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"Boys Don't Cry" is widely regarded as one of the Cure's best songs. In 2019, Billboard ranked the song number four on their list of the 40 greatest Cure songs, [8] and in 2023, Mojo ranked the song number three on their list of the 30 greatest Cure songs.
Three Imaginary Boys is the debut studio album by English rock band the Cure, released on 8 May 1979 by Fiction Records, [2] and reached number 44 on the UK Albums Chart. [3] It was later released in the United States, Canada, and Australia with a different track listing as a compilation album titled Boys Don't Cry .
Boys Don't Cry is the Cure's first compilation album. [1] Released in February 1980, this album is composed of several tracks from the band's May 1979 debut album Three Imaginary Boys (which had yet to see a US release) with material from the band's 1978–1979 era.
"Killing an Arab" is the debut single by English rock band the Cure. It was recorded at the same time as their first album Three Imaginary Boys (1979), but not included on the album. However, it was included on the band's first US album, Boys Don't Cry (1980). [2] The song's title and lyrics reference Albert Camus's 1942 novella The Stranger.
The album's titles are both taken from the opening lyrics of the Cure's debut single, "Killing an Arab". The "New Voice – New Mix" of "Boys Don't Cry" (released as a single little over a fortnight before Standing on a Beach) was not included on the album; thus the album's singles span only from 1978 to 1985.
The Cure are an English rock band formed in Crawley in 1976 by Robert Smith (vocals, guitar) and Lol Tolhurst (drums). ... "Boys Don't Cry", was released in June.
"Jumping Someone Else's Train" is a song by English rock band The Cure. Produced by Chris Parry , it was released on 2 November 1979 in the UK as a stand-alone. It later appeared on the US version of the band's debut album, Boys Don't Cry (1980).
The album's songs have been described by critics as featuring vague, often unsettling lyrics and dark, spare, minimalistic melodies. Some reviewers, such as Nick Kent of NME, felt that Seventeen Seconds represented a far more mature Cure, who had come very far musically in less than one year. [21]