Sardonicus reviews a bunch of old 45s (2 Viewers)
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jyxz
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Should have saved this for a future ASFM
Sheena
ROMANCE
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I do, however, and probably more obviously, own The Ten Commandments of Dance. There’s not much beyond the singles really, but Requiem and London Nights are top drawer.
You’re the love of MY LIFE!
MY LIFE!
MY LIFE!
AND it must have sounded so much better in a popper fuelled nightclub haze
You’re the love of MY LIFE!
MY LIFE!
MY LIFE!
AND it must have sounded so much better in a popper fuelled nightclub haze
jyxz
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‘Requiem’ is pure ART
And London Boys were another act with a 1989 megamix
And London Boys were another act with a 1989 megamix
Sheena
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Requiem IS art. It transcends what they were as an act, really. High camp of the highest order. It's also got a surprising place amongst my group of straight mates who all absolutely ADORE it, though if I try a drunken 1-2 with London Nights, generally that gets skipped unless me and OLD ELLEN are quick enough to get to the NEWLY FANDANGLED IPOD MACHINE first.
Sheena
ROMANCE
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I can't believe no one has replied to this with, so I'm fixing that right now:
MY LIFE!
MY LIFE!
jyxz
User
Have you seen the ‘straight’ roller skating disco troupe Dennis was a member of in 1979? Puts the Village People to shame.
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
The Cure - Boys Don't Cry (Remix) b/w Pillbox Tales (1986)
UK chart peak - Number 22
From maybe the sunniest, cheeriest LADS LADS LADS in pop history, to the group with a (not always) fair reputation as gothic MUSICAL MISERIES.
Now, OK, I can see how The Cure have ended up with that perception over the years. As brilliant as their album "Pornography" is, it's also an unremittingly dark, bleak howl of anguish from a man in the middle of a full on breakdown. As a SINGLES ACT, though, The Cure have had tons of upbeat pop goodness, from the origins of indie dance in "The Love Cats" to the breezy drivetime commerciality of "In Between Days".
"Boys Don't Cry" isn't one of those moments though. Their debut single in 1979, it flopped on release & this version is a little faster, a little more polished, a little better mixed & sung from the perspective of someone with a few more years experience of the UNIVERSITY OF LIFE behind them. Recorded again to promote a Greatest Hits compilation in 1986, this version only exists on this single as the compilation contained the original. So potentially this random pile of OLD 80s SHITE may well have thrown up a single that's worth a FEW BOB. Its tale of a man trying to disguise his real emotions at the end of a relationship still rings as TRUE A NOTE in 2025 as it did back then, but I've never got fully on board with it - chiefly as it's a little too MAUDLIN but also not that MUSICALLY INTERESTING. It's a simple song that's very much the sound of a band finding their feet - I just always want to jump on ahead to the more interesting MUSICAL AVENUES The Cure were exploring shortly after.
It's the same with the B side, another recording of a song previously unreleased - it's a not bad but bland run through of various Cure concerns that would be honed to better effect as the 80s progressed.
Trying to summarise the career of a band with a now nigh on 50 years together would be ludicrous & impossible (unless @octophone wants to give it a try as a distraction from today's unfortunate news) but The Cure have long ago proven themselves as one of the greatest British bands, ploughing on through ups & downs, countless personnel changes, from in trend to out of fashion, always there, doing their own thing, a massive back catalogue of fantastic music that's still being rediscovered by new generations. Their latest album "Songs From A Lost World" is amongst their best, a truly astounding achievement from a band who could have long ago slipped into the Rolling Stones approach of soundalike albums & lucrative tours - instead they're still here, still doing their bit to remain musically fresh & still have something to say 40 odd years in - there's not many that could do the same.
UK chart peak - Number 22
From maybe the sunniest, cheeriest LADS LADS LADS in pop history, to the group with a (not always) fair reputation as gothic MUSICAL MISERIES.
Now, OK, I can see how The Cure have ended up with that perception over the years. As brilliant as their album "Pornography" is, it's also an unremittingly dark, bleak howl of anguish from a man in the middle of a full on breakdown. As a SINGLES ACT, though, The Cure have had tons of upbeat pop goodness, from the origins of indie dance in "The Love Cats" to the breezy drivetime commerciality of "In Between Days".
"Boys Don't Cry" isn't one of those moments though. Their debut single in 1979, it flopped on release & this version is a little faster, a little more polished, a little better mixed & sung from the perspective of someone with a few more years experience of the UNIVERSITY OF LIFE behind them. Recorded again to promote a Greatest Hits compilation in 1986, this version only exists on this single as the compilation contained the original. So potentially this random pile of OLD 80s SHITE may well have thrown up a single that's worth a FEW BOB. Its tale of a man trying to disguise his real emotions at the end of a relationship still rings as TRUE A NOTE in 2025 as it did back then, but I've never got fully on board with it - chiefly as it's a little too MAUDLIN but also not that MUSICALLY INTERESTING. It's a simple song that's very much the sound of a band finding their feet - I just always want to jump on ahead to the more interesting MUSICAL AVENUES The Cure were exploring shortly after.
It's the same with the B side, another recording of a song previously unreleased - it's a not bad but bland run through of various Cure concerns that would be honed to better effect as the 80s progressed.
Trying to summarise the career of a band with a now nigh on 50 years together would be ludicrous & impossible (unless @octophone wants to give it a try as a distraction from today's unfortunate news) but The Cure have long ago proven themselves as one of the greatest British bands, ploughing on through ups & downs, countless personnel changes, from in trend to out of fashion, always there, doing their own thing, a massive back catalogue of fantastic music that's still being rediscovered by new generations. Their latest album "Songs From A Lost World" is amongst their best, a truly astounding achievement from a band who could have long ago slipped into the Rolling Stones approach of soundalike albums & lucrative tours - instead they're still here, still doing their bit to remain musically fresh & still have something to say 40 odd years in - there's not many that could do the same.
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
It does actually adapt SURPRISINGLY WELL. I am adding the album to the list of MUSICAL NONSENSE I must track down & own
Also I happen to LOVE every COMMANDMENT on "The Twelve Commandments Of Dance" even beyond the singles. WHAT A (FIERCELY HETEROSEXUAL) DUO
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
Please do come back when you're in a better frame of mind, octy, as I'd be intrigued to get your insight on The Cure's long career. Obviously other worries at the moment *hugs*
octophone
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The Cure's lows are truly low, it must be said. There's a couple of later albums when they are a pale photocopy of a parody of themselves. I had low expectations for Songs Of A Lost World but it's a genuinely excellent album.
Shirley
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God that's awful and I speak as a HEAVY CONSUMER of RUBBISH DISCO
The Cure are brilliant and their albums have done surprisingly well here in the States unlike their singles on the charts.
Boys Don’t Cry is a pretty well played song here radio wise but I don’t see that the original or the updated version charted here. Though they really don’t have a lot of chart success with the bulk of their singles here.
Looks like Friday I’m In Love is their last charting song here and it only hit number 18 apparently.
Spain seemed to love them in 2008 as they had a run of 3 #1s and a #2 singles
Boys Don’t Cry is a pretty well played song here radio wise but I don’t see that the original or the updated version charted here. Though they really don’t have a lot of chart success with the bulk of their singles here.
Looks like Friday I’m In Love is their last charting song here and it only hit number 18 apparently.
Spain seemed to love them in 2008 as they had a run of 3 #1s and a #2 singles
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Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
If I remember rightly, Joe, the outlier was "Lovesong" which got to number 2 in America in 1989
Yeah that song was MASSIVE
Shirley
BIG-HEARTED BUNNY
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We didn't get enough SHEILA chatSheila E - The Belle Of St Mark b/w Too Sexy (1985)
UK chart peak - Number 18
View attachment 34622
Confusingly, the label to this single credits only Sheila E as the songwriter, but Wikipedia also lists Prince - perhaps @Ellie can clarify? Either way, this unsurprisingly bears the HEAVY INFLUENCE of the PURPLE ONE, as Sheila E, maybe the most legendary percussionist in the industry, was a key member of Prince's backing band for many years & also, I believe, in a relationship with him for at least some of that time.
Between her Whitney-esque looks, chic fashion sense & amazing percussion skills, OUR SHEE was an obvious candidate for Prince to groom for solo stardom, but unlike some of his other proteges, she had immense musical skills in her own right, so I'm unsure if the PURPLE ONE took the lead on her early solo work, or if Sheila was more in control, or if there might have been a bit of a POWER STRUGGLE going on. Regardless of the background,
This follow up was a more minor success at home (#34), but gave her her only chart entry in the UK, reaching the top 20. Like with other big American successes at the time, I do wonder if the relative floppage here was due to a lack of time available to promote overseas. Accompanied by fab live performances by OUR SHEE & her backing band with them all sauntering around the stage in unison, "The Belle Of St Mark" is all about some FEY, ANDROGYNOUS, ETHEREAL yet SEXY type (it's giving a male Enya) who OUR SHEE falls for, although he sounds a bit MINCY to me, Sheila - watch out & GOD HELP US IF THERE'S A WAR ON.
The zippy backing music is Prince through & through, but it's all done in a more upbeat, cartoony fashion. Absolutely one of the best works related to Prince from that decade & CRIMINAL it wasn't a bigger hit - it's just great! B side "Too Sexy" doesn't seem to have Prince's involvement, but the influence is still all over it, with this mainly instrumental percussion led tune featuring lots of heavy breathing & hints of NAUGHTINESS.
Sadly, despite still regularly releasing albums, Sheila's chart career didn't last much longer after this, but even after her association with Prince ended, she's worked & performed with every big name UNDER THE SUN over the years - her percussion skills have remained in constant demand & she's by far the most well-known musician associated with the percussion. Despite being iconic & pioneering though, has any other female musician of note followed on & cited her as an influence? I can't think of anyone myself, which is a real shame.
"His Paris hair, it blows in the warm Parisian air
That blows whenever his Paris hair is there"
I CAN
I CAN HELP
I CAN HELP YOU
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