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Three Imaginary Boys Original recording remastered

4.4 out of 5 stars 9 customer reviews

Price: CDN$ 88.18
Only 1 left in stock - order soon.
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Product Details

  • Audio CD (March 28 2006)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Rhino-Atlantic
  • ASIN: B000ENC72C
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.4 out of 5 stars 9 customer reviews
  • Amazon Bestsellers Rank: #61,171 in Music (See Top 100 in Music)
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1. 10:15 Saturday Night
2. Accuracy
3. Grinding Halt
4. Another Day
5. Object
6. Subway Song
7. Foxy Lady
8. Meathook
9. So What
10. Fire In Chairo
11. It's Not You
12. Three Imaginary Boys
13. Weedy Burton

Product Description

Product Description

Originally a goth-flavored post-punk outfit, The Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, The Cure's signature sound balances dreamy pop savvy and poetic lyricism witha dark, brooding intensity. The band's first four groundbreaking albums-newly remastered-are a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. Fusing superbly crafted songs with charged emotional depth from the very beginning, The Cure's early catalogue, as upgraded by Rhino, is ready to be revisted. Elektra. 2006.

L'ennui évoqué par la jaquette du CD trouve son pendant musical dans le superbe "10.15 Saturday Night". Cette chanson qui ouvre ce premier album du plus inspiré trio britannique de la fin des 70's en traduit également les préoccupations artistiques. Robert Smith et ses hommes sont en train d'inventer une forme de minimalisme électrique, une sorte de dépouillement dans la forme - à l'image de cet aspirateur près du frigo sur la pochette - qui préfigurait ce que l'on appellera le "lo-fi". Cet album, tout en sobriété froide, dégage pourtant une humanité qui tient au propos désabusé de Smith. Désabusé mais rempli d'espoir. Avec cette voix si particulière, comme un sanglot qui ne parvient pas à se libérer, le chanteur guitariste, avec quelques effets peu élaborés (sur "Object"), installe un climat où il livre son âme d'écorché. Nul étonnement, dès lors, de le voir reprendre le "Foxy Lady" d'Hendrix. Qui se ressemble... --José Ruiz --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

4.4 out of 5 stars
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Top Customer Reviews

Format: Audio CD
While not a landmark album, except that it is the Cure's debut, '3IB' was a creative mixture of punk and post-punk, released in 1979 right as the cusp between the 2 scenes was developing; Siouxsie and the Sisters were formed right on this same razor's edge. The key song's were the suicidal "10:15 Saturday Night" and the title track. 10:15 is basically a minimal, almost brushed rather than outright strummed acoustic sound with a very nervous, desperate undercurrent. Then the jarring, jagged electric guitar screams in making a sound that truly sounds like someone cutting his or her wrists - it's simple but brilliant. The title track remains one of the band's best ever, a brooding, iconic post-punk masterpiece similar to Bauhaus' classic "She's in Parties". Here is a quick summary of the other tracks:
Accuracy - short & sweet punk
Grinding Halt - like above but with clever beat/rhythm that slows down to come to a grinding halt
Another Day & object - short & bratty punk; Smith sounds like he's 12
Subway Song - minimal and very creepy... a well kept Goth secret
Foxy Lady - a funny, fast-paced cover of Hendrix (Cure doing Jimmy - ha!)
Meathook & So What - back to short, bratty punk
Fire in Cairo - quirky punk... funny chorus when he quickly spells out
Solid and punchy throughout with a pair of great songs. Auspicious start with some towering moments.
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Format: Audio CD
These songs are more than 20 years old, and remain some of the best musical experiences around. Time has not altered their strength. Much the contrary.
I discovered the Cure when this album was released in France. Those were the days. Therefore, I guess I'm sort of stuck with my fond memories of these fantastic tunes, as I don't quite agree with other reviewers. To put things simply : this first album is my favorite.
I remember that upon discovering this record, I thought : How did these guys manage to construct such a powerful debut ? The first tune was arresting (10:15), then it got better and better. I was amazed. They were confident enough to keep the best tunes buried inside !
Sure, the Cure evolved after this first opus, they got more experimental (Seventeen seconds, my second best), onright depressing (Pornography, "the black gem"), or playful (Japanese whispers), and then they toyed with these ideas, fleshing them out, creating variations (Disintegration, Kiss...). But they never captured again the brilliance of their debut, this obvious display of Robert Smith's genius.
My guess is that Robert was disappointed with the response to his first songs, got weird, depressed, then gradually decided, I'm able to give them the tunes they want. Consequently, the Cure released "Japanese whispers" and the others. I confess I listened to each one of them. But at the time I did not want to admit that I was gradually losing interest (yeah, that's right, I was getting older. But hey, I don't dribble all over yet).
This first record has got it all. This IS "the Cure". Any "real fan" should, in my opinion, listen to it. Try to forget about those "synth layers".
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Format: Audio CD
I hate to say it, but I'm old enough to recall searching racks and racks of vinyl albums for this one!
This album was The Cure's first. (Their Peel session EP doesn't contain enough tracks to make it a real album....but it has a fantastic version of Boys Don't Cry.) Any semi-serious Cure fan will quickly realize that most of the tracks on "Three Imaginary Boys" made it onto their U.S. Debut album: "Boys Don't Cry".
While moody and quirky, this album is not a showcase for The Cure. This early work shows Robert Smith's attempts at defining a sound for the group before they knew what they were doing. Its heavy Punk influence overshadows the dark and sad mood of the words of most of the songs.
This album does contain a few gems like Meathook, Plastic Passion, and 10:15 Saturday Night, and it MUST be part of any Cure fan's collection... but if you like the layered, synth-heavy tones of "Disintegration", or the angry and loud "Kiss Me Kiss Me Kiss Me", then this one is NOT for you.
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Format: Audio CD
This is the record that sounds odd when the rest of their discography is taken into consideration. But at the same time, it makes perfect sense that they made an album that sounded like this. It's very representative of its time period, but at the same time, it doesn't sound dated. On the contrary. I like this record so much more than when I first heard it. It's a very subtle album, but in the subtleties is where its charm lies. The songs are some of Mr. Smith's most enduring and catchy. No less than three post punk classics are included in the form of "Subway Song," "Fire In Cairo," and the undeniably great "10.15 Saturday Night." All Cure fans should hear this album at least once to hear one of the band's finest albums, and one of the finest albums of the initial post-punk/new wave movement.
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By A Customer on March 24 1999
Format: Audio CD
TIB is possibly one of the best Cure albums ever, spanning a broad range of styles that were expanded further in the Cure's later works. What I like most about this album is its raw energy and simplicity. Lacking anything remotely close to the remixing on their more recent albums, the songs are not as layered and intricate -- and come across as much more genuine, honest.
A lot of people suggest that if you have the "Boys Don't Cry" album, you don't need this one given the repition of many tracks. Don't kid yourself: TIB includes several tracks unavailable elsewhere that make the purchase worthwhile. My favorite songs on the album are "It's Not You" and "So What," neither of which is available elsewhere.
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