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DISCID=9007e40c
DTITLE=The Cure / Boys Don't Cry
DYEAR=1979
DGENRE=Gothic Rock
TTITLE0=Boys Don't Cry
TTITLE1=Plastic Passion
TTITLE2=10.15 Saturday Night
TTITLE3=Accuracy
TTITLE4=So What
TTITLE5=Jumping Someone Else's Train
TTITLE6=Subway Song
TTITLE7=Killing an Arab
TTITLE8=Fire in Cairo
TTITLE9=Another Day
TTITLE10=Grinding Halt
TTITLE11=Three Imaginary Boys
EXTD=Originally Released June 1979\n''Boys Don't Cry'' LP (US Edition)
EXTD= Originally Released January 1980\nCD Edition (US) ''Boys Don't C
EXTD=ry'' Released February 1988\nDeluxe 2CD Edition Released December
EXTD= 7, 2004\nRemastered 1CD Edition Released April 4, 2006\n\nAMG EX
EXTD=PERT REVIEW: (''Boys Don't Cry'') Falling somewhere between offic
EXTD=ial release and compilation, Boys Don't Cry was released in Febru
EXTD=ary 1980 in hopes to get the band exposure outside of the U.K.. I
EXTD=t captures the first phase of the band well, showcasing the angul
EXTD=ar new wave that had garnered them acclaim in England. What separ
EXTD=ates this from the debut full-length (and thus qualifying it as a
EXTD=n 'official' release) is that unlike Three Imaginary Boys, the fi
EXTD=rst three singles ("Killing an Arab," "Boys Don't Cry," and "Jump
EXTD=ing Someone Else's Train") are included, and tracks like "So What
EXTD=" (the one with lyrics read off a sugar packet) are dropped in fa
EXTD=vor of the excellent "World War" and "Plastic Passion." A good st
EXTD=arting point for getting up to speed on this era of the band, it 
EXTD=works best when paired up with Three Imaginary Boys; then you'll 
EXTD=get the complete picture. -- Chris True\n\nAmazon.com Editorial R
EXTD=eviews (''Boys Don't Cry'')\nWhen Robert Smith's long-running gro
EXTD=up made this debut (actually the resequenced American version of 
EXTD=the British Three Imaginary Boys), they weren't the Goth-and-reve
EXTD=rb, new wave heroes they later became; they were just a trio of d
EXTD=isaffected kids who didn't like what was on the radio, because it
EXTD= wasn't smart enough or dark enough. Smith's lyrics are bleakly s
EXTD=arcastic (as when he spells out the title of "Fire in Cairo") and
EXTD= literate (the single "Killing an Arab," a nihilistic sketch base
EXTD=d on a scene from Albert Camus's The Stranger). The band matches 
EXTD=them with swift, tingling arrangements that dodge skillfully arou
EXTD=nd rock's machismo and self-indulgence, even when Smith launches 
EXTD=into the occasional gnarled little solo. --Douglas Wolk\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW (''Boys Don't Cry'')\nOnly glimmers of the g
EXTD=reatness to come, February 20, 2006\nReviewer: Greg Brady "columb
EXTD=usboy" (Capital City)\nThis is, not, technically the band's debut
EXTD=: that came in the British release of THREE IMAGINARY BOYS (which
EXTD= has a slightly different track lineup). But for us Yanks, this i
EXTD=s the album that introduced Robert Smith and company. The multi-l
EXTD=ayered wash of guitar and keyboard is nowhere in evidence on this
EXTD= one, though. [Think stripped back angular post-punk new wave roc
EXTD=k.] \n\nThere's plenty of experimentation here..some of it works 
EXTD=(the shattering scream that ends the claustrophobic stalker tune 
EXTD="Subway Song"..just as you think the intended victim has safely e
EXTD=scaped) some doesn't (the scattershot use of phrases from adverti
EXTD=sements in "So What"). \n\nHIGHLIGHTS: \nThe title track is the c
EXTD=losest you get to the sound the Cure would evolve into. Shimmerin
EXTD=g guitars collide with Smith's admission that this time he's hurt
EXTD= his girl too much and it's finally over for good. ("I try to lau
EXTD=gh about it/Hiding the tears in my eyes") "10:15 Saturday Night" 
EXTD=is the aftermath of that loss..Smith waiting for the phone call t
EXTD=hat will never come ("And I'm sitting/In the kitchen sink/And the
EXTD= tap drips/Drip drip drip drip drip drip drip drip") Anti-conform
EXTD=ity anthem "Jumping Someone Else's Train" sparkles ("The old idea
EXTD=l/Was getting such a bore/Now you're back in line/Going not quite
EXTD= quite as far..") "Killing an Arab" paints the detachment of the 
EXTD=act itself ("I feel the steel [...] jump/Smooth in my hand..") an
EXTD=d the realization of what he's done ("Staring at myself/Reflected
EXTD= in the eyes/Of the dead man on the beach") \n\nLOWS: \nThe lyric
EXTD=al pastiche that comprises most of "So What" is NOT "brilliant"..
EXTD=it's simply oddball. I guess Robert's going for a sense that the 
EXTD=world is nothing but noise without the woman he's lost ("Forget a
EXTD=ll the lies forgive me the wounds/And all the world was used to l
EXTD=ove/And yes we'd still be happy in another time/But so what?") bu
EXTD=t it's a theme he approached in "10:15 Saturday Night" in a much 
EXTD=more memorable fashion. "Another Day" is plodding and dull. Surel
EXTD=y there's another way to evoke boredom than with boring music? \n
EXTD=\nBOTTOM LINE: \nIf the words "raw" or "stripped-back" in a music
EXTD= review raise a contented sigh in you, this will probably be up y
EXTD=our alley. If it's the lusher productions of latter-day Cure (a l
EXTD=a "Lovesong" or "Pictures of You") that do it for you, this may n
EXTD=ot hit the spot. \n\nAMAZON.COM CUSTOMER REVIEW (''Boys Don't Cry
EXTD='')\nSolid American Debut by Cure, February 19, 2004\nReviewer: S
EXTD=andmanVI (Glen Allen, VA United States)\nBasically the same as th
EXTD=eir actual debut '3 Imaginary Boys' with the addition of the sing
EXTD=les "Killing an Arab" based on Camus' "The Stranger" and the upte
EXTD=mpo, anti-conformity ditty "Jumping Someone Else's Train". Too ba
EXTD=d they dropped the cover of Hendrix' "Foxy Lady". The title track
EXTD= is amazing; I always to compare it to Bauhaus' "She's in Parties
EXTD=" as one of the best post-punk, pre-Goth masterpieces. It's soake
EXTD=d in reverb and echoes, dreamy and dark, distant and edgy. The di
EXTD=sc is a must for fans and non-fans would like it as well. It's ea
EXTD=sily more accessible than the bleak efforts that followed. If you
EXTD= have this then the British debut '3IB' is unnecessary unless you
EXTD= are a true Cure completist (disclosure - I have both).\n\nHalf.c
EXTD=om Details \nProducer: Chris Parry \n\nAlbum Notes\nThe Cure: Rob
EXTD=ert Smith (vocals, guitar); Michael Dempsey (vocals, bass); Lol T
EXTD=olhurst (drums).\n\nRecorded at Morgan Studios, London, England i
EXTD=n 1979.\n\nInaugurating the shadowy gloom/blissful pop combinatio
EXTD=n that became the Cure's trademark, BOYS DON'T CRY contains healt
EXTD=hy portions of both, along with a dose of punk-fueled angst befit
EXTD=ting the times in which it was recorded. Robert Smith reveals him
EXTD=self as an alarmingly developed songwriter--though he was still i
EXTD=n his late teens when these songs were written, his compositional
EXTD= abilities are as impressive as the potential they reveal.\n\nThe
EXTD= album produced a string of hits, several of which were to remain
EXTD= signature tunes for the group throughout their lengthy tenure in
EXTD= pop's upper strata. The title track, as touchingly naive and vul
EXTD=nerable a love song as one could ask for, is the album's best-kno
EXTD=wn song. "Killing An Arab," based on a famous passage from "The S
EXTD=tranger," attracted controversy while it displayed Smith's burgeo
EXTD=ning taste in exotic compositional textures. The gently bizarre "
EXTD=10:15 Saturday Night" is a calm study in dynamics, while "Jumping
EXTD= Someone Else's Train" is a cry for individuality, a sentiment tr
EXTD=uly at the heart of this and all the group's work.
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