The Cure's "The Head on the Door" - 35 Years of a Happy Goth Masterpiece

The Cure's The Head on the Door album cover, released August 26th, 1985.

When you think about The Cure, one of two impressions come to mind. You either think of an incredibly dismal, depressing, but quintessential goth band, or an upbeat, happy, dancable, new wave band. Guess what- they're both! And that is what is so miraculous about the Cure. They are some of the founders of the goth rock genre, but also were played in non-goth, or more mainstream dance clubs back in the day. They can go from the "it doesn't matter if we all die" narrative of songs like "One Hundred Years", to the "let's get happy!" one of "Doing the Unstuck" so fast it'll make your head spin. 

Though their most revered record by fans ("goth" or not) throughout the years has certainly remained Disintegration (1989), my personal favorite since age 16 has always been The Head on the Door. While Disintegration is one of the greatest goth records of all-time for sure, the Head on the Door for me, is one of the greatest combination goth / new wave records of all-time. It is like a happy medium, or half-way point, between some of their most depressing albums (i.e. Pornography) and some of their most uplifting (i.e. Wish). It is incredibly inventive, and strange, but also at times dancable, and at others tear-jerking. It is everything music should be, to me. And I'm going to let you know exactly why.

Out the gate, the album bursts open with one of the Cure's 80's hits, "In Between Days". It is a soaring, uplifting, limitless pop-rock song that can make me happy no matter how awful a day I've had. And sincerely, it never gets old, no matter how many times I've heard it. It sets the tone so that listeners know, this is going to be a "happier" Cure album (though later tracks will stifle this message). Despite its popularity, it is still one of the highlights of the album, and I'm sure many of you will agree with me. Give yourself a refresher (or a first-time listen) and check it out the trippy, wonderful music video below~ (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=EDMDb8unsIA)

Then it fades into the strange, stream-of-consciousness "Kyoto Song", which tells of the parallels between a nightmare and reality (or I at least I think it does). It is confusing, but that just adds to the relatable feeling of what it's like trying to dissect your own dreams, and draw meaning from them. The lyrics are more dark, but the sound is still on the happier end, so it is like a "best of both worlds" for goth and new wave lovers like myself. Following that is the acoustic guitar and castanets, pseudo-Spanish-style track "the Blood" which seems to be a continuation of this dream / hallucination state. There are references to walking barefoot in a desert, and to "the blood of Christ", but it definitely does not seem Christian in nature. It seems to be more along the lines of walking alone in the desert, and hallucinating the you see a savior, but it really isn't there at all. It is an interesting track musically too, for its oddly Spanish style mixed in with new wave. It somehow works, however! And makes for one really unique Cure track. 

Moving into "Six Different Ways", which seems sort of like an interlude or "filler" track to me, but that doesn't mean it isn't good. The lyrics are overly simplistic, and so is the melody, but it is still catchy. And it paves the way for what I think is the best song on the album, and overall one of the best Cure songs, period. "Push" is the ultimate "crank the stereo full-blast, roll your windows down, and drive alone through the night" song... although there are many I cite as those, I know. It makes me feel alive, in a different way than "In Between Days" does. It isn't the lyrics really, it's the sound. It swells and rises for over 2 minutes before Robert Smith begins singing, hyping the listener up, and getting them excited. Personally, it gives me goosebumps every time. I can't put into words properly how magical it feels when this song comes on, so you'll have to listen to it for yourself to really understand what I mean. Please do so, below, and I have a feeling you'll begin to know what I mean. 

Side two begins with "The Baby Screams", which is strange and eyebrow-raising, but toe-tapping. It seems to be a simile comparing enjoying sensations of bliss or pleasure, as naturally as it is for a baby to scream ("and I love it, like a baby screams"). Or, you could take it sarcastically- the baby screaming being a bad thing, and thinking similarly to "I'm enjoying this like a baby screams", or "I want this like I want a hole in my head". Surely I can't figure it out, and Robert Smith stumps me once again! Up next we have a song that was another pretty big hit (bigger than "In Between Days", even) for the Cure off this album, "Close to Me". The best song for exemplifying claustrophobia in an artistic way, with Robert's heavy, anxious breathing in the background of the entire song. Also featuring an album title name drop, "Close to Me" is a simplistic yet dancable song that can make the listener feel claustrophobic, without even having that fear. That is what makes it so compelling, and so fun. Listen, watch, and feel closed in on for yourself, below.  (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=t7U1k147Qk4)

Rounding out the end of the Head on the Door, is "A Night Like This". Which probably would have been a bigger hit for the band, had it not been overshadowed by "In Between Days" or "Close to Me". It is another favorite for me from the album, as it has that magical quality, in the same way that "Push" does. There are feelings of longing and of recovering a lost love, in the lyrics. It is hopeful though,  and the upbeat sound of the music makes me think Robert will get his wish. It is also one of the few Cure songs to feature a saxophone solo, which while some might find cheesy- I absolutely love. I don't think it would have the same power and energy without it. I know I've added a lot of videos / songs to this post, but I also implore you to listen to "A Night Like This", when you have the time (and of course the whole album) so I'll still add it below for you.

Then we have the short, but sweet "Screw" which is grindingly bass-driven and dancey, and transitions abruptly into the last song, "Sinking". Another bass-led track, but more like "Screw"'s more depressed cousin. It is slowed down, with an accompanying piano, bringing the listener down from the high they have likely been on, while experiencing this album. Not quite as dismal as the ending of Pornography (the title track), but echoing a similar sentiment with, "I'll never feel again. If only I could remember anything at all". While Pornography seems more apathetic towards the inevitability of time and death, "Sinking" is more passionately sad about it. And after all of this more upbeat-yet-strange Cure, this is what Robert decides to leave us with, reminding us they are still a goth band, after all. 

So there you have the Head on the Door! It is a strange, magical Cure album that bridges the gap between some of their most gothic works, and some of their most new wave. It is a perfect marriage to me, of the elements that make the Cure unique, and unlike any other band out there to date. It's been 35 years since the Head on the Door was released, and it still has the same awe-inspiring effect that it had on me and many others, when they first heard it. 

What do you think of my depiction of the Head on the Door? Do you agree? And what is your favorite Cure record? Feel free to let me know in the comments! I am curious about your favorite Cure moments. Thank you as always for reading, and have a magical weekend! 

The Cure in 1985, photographed by Ebet Roberts.