocation of thoughs. They are not an essential life-force, they are mere very good.

They also possess sufficient imagination to be able to re-vamp, re-model and re-pace their own material... a second rendering of '10.15', then 'Fire In Cairo', being distinctly pogo-able.

The crowd are totally appeased, eventually blagging something in the order of three or four encores. And in the aftermath, people flag out, drained by the heat and the energy, as fuzz-haired, gruff-voiced Lol signs posters, photos and scraps of cheap paper for autograph hunters. In the front-stage crush, Chris Parry has succeeded in slopping a pint all over his jacket. We eventually make for the exit while The Cure pack up and tie up their gear... no roadies, no free lunches, no trips to America...

"I suppose we're anti-rock and roll," explains Lol, "but only in the sense that we dislike all the overplayed glamour that goes with it."

Jutting out of The Plough, Parry heads down an unmarked street, emerges the other side to find himself accosted by a cop car: we just took a one-way street in the wrong direction. The beer-reek from Parry's jacket hits the bluebottle in the face as the window is wound down.

So I'm sitting, frustrated and confused, in Cheltenham police station, turned one o'clock in the morning: Chris eventually emerges and beckons. He's clear, but not before two breathalysations and three pointless forms have been gone through.

The following night is a Marquee appearance for The Cure: the place is less brimful than the two proceeding performances here, but still packed to the point of awkwardness. The Marquee is a useful haunt, a fine rock venue. It assures band/crowd contact. The Cure thrive on it. Their performance lacks the spark and edge of the previous night, but they have just played some eight dates or so in nine days... their first tour. They are triumphant but unsatisfied with the actual set.

The Cure are young, potent and at a very early stage: the furore that currently surrounds them will make long-term consistency an essential but difficult commodity. I think they can deal with it. The Cure is an important factor.

by Chris Westwood


SCANS


Sounds (UK)


INFO

News article about the deleting Killing An Arab single. Also there is another news article entitled "Searching For A Cure" about their show in Chesterfield Fusion Hall (5/4/1979).


SCANS


Record Mirror (UK)


INFO

West Runton Pavilion (30/3/1979) show review by Alex Skorecki.

Siouxsie on the cover.


SCANS


Unknown Magazine (UK)


INFO

News article which begins with: "Anguished phone message from The Spasms, informing us that they, and not The Cure...".

NME, MM, RM or Sounds ???

Melody Maker (UK)


INFO

News article entitled "The Cure go on their longest tour".


SCANS


New Musical Express (UK)


INFO

News article entitled "Steel Pulse, Police, Skids, Stiff Little Fingers, Cure" about their upcoming tour. Newport (18/5/1979) show advert.

Ted Nugent on the cover.


SCANS


Pop Star Weekly (UK)


INFO

Interview with The Cure written by Simon Hills. News article entitled "Live Cure" about the UK tour.

Showaddywaddy on the cover.


SCANS


Melody Maker (UK)


INFO

Three Imaginary Boys album review entitled "The Eighties start here" written by Ian Birch. Also there is UK tour advert and two small adverts promoting Three Imaginary Boys album.

The Who on the cover.


SCANS


New Musical Express (UK)


INFO

Three Imaginary Boys album advert and review entitled "A Cure For Cancer?" written by Paul Morley. Grinding Halt review by Ian Penman. UK tour advert.


SCANS


Sounds (UK)


INFO

Three Imaginary Boys album review entitled "Cure pop for now people" written by Dave McCullough. Grinding Halt single review.

The Undertones on the cover.


TRANSCRIPT

Cure pop for now people

The Recipe: take three intelligent, sheepishly good-looking, nice middle-class boys who have a flair for original, stylish music and who don't mind leaving their souls in the hands of a fourth streamlined highly successful party. Take this latter party's financial genius, add a pinch of wry, good-natured self-studying humor and here in one lavish package you have... The Cure.

On "Three Imaginary Boys" the recipe belongs to that essential fourth Cure, producer, mentor, minder, keeper. Chris Parry. Parry's the undoubted epicenter of The Cure, the Onassis, Mertis, and only sometimes the Basquo's ghost of this boy's band, the figure that walks and provides the ostensibly decadent, Dark Side Of The Moonish packaging gimmicks (dumb postcard and all) that furnish and inevitably and intruigingly both demigrate the album and perversely enhance its cheaper charms. The cover portrays a lamp, fridge and hoover, which if really serving as personality symbols of the Cure trio provides a witty metaphor.

However, packaging is packaging: if it affects or despoils the music or the band's expressionistic, aesthetic approach it's the tit tat of disaster. As it happens, on "Three Imaginary Boys" the treatment and approach of the songs are so strong and of such amity that they aren"t" put downs by the decadence. "Three Imaginary Boys", fridge and all, is a powerful album.

The Cure (Lol Tolhurst: drums, Michael Dempsey: bass, Robert Smith: guitar and vocals) are unique in that they are ploughing a path of "different", off-center music...

by Dave McCullough


TRANSCRIPT

The Cure: Grinding Halt

You'd think their LP was a Warner's job so rich is the sleeve. I guess they must be making money, but they won't score in Texas with (halfway to paradise) semi-songs such as this.


SCANS



Scans are available at Pictures Of You website.

Unknown Magazine (UK)


INFO

UK tour advert.

NME, MM, RM or Sounds ???


SCANS



* scan of this advert is available at A Foolish Arrangement website.

Melody Maker (UK)


INFO

There are two adverts promoting Three Imaginary Boys album.


SCANS


New Musical Express (UK)


INFO

Interview with The Cure entitled "A Demonstration Of Household Appliances" written by Nick Kent. News article about the tour changes. Three Imaginary Boys adverts. UK tour advert.

Bryan Ferry on the cover.


SCANS


Record Mirror (UK)


INFO

Three Imaginary Boys album adverts and review entitled "Physician Rock 'N Roll Thyself!" written by Chris Westwood. Grinding Halt single review which begins with: "Hello, stolen the riff from Little Eva's Locomotion have we..?" written by Mike Nicholls.

Ian Dury of The Only Ones on the cover.


SCANS



* scan of the advert (with the body) is available at A Foolish Arrangement website.

New Musical Express (UK)


INFO

News article about the tour changes.

The Rolling Stones on the cover.


SCANS


Pop Star Weekly (UK)


INFO

Gig guide.


SCANS


Unknown Magazine (UK)


INFO

News article which begins with: "The Cure will be headlining the Carshalton Carnival on June 1...". Lincoln (15/6/1979) show advert.

NME, MM, RM or Sounds ???


SCANS



* scan of this advert is available at A Foolish Arrangement website.

Sounds (UK)


INFO

UK tour advert.

Date ??? 12/5 or 19/5 ???


SCANS



Scan is available at A Foolish Arrangement website.

Melody Maker (UK)


INFO

Carshalton Open Air (1/6/1979) show advert.


SCANS


New Musical Express (UK)


INFO

Carshalton Open Air (1/6/1979) advert.

Ian Dury on the cover.


SCANS


Sounds (UK)


INFO

Carshalton Open Air (1/6/1979) show advert.


SCANS


Melody Maker (UK)


INFO

News article entitled "Cure date changed". Also there is Three Imaginary Boys album advert and Oxford Corn Dolly (10/6/1979) show advert.


SCANS


New Musical Express (UK)


INFO

News article entitled "Cure switch" about tour changes. Three Imaginary Boys album advert. Lincoln (15/6/1979) show advert.

Dire Straits on the cover.


SCANS


Record Mirror (UK)


INFO

Carshalton Open Air (1/6/1979) show review.

The Skids on the cover.

Sounds (UK)


INFO

Tour news article about tour changes.


SCANS


Melody Maker (UK)


INFO

London Lyceum (1/7/1979) show advert.


SCANS


New Musical Express (UK)


INFO

Sheffield (29/5/1979) show review by Andy Gill. London Lyceum (1/7/1979) and Lincoln (15/6/1979) show adverts.

John Lydon on the cover.


SCANS


Sounds (UK)


INFO

News article entitled "Cure All" which begins with: "The Cure, somewhat in need of a hit single, are planning a version of Boys Don't Cry as their second 45...".

The Ruts on the cover.

Melody Maker (UK)


INFO

London Lyceum (1/7/1979) show advert.


SCANS


New Musical Express (UK)


INFO

London Lyceum (1/7/1979) show advert.

The Cramps on the cover.


SCANS


Record Mirror (UK)


INFO

Boys Don't Cry single review.

Penetration on the cover.

Sounds (UK)


INFO

London Lyceum (1/7/1979) show advert. Also there is small Three Imaginary Boys album review by Barry Lazell.

Cozy Powell of Rainbow on the cover.


SCANS


Smash Hits (UK)



INFO

Three Imaginary Boys album review written by Red Star.


SCANS


Melody Maker (UK)


INFO

Boys Don't Cry single review entitled "Build them up and then..." written by Ian Birch. Also there two adverts promoting shows in Aylesbury Friars (30/6/1979) and London Lyceum (1/7/1979). Reading Rock '79 (24/8/1979) festival advert - with no Cure. Boys Don't Cry single advert.


TRANSCRIPT

Build them up and then...

Hum... something of a disappointment. On stage "Boys" is invariably on of the highest points but, somehow, in it's tranlation onto the vinyl, the good's virtually gone. The agile interplay between the trio, and the reverberating clipped economy that producer Chris Parry spotlighted so expertly on the debut album, have unaccountably been edged out in favour of a muddy mix and an oldfashioned-hierarchy of instruments. It just sounds so ORDINARY now. The flip "Plastic Passion", doesn't redeem the situation either. A feeling of disappointment makes a slim song sound threadbare. Such a shame.

by Ian Birch


SCANS


New Musical Express (UK)


INFO

Boys Don't Cry single advert with UK tour dates. Birmingham (5/7/1979), Aylesbury (30/6/1979) and London Lyceum (1/7/1979) show adverts. Reading Rock '79 (24/8/1979) festival advert (without The Cure).

Steel Pulse on the cover.


SCANS


Sounds (UK)


INFO

News article about tour changes. Plastic Passion review. London (1/7/1979) show advert.

UK Subs on the cover.


TRANSCRIPT

The Cure: Plastic Passion

Forget all that rubbish about Arabs on beaches and conceptualisation of the album cover, this is a POP song and a pretty damn good one. Slightly Buzzcocks in feel, it's the presentable side of wimpery. Long may they wimp.

Unknown Magazine (UK)


INFO

News article which begins with: "Israeli Eurovision winning... and Boys Don't Cry by The Cure...".

NME, MM, RM or Sounds ???

Melody Maker (UK)


INFO

London Lyceum (1/7/1979) show review by Frances Lass.


SCANS


New Musical Express (UK)


INFO

Boys Don't Cry single review by Paul Morley.


SCANS


Record Mirror (UK)


INFO

London Lyceum (1/7/1979) show review by Mike Nicholls.

David Lee Roth on the cover.


SCANS


Sounds (UK)


INFO

London (1/7/1979) show review written by Nick Tester. UK tour advert.

Sex Pistols and David Lee Roth on the cover.


SCANS



Scan is available at A Foolish Arrangement website.

Super Pop (UK)


INFO

Boys Don't Cry single review.


SCANS


Unknown Magazine (UK)


INFO

Plastic Passion review.

NME, MM, RM or Sounds ???


SCANS


Melody Maker (UK)


INFO

News article entitled "Todd Rundgren, Jukes for fests" mentioning The Cure upcoming appearance at Futurama Festival in Leeds (8/9/1979). Anyway The Cure didn't played there. Reading Rock '79 (24/8/1979) festival advert.


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New Musical Express (UK)


INFO

News article entitled "Wire, Cure, Punily, Only Ones: sci-fi music event" about the appearance at Futurama Festival (8/9/1979). London Lyceum (1/7/1979) show review entitled "Just Stop Your Gobbing" written by Mark Ellen. Reading Rock '79 (24/8/1979) festival advert.

Devo on the cover.


SCANS


Unknown Magazine (UK)


INFO

News article which begins with: "What's described as the world's first science-fiction music festival is being stated..." about the appearance at Futurama Festival (8/9/1979).

RM or Sounds ???

Melody Maker (UK)


INFO

Reading Rock '79 (24/8/1979) festival advert.


SCANS


New Musical Express (UK)


INFO

Reading Rock '79 (24/8/1979) festival advert.

Talking Heads on the cover.


SCANS


Melody Maker (UK)


INFO

Reading Rock '79 (24/8/1979) festival advert.


SCANS


New Musical Express (UK)


INFO

Reading Rock '79 (24/8/1979) festival advert.


SCANS


Melody Maker (UK)


INFO

News article entitled "Siouxsie: first Britain then the world" mentioning The Cure as their support.


SCANS


New Musical Express (UK)


INFO

News article entitled "Siouxsie: Q here". Reading Rock '79 (24/8/1979) festival advert - with no Cure.


SCANS


Record Mirror (UK)


INFO

News article entitled "Rats, Police, Siouxsie, Nils, Buzzcocks, Ramones on tour".


SCANS


Sounds (UK)


INFO

News article entitled "Siouxsie tour".


SCANS


An Evening Post (UK)


INFO

Reading Rock '79 (24/8/1979) festival official programme with small article entitled "Take 'em or leave 'em . this is... The Cure" and Three Imaginary Boys album advert.

Date ???


SCANS


Melody Maker (UK)


INFO

Reading Rock '79 (24/8/1979) festival review entitlet "Heavy Metal versus The World" written by Harry Doherty.

Heavy Metal vs. The World on the cover.


TRANSCRIPT

Reading Festival

The Cure immediately familiarized themselves with the event, realizing that their music was not the one to awaken the Reading hoards, but they reached that conclusion without losing confidence in their own ability, proceeding to scoot unperturbed through their set and winning an encore for their trouble.

The audience liked the approach and drew their own fascinations from the music, oddly accepting Robert Smith's quirky vocal and guitar style and Michael Dempsey's busy bass runs. With "Killing An Arab", The Cure's exceptional debut single, contact was complete, and it only took the smart Dempsey to jokily dedicate a song to Motorhead's Lemmy and for Smith to offer "Boys Don't Cry" to the macho men in attendance to secure the encore.

by Harry Doherty


SCANS


Music Week (UK)


INFO

Reading Rock '79 (24/8/1979) festival review by Danny Van Emden.


TRANSCRIPT

Reading Festival

Next on were the Polydor band The Cure, the first Reading band to really bear the hallmark of polish and professionalism. They started off coyly, but their confidence grew with every song and soon the links between numbers developed from "Ta, and the next one's called..." to an aggressive humorous patter which even included jokes at the expense of anti-hero Gemmy. The band played most of the songs from their current album, Three Imaginary Boys but explained that this would probably be the last occasion they did so which can only augur well if that means new songs in the pipeline.

The Cure showed all the signs that they're going to be big. Watch out for them headlining at Reading next year!

by Danny Van Emden

New Musical Express (UK)


INFO

Reading Rock '79 (24/8/1979) festival review entitled "The Curse Of The Rock 'n Roll Tomb" written by Ian Penman. Article entitled "Independent Discs" written by Paul Morley and Adrian Thrills which mentioning The Cure. Aylesbury (30/8/1979) show advert.

Sting on the cover.


TRANSCRIPT

Reading Festival

And The Cure were pretty good too.

Looking as though they were actually pleased to be there (the first to pull of that stunt all day) the Three Imaginary Boys dispelled any reservations about their occasionally specious obscurity. And they did it by producing a highly attractive noise, bright and undemanding but without being facile or particularly orthodox.

Finishing up with "Killing An Arab", and then called back for the day's first encore, The Cure may have been Friday's truest success.

by Ian Penman


SCANS


Record Mirror (UK)


INFO

Reading Rock '79 (24/8/1979) festival review written by Chris Westwood.

Thin Lizzy on the cover.


TRANSCRIPT

Reading Festival

The Cure were the most overtly impressive and immediate band to play the festering fest, and their acute, tough pop music was more accessible, more encouraging for the skulking, dormant mobs of Motorhead branded punters. Suffice to say I've never seen them play a better set.

by Chris Westwood

New Musical Express (UK)


INFO

News article entitled "The circuit comes alive" about the tour with The Banshees. Aylesbury (30/8/1979) show review entitled "Wake Up Little Siouxsie" written by Deanne Pearson. Siouxsie & The Banshees UK tour advert.

The Slits on the cover.


SCANS


Sounds (UK)


INFO

Interview with Robert Smith entitled "Elliptical image games" written by David Hepworth. Reading Rock '79 (24/8/1979) festival review entitled "What am I doing here?" written by John Peel. News article entitled "More AC/DC, Siouxsie and Subs dates" - no words about The Cure. Siouxsie & The Banshees UK tour advert.

Sammy Hagar on the cover.


TRANSCRIPT

Elliptical image games

There were times when I was beginning to believe it. This interview took something like two months to set up. We wanted to do it. Everybody wanted it done.

We were slated to travel to Port Talbot and chew the fat in the back of a van. The gig was pulled. Alternative gigs were also unacceptable to one or other of the parties. I had to go to a wedding. One of the band was ill. All of the band were busy.

For weeks on end the whole thing appeared to have been forgotten and I'd reached the stage where I wasn't about to remind anybody, mindful of some of the other pieces that had appeared in the comics under the thin guise of Cure "interviews". I'd revolved round to the point of view that if The Cure wanted to play elliptical image games, then they could play them with somebody else.

To borrow a favored technique of letter writers: "Just who the hell did they think they were?" There were no signs that they were specifically burning up the BMRB charts, either on album or singles, and for every outright well over the top rave review they got there'd be at least one more disaffected snipe at their precocity and tendency to turn into household implements without adequate notice. It was getting to the point where they had better come out of hiding pretty sharpish before everybody stopped looking for them.

It finally came together more through coincidence than anything else. I was slated to attend a preview of Quadrophenia in some poncey little flea pit on Wardour Street and the PR man announced that The Cure would also be attending so why didn't we make an evening of it, go for a meal afterwards, mutter on to the magnetic tape and get the thing done and dusted once and for all. Fine.

I was making overtures to a can of lager when said PR man entered the bar of said flea pit followed by The Cure's Robert Smith and made with the introductions.

Had there been a handy exit I'm sure I would have used it. Smith, who was inhabiting some lurid green suit that looked like a cross between a bull fighter's costume and a Charlie Cairoli cast off, floated across the bar like a man who is just too damned effete to live, offered a hand like a portion of undercooked haddock, asked if there was anything non-alcoholic to drink, simpered that the rest of the band couldn't make it and then leaned wanly against the wall and made only token efforts to return my pathetic attempts at conversation.

Well, when you're trying to make communication with a man who writes and sing songs about killing arabs and ripping taps in a voice that could make Peter Perrett sound like a close relation of Little Richard you're not exactly inclined to broach the topic of outrageous transfer fees in the First Division or the Ugandan affairs of certain well known eat groups. My own attempts at small talk seemed to me to be booming into the silence like they were being carried by Led Zeppelin's PA. The film began.

The film ended and we were decanted out of the place by Cure manager Chris Parry and ensconced in an Italian restaurant up the street where we were eventually to be left alone. By this time I had promised myself that if Smith ordered Perrier water I would excuse myself, head for the khazi and perform a covert runner, even if it meant sliding down a drainpipe and never being able to hold my head up in music business company again.

He ordered lager. He ordered steak. He talked about some avant-garde bands he'd seen and how awful they were. He read some press cuttings from local papers. He didn't make one obscure joke. I was beginning to like him.

He intimated that it was better for him to do the interview on his own because previous bull sessions had been aborted through the trio's tendency to take the piss out of each other's pomposity. Specifically, he related the tale of one particularly disastrous half hour exercise in non-communication which had been trumped up into a 3,000 words plus piece to the amazement of all who attended it. We laughed. Things were getting positively cozy.

He talked about the days of the five Easy Cures and a brief affiliation with Ariola/Hansa who signed the band up during one of their occasional talent sweeps without having actually heard them play, presumably because this could have prejudiced their judgement of their potential.

"We did a video for them of us playing and I don't think they were listening. I remember my guitar strap broke in the middle of a song and the guitar fell on the floor and I was standing there looking at the control room and the bloke didn't take any notice, so I just picked it up and carried on playing and I later saw a run back of the video and it was like Monty Python, just a complete shambles. In fact, we counted one-two-three-four in one number and, there were five of us at the time and two of us started on a completely different number and we sort of reconciled it about five minutes into the song. They just said, "It's a great act you've got there, boys, throwing the guitars around. That's the spirit.""

Having come that close to being bent into the shape of a Child or a Racey, it isn't surprising that they maintain such a low profile these days, although it doesn't adequately explain the lamp shade, fridge and vacuum cleaner nonsense. When I bring up the subject of the furniture it's evident that he maybe wishes he could go back and expunge all that silliness from the public memory.

"The reason for the non image was that we weren't particularly affiliated as a group with anything. There was no left wing, no right wing, no nothing. People think that if you enjoy playing the same sort of music you have to have the same beliefs or like the same things or stand for the same things. I don't think it really follows. If it was a co-operative like the Mekons I could understand it. But with us it's just a musical thing. I don't really socialize with Mick and Lol. I never socialize with anyone really." 

It's amusing the way that few mentions of The Cure go by without someone remarking on their relatively comfortable backgrounds, their "middle class" roots, as if the overwhelming majority of great bands came from some fictional slum city and any musician who happened to be born outside of its perimeter is somehow best viewed with suspicion until he has proven himself as dull and boorish as everybody else. The fact that most of these observations emanate from university educated rock critics makes the whole charade even more laughable. Although Smith would like to emphasize that he actually attended a comprehensive school rather than the public school of other fond imaginings, he treats the whole argument with a contemptuous puzzlement.

"People tell me that deprivation breeds good music and all that but quite often real poverty causes desperation more than anything else, a kind of blind belief in what you're doing which is perhaps a good thing or sometimes it's a bad thing. But I've always been materially secure if not mentally secure. People used to come up to us when we were looking for a contract and say "I can give you this or give you that" and I wasn't really interested because it didn't mean that much to me. "The other two will pass as working class. Mick worked as a porter in a mental hospital and Lol worked in an ink factory, but whether that makes them any more valid to play music I don't know. Why do you have to be born in poverty to know what's going on? Quite often I find it's the other way round. I you don't have to fight for you existence every day you can maybe take time out to think. Whether you do anything about it is a different matter."

"It's all very facile anyway, the whole life style. Going on the road is supposed to be the essence of the life style, getting pissed every night, smoking as much as you can and pulling "dodgy boilers" or whatever they call them. It all sounds really great. But I've been going out with the same girl for about five years now, so I've never really been involved with the whole one-of-the-lads scene and things like that. I haven't really got that group sensibility, I suppose, of belonging or things like that. I don't feel the need to expose myself to anyone. I don't really open up because I used to a lot and I ... there's so few people I've met that I can get on with and that you can trust that I don't really see it's worth it."

"When you've been going out with somebody a long time and there's a choice between staying in and watching the telly with them and going down the pub, then you'll stay in. It's like The Undertones; their songs are virtually all about getting girls and getting girls is the ultimate. So, when you've got a girl, what happens then?"

"Boys Don't Cry" came on like it was a simple stab at the charts worthy of The Undertones at their most gloriously naive. How did he react to its lack of success?

"It's like commentators in cricket", he laughs, "They always say, "Oh, he's doing really well" and then he gets bowled out. We were advised not to bring it out because of the fact that it was a pop single and it would be much better if we brought out something that was less commercial but more "artistically viable". "Boys Don't Cry", "10.15" and "Accuracy" have always been my favorite songs out of all that initial lot. I'm glad it didn't make it in a way because then the people who'd been saying we shouldn't put it out would then have turned round and said you've gotta give us another one like that one."

"The subject matter has changed drastically in the new songs. The songs on the album were basically about a relationship. They were one to one, whereas now they're very... they're just taking a broader range of subjects, I suppose, things that affect other people, not only me."

Robert Smith claims so little for rock and roll that you wonder if he deserves it. But he works in left field whether he likes it or not and is doing his best to prove that you can fashion exploratory pop without coming to grief at the feet of appropriated radical ideas and extraneous bullshit.

"It's ridiculous. You put out an album that's greeted with some measure of critical acclaim and you're immediately in a position where people should listen to you. I never even expected "Killing An Arab" to be recorded, and you get people going into the motives an demeaning and all that, and it would be so easy to pick something up, there's numerous little ploys that people use which are so transparent and they're expounded every week in the press. It might be flattering to know that people want to know what you think, but I don't really see myself as one of the top three original thinkers in the world today, so I'm not in any position to expound my philosophy of life."

Robert Smith left the sixth form and fell right into The Cure. He has had two jobs. He has been a gardener and he has been a postman.

"I had five weeks as a gardener on an industrial estate in the height of summer and they were five of the happiest weeks of my life. Compare that to a Wednesday in Leeds and its raining and you've got to go on stage at the F Club and there's a bunch of rather unsavory looking people barracking you. Is it better than working?"

"It is better than working."

Don't like peas? Be like Robert Smith, order spinach.

by David Hepworth


TRANSCRIPT

Reading Festival

The high spot of the Reading Friday, indeed of the whole weekend, came with The Cure's compact and determined performance. From the stage I could see, amongst gathered under the splendid banner of the Crawley Heavy Metal Hep Kats positively enjoying The Cure, and I was heartened by this as I was on Saturday by the reception given to Inner Circle.

by John Peel


SCANS


New Musical Express (UK)


INFO

News article entitled "Banshees bust-up". Siouxsie & The Banshees UK tour adverts. In the section "T-Zers" is a mention about The Cure. Aberdeen (6/9/1979) show review.

Aberdeen show review in this issue ??? Feargal Sharkey of The Undertones on the cover.


TRANSCRIPT

The Cure: Aberdeen

On Friday in Aberdeen, the show went ahead with first a local band and then The Cure playing an extended set - while Siouxsie and the tour crew tried to locate Kenny and John, who had failed to turn up at the theatre. Eventually in their hotel rooms, their pillows were found propped up dummy-like in bed, with their backstage passes attached - and eye-witnesses reported seeing the pair taxi-bound for the railway station.

An irate Siouxsie then went on stage to tell an angry crowd that the two had quit without warning, though she pacified them to some extent by singing "The Lords Prayer" with remaining Banshee, bassist Steve Severin - and by insisting that ticket money should be refunded in full.


SCANS



* scan of Aberdeen show review is available at Boys are Forever Drowning in Pornography website.

Sounds (UK)


INFO

Article entitled "Banshees split!" written by Phil Sutcliffe.

Melody Maker (UK)


INFO

News article entitled "Siouxsie carries on" mentioning The Cure as their support. Also there is Siouxsie & The Banshees UK tour advert.


SCANS


New Musical Express (UK)


INFO

Interview with Siouxsie & The Banshees entitled "Night Of The Long Knives" written by Nick Kent and Kris Needs which mentioning Robert Smith. News article entitled "Cure found to restore Siouxsie's ailing tour". Siouxsie & The Banshees UK tour advert.

Jake Burns of Stiff Little Fingers on the cover.


TRANSCRIPT

Cure found to restore Siouxsie's ailing tour

Siouxsie & The Banshees this week finally set out on their British tour, which bad failed to get off the ground on the scheduled opening night ten days earlier, due to the sudden walk-out of group members John McKay and Kenny Morris.

In their place, Siouxsie has now co-opted the services of former Slits drummer Budgie and The Cure's guitarist Robert Smith. In fact, The Cure are special guests on The Banshees' tour, which means that Smith will be playing two sets in each show.

Both replacements are for the duration of the tour only, and permanent new members will be found after the British outing ends. A spokesman said that a large number of musicians applied to fill the vacancies but, in rehearsals, Budgie and Smith "shone above all others."

Although the band had hoped to pick up the tour at Oxford last Friday, followed by Liverpool on Saturday, it wasn't possible to resume until Monday night. Accordingly, Oxford New Theatre has been re-set for September 26, and Liverpool Empire on September 30 (which means that Taunton Odeon is cancelled). Tickets bought for the original dates are valid for the re-scheduled gigs - or refunds can be obtained, if desired.

Otherwise, the tour continues as per its originally announced itinerary, though Rema Rema will no longer be playing as second support at some venues.


SCANS


Sounds (UK)


INFO

News article entitled "Siouxsie starts again" written by John Shearlaw. Aberdeen (6/9/1979) show review entitled "A Twinkle In The Eye Of The Eighties" written by Phil Sutcliffe. UK tour advert. Gig guide.

Paul Weller of The Jam on the cover.


TRANSCRIPT

Siouxsie starts again

Siouxsie and The Banshees were back in action again this week - resuming their British tour with replacements for guitarist John McKay and drummer Kenny Morris who quit the band just before a gig in Aberdeen.

The temporary replacements in the band are guitarists Robert Smith from The Cure and drummer Budgie from The Slits. Permanent replacements will be made at the end of the tour. Smith will now be playing two sets a night on the tour as The Cure are special guests on all dates.

The band picked up the threads of their tour at Leicester De Montfort Hall on Tuesday. The tour has been slightly reorganized, but most dates remain as originally scheduled.

Bradford St. Georges Hall has been moved to September 24, Oxford New Theatre will now be on the 26th. Taunton Odeon has been cancelled and replaced by Liverpool Empire on the 30th. Tickets bought for the original dates will be valid. Rema Rema will not now be playing any of the dates as a second support act.

Siouxsie's new single, "Mittageisen", will be released by Polydor this weekend.

by John Shearlaw


TRANSCRIPT

A Twinkle In The Eye Of The Eighties

This gig with the Cure supposedly supporting the Banshees had a somewhat surprising outcome which you'll have to read about last week in this journal but lest we forget when, hopefully, this tour resumes a lot of people will realize what I've seen the audiences at the Reading Festival and Aberdeen Capitol find out recently: that the Cure are arriving and on a fast train.

At Reading they were allotted the stage confronting the Motorhead brigade. In Aberdeen the majority must have been Siouxsie followers. The surprise of The Cure's triumph over both factions might be compared to discovering the inhabitants of Mars and Saturn happen to speak the same language.

To put it succinctly they put it succinctly. The Cure are reviving the ancient punk ethic of saying what you've got to say and then stopping. Not being of a verbose nature this means two to three-minute songs. However, the content has come a long way from the thrash of '77. Their music owes more to the jarring precision of Talking Heads than anarchy in the UK, though I'm really taking the names in vain because The Cure's individual style doesn't invite comparisons.

They used "10.15" as a soundcheck and even that got rapturous applause from the Aberdonians. I started to get the message with "Accuracy", which could be their theme song. It was short, insistent, not pretty. As sort of stiffness to it within a pattern of vigorous movement. Robert Smith played fast, pulsing guitar but his vocal line took the slow, lurching rhythm of Lol Tolhurst's drums. "Grinding Halt" brought the rushing, bumping impetus to its height with Tolhurst showing that syndrums need not be the band of the nations" music-loving youth by extracting some huge sibilances from them which added a lot of breadth to the trio's sound.

The pieces I liked best were "Subway Song", "Plastic Passion", "Killing An Arab", and "Play For Today" (a first live performance for that one). The no-no on the night was Hendrix's "Foxy Lady" which they ballsed-up in all departments while their own "Boys Don't Cry" was in rather mopey pop territory I wouldn't like to see them explore much further.

If any element of the group seemed ripe for further development now it's probably Robert Smith's singing which tended to lack identity beyond the standard New Wave whine-yowl hiccup. Neatly done mind, but I suspect he's got more of himself to put in there now the band has all the basics to be fine-tuned.

The Cure are a twinkle in the eye of the Eighties. When the Banshees tour is pieced together don't short-change yourself - get there early for the "special guests".

by Phil Sutcliffe

Record Mirror (UK)


INFO

News article entitled "Siouxsie recruits". UK tour dates advert.

Hugh Cornwell of The Stranglers on the cover.


SCANS



* scans are available at Pictures Of You website.

Melody Maker (UK)


INFO

Birmingham (19/9/1979) show review by Steve Taylor.

Judas Priest on the cover.


SCANS


New Musical Express (UK)


INFO

Leicester (18/9/1979) show review written by Kris Needs.

Blondie on the cover.


SCANS


Sounds (UK)


INFO

Interview with Siouxsie entitled "Humourless? Us? That's Not Funny..." written by Phil Sutcliffe.

Unknown Magazine (UK)


INFO

Birmingham (19/9/1979) show review entitled "Siouxsie Carries On Regardless" written by Kate Fraunce.

Date ??? NME, MM, RM or Sounds ???


TRANSCRIPT

Siouxsie Carries On Regardless

Siouxsie soldiered on bravely following the defection of two band members.

John McKay and Kenny Morris walked out of a few hours before the start of their tour's opening concert in Aberdeen, leaving pillows propped up dummy-like in their hotel beds.

They were replaced by drummer Budgie from the Slits and guitarist Robert Smith of Cure, who played two sets during the evening - with his own group who supported.

Siouxsie managed her usual skipping and jumping and though her voice was sometimes indistinct, songs like "Hong Kong Garden" and "Staircase" came over loud and clear.

Fans with freaked hair pogoed, but Siouxsie herself looked more restrained than usual - indeed her hair looked positively permed.

by Kate Fraunce

Smash Hits (UK)



INFO

News article entitled "Siouxsie Stop Gap".


SCANS


Brighton Arques (UK)


INFO

Article entitled "Spin off: Bob hits the Banshee trail" written by Tim Curran.

Name of these newspapers ???


TRANSCRIPT

Spin off: Bob hits the Banshee trail

Robert Smith of Crawley based band The Cure has suddenly hit the big time.

He's filling a gap left after Siouxsie and the Banshees suffered a major split at the start of their UK tour.

Siouxsie lost drummer Ken Morris and guitarist John McKay when they checked out of their hotel only hours before a gig in Scotland.

They left Siouxsie and remaining Banshee Steve Severin with egg on their faces having to apologize to the crowd.

Now Siouxse is back on the road with guitarist and vocalist Robert, 20, and former Slits drummer Budgie to play at the Brighton Centre on Wednesday.

The Cure have been together since 1976 and their debut single, Killing An Arab, reached the album, Three Imaginary Boys, is on Fiction Records.

by Tim Curran

Melody Maker (UK)


INFO

Advert promoting shows in Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979). The Cure were supporting Siouxsie & The Banshees.


SCANS


New Musical Express (UK)


INFO

Interview with The Cure entitled "No Image, No Style, No Bullshit" written by Deanne Pearson. News article about the release of Jumping Someone Else's Train. Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979) shows advert.

Ray Davies of The Kinks on the cover.


SCANS


Sounds (UK)


INFO

Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979) shows advert.

Hot Press (Ireland)


INFO

Interview with Robert Smith entitled "An Imaginary Interview" written by John McKenna.


SCANS



Scan is available at Pictures of You website.

Melody Maker (UK)


INFO

Advert promoting shows in Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979). The Cure were supporting Siouxsie & The Banshees.


SCANS


New Musical Express (UK)


INFO

News article about the tour with The Banshees. Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979) shows advert.

The Clash on the cover.


SCANS


Melody Maker (UK)


INFO

Hammersmith Odeon (15/10/1979) show review written by Paul Tickell.

New Musical Express (UK)


INFO

News article entitled "Siouxsie in dock" about the tour changes.


SCANS


Record Mirror (UK)


INFO

London (15/10/1979) show review entitled "Siouxsie Finishes Up High And Dry" by Jane Garcia. Cult Hero single review.

Nick Lowe on the cover.


SCANS



* scans of London show review (with the picture) and Cult Hero single review are available at Pictures Of You website.

Unknown Magazine (UK)


INFO

Advert promoting shows in Lewisham Odeon (13/10/1979) and Hammersmith Odeon, London (15/10/1979).

Date ??? NME, MM, RM or Sounds ???


SCANS



* scan of this advert is available at A Foolish Arrangement website.

Smash Hits (UK)



INFO

Cult Hero single review by Steve Bush.


SCANS


Melody Maker (UK)


INFO

Jumping Someone Else's Train single review by Chris Bohn.


TRANSCRIPT

The Cure: Jumping Someone Else's Train

The Cure's biggest problem is trying to replace the innocent charm which helped flesh out the bare bones of their early singles. Obviously after a years hefty touring that innocence is gone, but the bones are still showing, though Robert Smith's done a lot to cover them up with sparingly used guitar over a hustling rhythm. The song's a twist on bandwagon jumping, which Robert sings from a catarrhal distance, if you know what I mean.

by Chris Bohn


SCANS


New Musical Express (UK)


INFO

Jumping Someone Else's Train single advert.

Paul Weller on the cover.


SCANS


Sounds (UK)


INFO

Jumping Someone Else's Train single review.


TRANSCRIPT

The Cure: Jumping Someone Else's Train (Fiction)

Someone should get a medal for the sound quality, which slices out of the speakers with icy precision, perfectly matching the harsh but detached tone of the song, a sneering rebuke to trendies and bandwagon-jumpers. Anyone who found the Cure's first efforts interesting but musically a little limp and empty will be shocked by the concentrated vigour of this one.

Melody Maker (UK)


INFO

News article entitled "Different Cure" about new line up and upcoming Future Pastimes tour. Also there is Cult Hero single review by Chris Bohn.

Monty Python on the cover.


TRANSCRIPT

Different Cure

The Cure, who stepped into the breach when Siouxsie and The Banshees broke up on their tour, have now split themselves.

Bassist Michael Dempsey has been told his services are no longer needed, and following his departure the group will expand from a trio to a four-piece with new members Simon Gallup (bass) and Matthew Hartley (keyboards) to prepare for a UK tour that starts at the end of next week.

According to Dempsey, Cure leader Robert Smith said the difficulty between them was not the traditional "musical differences", but a problem of personalities.

The tour by the new-look Cure starts at Liverpool Erics on November 16, Economics (17); Preston Poly (20); Manchester University (21); Bradford Palm Cove (22); Newport Village (23); Coventry Warwick University (24); Sheffield University (27); (28); Portsmouth Poly (29); Norwich University (30); Durham University (December 1); Wolverhampton Poly (5); London Music Machine (7); and Crawley College (7).


TRANSCRIPT

Cult Hero: I'm A Cult Hero

Both the Dickies and the anonymous Cult Hero at least make no bones about cutting novelty records. The second of the two belongs to the modern school, complete with tongue-in-chic po-faced vocals. The Dickies follow the thrash and snotty voices gang. Neither is particularly funny or satirical.

by Chris Bohn


SCANS


Music Week (UK)


INFO

News article which begins with: "Meanwhile, Chris Parry, formerly at Polydor, hasn't been idle...".

New Musical Express (UK)


INFO

News article entitled "Cure headlining" about the upcoming tour.

Bob Marley on the cover.


SCANS


Record Mirror (UK)


INFO

News article entitled "No simple Cure" about the new line-up.


TRANSCRIPT

No simple Cure

Dates for a new Cure tour were announced this week - alongside the notice that bass player Michael Dempsey has left the band to be replaced by two people: Simon Gallup (bass) and Matthew Hartley (keyboards).

Dempsey, told Record Mirror that his departure was not so much part of an "amicable" split as the fact that guitarist Robert Smith no longer wished to work with him. He also thought that new members had been sought before he was aware of the cirumstances. Dempsey is currently auditioning for another band.

Meanwhile, the new-look Cure open their tour at Liverpool Erics on November 16 and continue at: London LSE 17, Preston Polytechnic 20, Bradford Palm Cove 22, Newport Village 23, Coventry University of Warwick 24, Sheffield University 27, Birmingham University 28, Portsmouth Polytechnic 29, Norwich University of East Anglia 30, Durham University December 1, Wolverhampton Polytechnic 5, London Music Machine 6 and Crawley College 7.

Supporting The Cure on all dates except Newport (The Cure only) will be two other Fiction Records signings, The Passions and The Associates. Ticket prices at all venues will be 1.60UKP or less, except the Music Machine where admission is 2UKP.


SCANS


Sounds (UK)


INFO

News article entitled "Band loose one, then add two" about the new line-up. Small article entitled "His best friends wouldn't tell him" about the departure of Michael Dempsey.


TRANSCRIPT

Band loose one, then add two

The Cure have celebrated the conclusion of their eventful tour with Siouxsie and The Banshees, in which their guitarist Robert Smith helped out the headliners after their famous split, by dropping one member and bringing in two new faces.

Bass player Michael Dempsey has left and been replaced by Simon Gallup, while they have been joined by Matthew Hartley on keyboards. The new line-up is now rehearsing for a tour beginning next week.

The dates are: Liverpool Erics November 16, London LSE 17, Preston Polytechnic 20, Manchester University 21, Bradford Palm Grove 22, Newport Village 23, Coventry University of Warwick 24, Sheffield University 27, Birmingham University 28, Portsmouth Polytechnic 29, Norwich University of East Anglia 30, Durham University December 1, Wolverhampton Polytechnic 5, London Music Machine 6, Crawley College 7.

Then they tour Europe before recording the follow-up album to "Three Imaginary Boys", which is itself to be re-mixed and some changes made for American release. Just out on Fiction is their new single "Jumping Someone Else's Train".

Supports on the tour will be The Passions and The Associates, both recent signings by Fiction.


SCANS



Scans are available at Boys are Forever Drowning in Pornography and Pictures of You websites.

Unknown Magazine (UK)


INFO

Jumping Someone Else's Train single advert.

NME, MM, RM or Sounds ???


SCANS



* scan of this advert is available at A Foolish Arrangement website.

Melody Maker (UK)


INFO

Jumping Someone Else's Train single advert.

Pete Townshend and Bob Dylan on the cover.


SCANS


Music Week (UK)


INFO

News article which begins with: "Latest signings to Fictions Records are...".

New Musical Express (UK)


INFO

Jumping Someone Else's Train and I'm A Cult Hero singles review by Adrian Thrills. Future Pastimes advert. London LSE (17/11/1979) show advert. The Passions advert with the mentions about The Cure.

Secret Affair on the cover.


TRANSCRIPT

The Cure: Jumping Someone Else's Train & Cult Hero: I'm A Cult Hero

Two new Cure singles on the same label in one week, showing just how much the band have come on in the past year. I mean, it's a long way from the Laker's Hotel, Redhill, to Hammersmith Odeon with the Banshees.

The sardonic attack on fads, "Jumping Someone Else's Train", lacks the compassion that distinguished "Boys Don't Cry" and there are hints that the formula is wearing a little thin, but it's the best of their new songs. "Cult Hero" is a bit of discofied studio nonsense concocted by the group and a drinking buddy that should never have seen the light of day.

However, I await the impending addition of an organist with interest - it should give them the fuller sound they need. And surely sooner or later, whether it be with The Cure, Passions or Purple Hearts, Fiction are going to have a hit.

by Adrian Thrills


SCANS


Yorkshire (UK)


INFO

Jumping Someone Else's Train single review written by Steve Dixon.

Name of this magazine / newspapers ???


TRANSCRIPT

The Cure: Jumping Someone Else's Train

I didn't enjoy their first LP, though friends who know better than I told me it was wonderful, so I listened to it over and over again. Now I understand and also think they are wonderful and so will you if you enjoy modern pop. Are the lyrics aimed at music critics? Or is it just my paranoia?

by Steve Dixon

Birmingham Sun (UK)


INFO

Jumping Someone Else's Train single review.


TRANSCRIPT

The Cure: Jumping Someone Else's Train

Also on Fiction is "Jumping Someone Else's Train" by The Cure, it's a little more orthodox than some of their best songs but still stands repeated listenings.

Melody Maker (UK)


INFO

Liverpool (16/11/1979) show review by Penny Kiley. Also there is Music Machine (6/12/1979) show advert and 20 Of Another Kind Volume 2 compilation album advert with The Cure's single Boys Don't Cry.

Linton Kwesi Johnson and John Cooper Clarke on the cover.


SCANS


New Musical Express (UK)


INFO

Future Pastimes advert. Gig guide. London Theatre Bookings advert.


SCANS


Record Mirror (UK)


INFO

Jumping Someone Else's Train single review by Chris Westwood. 20 Of Another Kind v2 compilation album advert.


TRANSCRIPT

The Cure: Jumping Someone Else's Train

The Cure are gradually edging towards something of a pop paradox where the absolute state of the art hardly makes an impression on those ugly charts.

They lack the insight of U2, but possess a rich sparkle and imagination of their own. "Jumping Someone Else's Train" is better though less instant than the throwaway "Boys Don't Cry" - it's more growing, more paced, more structured. It builds into an incessant and fetching commercial song typically Cure which means it doesn't communicate a great deal but points at what you can do with rock structures given a modicum of inspiration.

by Chris Westwood


SCANS


Smash Hits (UK)



INFO

Jumping Someone Else's Train single review which begins with: "The Cure are last live up to and surpass all that promise..." written by David Hepworth. Gig guide with the picture of Robert Smith.


SCANS


Sounds (UK)


INFO

Picture of Robert Smith.

Date ???


SCANS


Melody Maker (UK)


INFO

Music Machine (6/12/1979) show advert. Also there is The Passions single Hunted advert with small info that they are on Future Pastimes tour with The Cure.


SCANS


New Musical Express (UK)


INFO

Music Machine (6/12/1979) show advert. 20 Of Another Kind v2 compilation album advert.

Richard Johnson of Europa on the cover.


SCANS


Record Mirror (UK)


INFO

London LSE (17/11/1979) show review by Kelly Pike.


TRANSCRIPT

The Cure: London LSE

The Passions as you would think, are reasonably passionate. Unfortunately they are equally mediocre and up against the Cure, in whose direction they seem to be heading, miserably substandard.

Their best number sounded as if it had been borrowed from a Fischer-Z songbook, lightweight reggae with high-pitched vocals from one of their two female members. It wasn't that the band weren't trying to get the best from their songs (though only the drummer seemed to be succeeding) it was just that they hadn't given themselves a great deal to work with in the first place although the set did perk up a little at the end.

The Cure, fortunately, were worth hanging around for. The set flew by (a good sign) and the departure of their bassist and arrival of a new keyboards player has left no flaws in their performance, although while three of them were working away like trojans, the thought lingered that the keyboards man was not exactly earning his daily bread.

They slipped into their old numbers from the "Three Imaginary Boys" album like a pair of well-worn slippers, after their recent extensive touring, but slipped in many a taster of their forthcoming LP. The new songs are not vastly different in style, yet were just far enough removed to be conspicuous. "M", "AM", and "Bleak One" (a suspect title if I ever heard one) were particularly appealing in the usual Cure manner - both exciting and haunting.

The inevitable "Killing An Arab" was wheeled out in the encore, along with a repeat of their rather good single "Jumping Someone Else's Train", by which time temperatures were soaring sufficiently to satisfy any neighborhood sheik.

They're skilled, interesting, sometimes exhilarating and usually underestimated. See them - now.

by Kelly Pike


SCANS


Sounds (UK)


INFO

20 Of Another Kind v2 compilation album review which begins with: "Well, the cover ain't as ace as Volume One which boasted..." written by Garry Bushell.

Melody Maker (UK)


INFO

Music Machine (6/12/1979) show advert.


SCANS


New Musical Express (UK)


INFO

Music Machine (6/12/1979) show advert.


SCANS


Sounds (UK)


INFO

Durham (1/12/1979) show review entitled "Even the bad times are good" written by Phil Sutcliffe.

Captain Last Stand on the cover.


TRANSCRIPT

Even the bad times are good

The Cure are searching.

Maybe they don't know exactly what for. The Cure are finding. Maybe they don't know exactly what. But what's clear is that they happen.

Confusingly the new line up played even more hangdog songs than its predecessor (including a new number wryly labeled "Bleak One") with such vibrant force and thrust that their audience at Durham Students Union was compelled to respond by dancing. A bad-time good-time band doesn't sound possible.

The two opening songs presented their extremes. "17 Seconds". A death march drum, a wailing vocal and I couldn't understand it at all. What goes on in the "17 Seconds"? "Accuracy". Immediately and conversely a portion of perfect clarity and acute insight on the destructive side of close relationships where self respect can be murdered with a cunning word. "We sit in the same room/Side by side/I give you the wrong lines/Feed you". Precise music matched the idea. The cool blue surge of guitar and drums made you dance around the black story. It felt wrong-right but what can you do? Shake a leg now, ask questions later.

The "drip, drip, drip" bit in "Saturday Night" was great with each word like a small bomb blowing up and so was the spelling-out-the-title bit in "Fire In Cairo" - all-action substituting for solid subject matter quite acceptably. More new ones, "Play For Today" and "Bleak One". The surprise was their power and the regret, in the light of "Accuracy", was their lack of verbal and musical clarity so you had momentum without shape in their less effective moments (probably not all blamable on acoustics, PA etc.).

They overcame this lapse though. Robert Smith advised two hecklers "If you don't like it why don't you get out!" Then the Cure pulled together into more and gripping new material. "M" was compressive, a slow squeeze, the music rolling simply and Smith attacking the vocal with lungfulls of emotion. "44 F" was such a strong section of clipped, punchy rock 'n roll instrumental that might even give them an atypical launch into the singles chart sometime.

They closed with their established faves and much rejoicing from the audience which showed how instantly they can make contact, because they had never played anywhere near Durham before.

The new boys? Simon Gallup fitted in on bass so you couldn't see the join, whereas Matthew Hartley was less sure of what his keyboard might add to the Cure - but all four are convinced they'll grow into it. Watch them grow.

by Phil Sutcliffe


SCANS



Scan is available at Pictures of You website.

Melody Maker (UK)


INFO

Small article entitled "Rock combo fan flames of Middle East unrest shock" about The Cure show at Wolverhampton Polytechnic (5/12/1979).


SCANS


New Musical Express (UK)


INFO

In the section "T-Zers" is a mention about The Cure.


SCANS


Sounds (UK)


INFO

Interview with The Cure entitled "Boys keep swinging" written by Phil Sutcliffe. Also there is small article entitled "Arabian nights" about The Cure show at Wolverhampton Polytechnic (5/12/1979).

Blackmore of Rainbow on the cover.


SCANS



Scan of "Arabian nights" article is available at Boys are Forever Drowning in Pornography website.

Melody Maker (UK)


INFO

20 Of Another Kind Volume 2 compilation album review entitled "Shop around" by Jon Savage mentioning The Cure's single Boys Don't Cry.


SCANS


Unknown Magazine (UK)


INFO

News article which begins with: "The Cure will be releasing their debut album on Fiction in January. It's called 17 Seconds...".

NME, MM, RM or Sounds ???

Blank Space (UK)



INFO


Interview with Robert Smith.

Date ???


SCANS


Hi Fi For Pleasure (UK)


INFO

Three Imaginary Boys album review by David Aldridge.

Date ???


TRANSCRIPT

The Cure: Three Imaginary Boys

The Cure are living proof that you don't need synthesizers to push back the boundaries of rock. Operation within the traditional guitar/bass/drums format, they nonetheless create truly "progressive" and distinctive music by utilizing the instruments in unique and imaginative ways. Firstly, they discard the notion of a definite division between lead and rhythm sections - both are given equal prominence by Chris Parry's superbly skillful production. Secondly, the instruments play off and against each other as well as together - a jazz device that could result in chaos but doesn't because of the care with which The Cure exploit its possibilities. Finally, you'll rarely come across a better understanding and use of dynamics - not just between different instruments or passages but within the paying of one particular instrument or passage. The Cure are experimental without being inaccessible - there are tunes here that are easily as catchy as any that you'll hear gracing the Top Ten. They're instrumentally skilled without being sterile. They're imaginative without being pretentious. And they're responsible for the most exciting album of the year to date.

by David Aldridge

Rip It Up (New Zealand)


INFO

Boys Don't Cry single review.

Date ??? 1979 ???


TRANSCRIPT

The Cure: Boys Don't Cry

This record features the three enlightened A-sides released in Britain last year by London's bright boy trio, The Cure, and made available here on Stunn, a new label set up by ex-patriot Terry Condon.

"Boys Don't Cry" is modern heart-felt pop, fresh and vibrant. "Jumping Someone Else's Train" is similar in texture but less forlorn. Both are memorable and completely different from the muted edginess of "Killing An Arab", no fun but hardly forgettable. Stunn are off to a great start. Condon, there's a knighthood in the mail.

Sound International (UK)


INFO

Three Imaginary Boys album review entitled "What We Doctors call The Cure" written by Adam Sweeting.

Date ???


SCANS



* scan of this album review is available at Pictures of You website.

Sounds (Germany)


INFO

Three Imaginary Boys album review by Alfred Hilsberg.

Date ???


SCANS

19790000.sounds.de-x02

Unknown Magazine (UK)


INFO

Three Imaginary Boys album advert.

Date ??? NME, MM, RM or Sounds ???


SCANS


Unknown Magazine (UK)


INFO

Article entitled "Imaginary Cure".

Date ??? NME, MM, RM or Sounds ???

Unknown Magazine (UK)


INFO

Three Imaginary Boys album review.

Date ???


TRANSCRIPT

The Cure: Three Imaginary Boys

The absence of any biographical sleeve notes, or even track listing, makes it clear that this band are determined to remain obscure - at least for the present.

The music itself proves the point. This is largely instrumental stuff, which reminds me of a laid back, experimental version of The Police.

Side one is full of good ideas. I can't name particular tracks since even on the record, they are only named with hieroglyphic type diagrams.

In making side two, though, The Cure were less creative. A lot of the gaps are filled in with extra recordings that should have been discarded.

This is quite a musical band though, and they may do something worthwhile in the future.

Unknown Magazine (UK)


INFO

News article which begins with: "The Cure set out later this month on their second headlining tour..." about UK tour.

Date ??? NME, MM, RM or Sounds ???

Unknown Magazine (UK)


INFO

Killing An Arab single review which begins with: "The debut Cure single, available in August 1978, again garnered considerable favour...".

Date ???

Unknown Magazine (UK)


INFO

Three Imaginary Boys album advert.

Date ??? NME, MM, RM or Sounds ???


SCANS



* scan of this advert is available at Pictures Of You website.

Unknown Magazine (UK)


INFO

Three Imaginary Boys album advert.

Date ??? NME, MM, RM or Sounds ??? Sounds 19/5/1979 ???


SCANS



* scan of this advert is available at Pictures Of You website.

Unknown Magazine (UK)


INFO

Three Imaginary Boys album advert.

Date ??? NME, MM, RM or Sounds ??? Record Mirror 19/5/1979 ???


SCANS



* scan of this advert is available at Pictures Of You website.

Unknown Magazine (UK)


INFO

Three Imaginary Boys album advert.

Date ??? NME, MM, RM or Sounds ??? Record Mirror 19/5/1979 ???


SCANS



* scan of this advert is available at Pictures Of You website.

Unknown Magazine (UK)


INFO

Wolverhampton (11/6/1979) show review written by Paul O'Reilly.

Date ??? Zig Zag ???


SCANS



* scan of this show review is available at Boys are Forever Drowning in Pornography website.