I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb
The Head On The Door had an ease and accessibility about it. It’s common to deem this trait as a weakness. But nothing could be further from the truth. It isn’t so much a mainstream album, and it certainly isn’t The Cure selling out. The album explores a number of different genres and influences, conjures up a dozen different emotions. It just happens to be danceable with moments of pop. Just maybe you’re dancing in a cemetery, not at prom. The unheralded track “The Baby Screams” is one of my favorite deep cuts from the band.
Here’s proof that the quintet works. It thrives. Smith, Tolhurst, Thompson, Gallup and Williams sound like they’re having a ball playing this. To this day, I still don’t know what the song is about, although it’s definitely not about colicky babies. Like many Cure songs, it’s not about what the song is telling you, it’s about how it makes you feel. When I play “The Baby Screams”, I wanna play air bass to those chunky bass hooks from Gallup. I wanna play air keys with those ironic flourishes from Tolhurst. I wanna get behind Boris’ kit and wail on the drums all afternoon and skip work. I wanna crush those guitar riffs side by side Porl. And I want to scream like a hyena with Robert. But the headphones will do just fine for now.
“HEAVEN, GIVE ME A SIGN. WAITING FOR THE SUN TO SHINE. PLEASURE FILLS UP MY DREAMS AND I LOVE IT, LIKE A BABY SCREAMS.”