The Cure really started to come into it's own on this album. Robert Smith exchanged moody experimental goth-rock on "Pornography" and "The Top" (the latter of which was an abomination to rock music), for the more radio friendly, synth-drum sound that made The Cure one of the defining rock acts in the 80's and the fathers of modern Goth music.Next to "Disintegration," "The Head on the Door" is easily their best work. Every song adds something new with old classic The Cure shtick, including catchy beats and riffs, creepy/introspective lyrics and Smith's haunting vocals. Some may say that The Cure turned "pop" from this record, but it's simply not true. The dark subject matter is still there, obviously, with songs like "The Blood" and "Baby Screams." And Smith's command of experimentation isn't completely lost either, as a lot of the guitar effects at the time were quite revolutionary, using synthesizers and some distortion to achieve a rockin' effect (note "Screw"'s driving guitar hook).
Each song is practically a masterpiece. Even the so-called "filler." They all flow excellently in the makeup of the album, but stand out well as singles. And the hits "In Between Days" and "Close To Me" exhibit wonderfully catchy 80's synthpop sensibilities that make the band accessible to non tight-pants-chains-wearing folk. It's classic.
MY RATING:
Highly recommended as a pioneering goth-rock album and one of the best 80's rock albums ever. Extremely replayable and catchy.
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