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The Head On The Door (Remastered Version)

The Head On The Door (Remastered Version)

1 Jan 1985
4.7 out of 5 stars 32 customer reviews

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Customer Reviews

4.7 out of 5 stars
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Top Customer Reviews

By A Customer on 22 May 2001
Format: Audio CD
The Cure refocused and ultimately hit their stride with Head On the Door, producing an album which not only more effectively depicted gloom, but also showed enough pop smarts to make it memorable (and even danceable). The band scored a hit with the infectious, New Order-ish "In Between Days" (which managed to beat New Order at their own game) and the highly memorable "Close to Me," but the album's outstanding trait is its diversity -- they managed to combine a wide variety of influences, not only that of contemporary dance-floor peers, but also incorporating rhythms from the Far East and South America to fine effect. The Cure made more accomplished albums later on and had bigger hits, but none combined artistic ambition with really catchy songs as well as Head On the Door.
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Format: Audio CD
The Cure have been known for their gloomy tunes at the start of their career with Pornography, Seventeen Seconds and Faith- then along came Kiss Me x3 and Japanese Whispers. The album was a sweet introduction to their newly found quirky Cure sound which is very difficult to compare to most bands and the which is what makes this band special.

However, the lyrics are still quite dark and full of self hatred, which is what to be expected of Robert Smith, however, he managed to tie this in with easy going tunes fit for a summer mood which won't put a downer on your day.

My favourite tracks are Night Like This and Six Different ways which are very catchy and one listen simply isn't enough.
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Format: Audio CD Verified Purchase
Every song in this album is distinct and creative. Often with eighties albums the production techniques and old synths date quickly, but I think this album still stands up 27 years later. The album is short but I think there's a good balance between their more quirky upbeat songs like Close to me and In between Days and their more dark tortured songs like A Night Like This and Sinking.
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Format: Audio CD
OK, I confess: despite my admiration for Robert Smith's undoubted talent, I've not been any more than a fair weather fan of the Cure and have only bought a handful of albums over the years. However, `Seventeen Seconds' is one of my all time favourites so perhaps I'll be forgiven. Nevertheless, I did buy `Head on the Door' on glorious vinyl in 1985 and quite liked it but like so many other vinyl albums, it fell into non-use when CD came along and I have not played it for at least 10 years. So when this newly remastered version hit my CD player, I was astounded to be reminded what a good album it is.

Kicking off with the bubbling `In Between Days', the album bursts into life and unlike some other Cure albums, this energy hardly drops through most of the first half until you reach the truly great stuff starting with the semi-instrumental `Push'. What follows is perhaps one of the best consecutive runs in Bob's cannon and comprises `A Baby Screams', `Close to You' and the monumental `A Night Like This', the latter now being my favourite Cure track ever. Never has Smith created such a melt-in-the-mouth melody and backed it up with a massively passionate vocal. The swaying, insistent beat just adds the icing to the cake and despite the cheesy drum fills and dreaded sax solo, nothing can diminish the sheer bittersweet joy this song elicits - how on earth did I forget about it?

All this and the beautiful closer, `Sinking' - what more do you need from a Cure album? Go buy!
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Format: Audio CD
'The Head on the Door' nicely reflects the ever-changing nature of the Cure, from the sickly sweet pop of 'Inbetween Days' through to the fabulous 'Sinking', reminiscent of earlier material. This ranks as one of the Cure's best albums and the first of a series which encompasses 'Disintegration' and ends with the release of 'Wish' in 1992. It demonstrates a fuller sound than earlier output and was written at the time of a new line-up, greater stability, and a fresh outlook for the band as a whole. Much of the album is single material.
The opening track is infectious pop at its best, although not the most accomplished track on the album. 'Push' sees Smith relating his experience of irrational hatred, and has proved a favourite set piece. 'A Night Like This' is classic Cure, a strong bass line and lyric, with Smith in remorseful mood "I want it to be perfect like before, I want to change". The last track forms an intense and beautiful soundscape, particularly when played loud, Smith lamenting the inevitable passing of time, a theme explored in 'Seventeen Seconds'. This album is a must-buy.
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Format: Audio CD
For me, this is one of the Cure's best albums. Alongside the cacophany of Pornography and melancholy of Disintegration, I think that this is the one that best highlights the various shades of light and dark that there are in the Smith cannon. Inbetween Days is the one where Robert mastered the classy pop song (he'd perfect it with Just Like Heaven 2 years later), though the fact it's followed by the beautifully instumented Kyoto Song tells you that while he might have learned a few things since Let's Go To Bed's crassy commercialism, he didn't forget how to write something as dreamily hypnotic as Just One Kiss. It's this broad pallett that encapsulates the spirit of the whole album, taking in Spanish guitars (The Blood), twisted funk grooves (Screw), complete desolation (Sinking), adrenaline-rushing positivity (Push) and perhaps the greatest example of Robert Smith's unique somehow-melancholy-yet-somehow-uplifting-at-the-same-time brand of pop (A Night Like This). Although there are many Cure albums more rewarding than this, this is the microcosm of all that made them so special in the 80s.

And to the extra disc... the Inbetween Days demo is divine, just Robert in his flat when the riff came to him and a fascinating insight into the birth of a great popsong. Inwood and Innsbruck are demos that hark to the fact that there were a lot of dark things still going on under the surface, despite the upbeat feeling to most of the album and the relative single b-sides. Indeed, for those who do not own Join The Dots (the b-side retrospective released a few years back) there are also tentative demos of lost classics like Stop Dead, A Few Hours After This, The Exploding Boy and A man Inside My Mouth.
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