Cure Boys Don't Cry CD

The Cure: Robert Smith (vocals, guitar); Michael Dempsey (vocals, bass); Lol Tolhurst (drums).
Recorded at Morgan Studios, London, England in 1979.
Personnel: Robert Smith (vocals, guitar); Michael Dempsey (vocals); Lol Tolhurst, Laurence Tolhurst (drums).
Recording information: Morgan Studios, North London, England.
Falling somewhere between official release and compilation, Boys Don't Cry was released in February 1980 in hopes to get the band exposure outside of the U.K.. It captures the first phase of the band well, showcasing the angular new wave that had garnered them acclaim in England. What separates this from the debut full-length (and thus qualifying it as an 'official' release) is that unlike Three Imaginary Boys, the first three singles ("Killing an Arab," "Boys Don't Cry," and "Jumping Someone Else's Train") are included, and tracks like "So What" (the one with lyrics read off a sugar packet) are dropped in favor of the excellent "World War" and "Plastic Passion." A good starting point for getting up to speed on this era of the band, it works best when paired up with Three Imaginary Boys; then you'll get the complete picture. ~ Chris True
Inaugurating the shadowy gloom/blissful pop combination that became the Cure's trademark, BOYS DON'T CRY contains healthy portions of both, along with a dose of punk-fueled angst befitting the times in which it was recorded. Robert Smith reveals himself as an alarmingly developed songwriter--though he was still in his late teens when these songs were written, his compositional abilities are as impressive as the potential they reveal.
The album produced a string of hits, several of which were to remain signature tunes for the group throughout their lengthy tenure in pop's upper strata. The title track, as touchingly naive and vulnerable a love song as one could ask for, is the album's best-known song. "Killing An Arab," based on a famous passage from "The Stranger," attracted controversy while it displayed Smith's burgeoning taste in exotic compositional textures. The gently bizarre "10:15 Saturday Night" is a calm study in dynamics, while "Jumping Someone Else's Train" is a cry for individuality, a sentiment truly at the heart of this and all the group's work.