The Cure answers fans’ wishes
with a more well-rounded album
>• -
“Wish”
The Cure
Elektra/Fiction Records
Even casual fans of those gloom -
rock titans The Cure will find the
newest album pretty hard to resist.
Those who follow the band’s chro
nology remember that it started out as
a group of strutting little punks mak
ing edgy pop tunes about eternally
mopey subjects. Ringleader Robert
Smith, in particular, became a sort of
patron saint for all those black-clad
poetic types with chips on their shoul
ders and a fetish for being miserable.
“Wish,” the band’s latest release,
comes as a bit more sunny venture
than The Cure’s last one — 1989’s
swirling, dense, thunderstorm of an
album, “Disintegration.” Smith fol
lowed that disc up with a bunch of
cheesy dance remixes of his mopicst
tunes (“M ixed Up”) and got whatever
frivolity was left out of his system.
Sort of.
On “Wish,” the group balances its
copyright disillusionment with its more
poppy, tongue-in-cheek side that got
it on the alt-rock map in the first
place. Be alerted if you are a fan: The
successful combination may well give
The Cure its best album yet.
Starting things off with the double
shot of “Open” and “High,” we find
the band in trademark gloominess but
chugging down the track a bit to a
more peppy rhythm section. Drum
mer Boris Williams is much more
light on his slicks this time out, and
consequently gives the up-tempo tracks
added heft.
Then things take an effectively
drastic turn with “Apart,” a brooding
fable straight out of the sessions for
“Disintegration.” You can almost hear
the rainstorm rush of tears erupting
out of the song’s two protagonists
over lines like, “She just drops her
pearl-black cycs/And prays to hear
him say... /I love you/But he tells no
more lies.” Bring a hankie to the
wake.
Thankfully, the mood picks up with
potential single material like “Friday
I’m In Love,” a song with very silly
lyrics but an infectious melody, and
“Wendy Time,” a pouting strut of a
song that puts Smith’s wounded puppy
voice back in its original nasal growl.
“Wish” cannot really be swallowed
whole at one sitting, like The Cure’s
last two albums, because the tracks
are not too similar in any particular
sound. That’s a good thing. The Cure
often has stood to become a parody of
itself if it didn’t lighten up a bit. The
band’s saving grace comes in the form
of its musical talent and the real con
nection it makes with its legions of
fans.
It’s a jumbled affair this time out,
but it still sounds much like the old
Cure, or the new Cure, or whichever.
The only classification for “Wish” is
under the heading “Cure Album.”
And that’s a fairly great place to
be.
— Paul Winner
Musicians
Continued from Page 9
are more subtle.”
“I think you gain confidence
playing solos on the spot,” Doering
said. Performing with big bands at
dances and conventions also im
proves sight reading, Doering said,
since they never rehearse with the
band before they play.
Doering said that though he had
performed with many bands and
jazz groups before, “Homithology”
had given him one of his best set
tings for improvisation.
Doering said Homithology was
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important, he said.
“There’s more to it than just
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playing a good solo. There’s got to
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* When this happens, the level of
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Like Docring, Vogt said he
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along with the occasional small
group. Gigscome in spurts, he said,
buthe’shadaboutnincor lOwithin
the five last weeks.
And while the money they make
at these gigs is nice, both Vogt and
Doering said their motivation was
the love of playing.
“I’d play for free if that’s all it
was,” Doering said.
“If our point was money, we
wouldn’t be in music,” Vogt said.
Another thing these two guys
have in common is a strong sense
of where they are as musicians and
how much more they will need to
learn to be considered real jazz
players.
“The more I play and experi
ment with things the more I realize
I know nothing at all,” said Doer
ing.
Although he feigns arrogance
from time to time, Vogt, when talk
ing seriously, immediately admits
to a certain inadequacy as a jazz
musician.
“It can be a real subtle art that I
can’t do, but it’s exciting to at least
for a split second in time to have a
slight feeling that maybe you re
semble in some really pathetic way
this wonderful art that we have on
recordings of great musicians over
time.”
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