I’m not sure if there’s a band that I can claim as my favorite of all time, because the reality is I have a different favorite every day. This process of choosing one favorite over all others seems futile. But, for me, The Cure, is about as close as it gets. For me, their music is irreplaceable. There are things that I feel when I put on a Cure record that I can’t experience with anything else. For the month of June, I hope to share some of this as a I cover a different Cure song each day – counting down from #30 to #1. And, in this case, I have no qualms stating my #1. #30DaysofTheCure
U.S. original release: Disintegration (1989) - Track 7
Ranking: 17
The Cure’s ability to embody the full range of human emotions is a topic that I’ve brushed upon these past couple of weeks. I think it’s an underrated aspect of the band because there are two common misconceptions of the band that prevent casual listeners from realizing this truth. First, many listeners simple write them off as a “doom & gloom” goth band. Second, others say The Cure oscillates between two extremes: misery and elation. The reality is The Cure catalog spans every imaginable emotion that a person can feel. People say Disintegration is downcast throughout, but there are a few songs that exude something far different. One of those tracks is “Fascination Street”.
This was one of the first songs I heard from Disintegration, and I’ve loved it from the beginning. It has held up remarkably well over time. This one’s a true banger. Sonically The Cure are in full force here, there’s little nuance, and there’s plenty of force. The instrumental layering that The Cure is so good at here isn’t subtle. On “Fascination Street”, the guitars shimmer and swirl – and erupt in intervals. The keys play a more atmospheric and complementary role on the track – doing just enough and highlighted by those unforgettable arpeggios. The driving force of “Fascination Street”, of course, is the rhythm. Boris’ drumbeats are nearly stumbling over one another while Simon’s bass line crawls insistently inside your head and stays put. Robert doesn’t start singing until the 2:22 mark, and rightfully so. He nails the vocals, but the instruments are the elements that create the thrilling mood of a reckless, liberating night in New Orleans.
“So just pull on your face. Just pull on your feet. And let's hit opening time down on Fascination Street.”