The Cure’s The Top is a record built on contradiction. Released in 1984, it tries to be both a pop album and a dark, gothic statement at once. Robert Smith had spent years making moody post-punk records, and here he pushes toward something bigger — guitars turned up, melodies stretched thin, lyrics that lean into fantasy and dread. The result is uneven, but it is also ambitious in a way few of his contemporaries dared to be. The album wants to be a grand, sprawling statement and a tight pop record at the same time, and that tension is what makes it worth hearing.
Shake Dog Shake Opens the Record
The album starts with “Shake Dog Shake,” a song that announces the change of direction immediately. It is urgent, almost aggressive, with a riff that feels less like a Cure track and more like a band trying to sound dangerous. The song earns its place as one of the record’s high points — it is the moment the album stops being polite and starts being loud.
“Birdmad Girl” follows, and it is a strange choice as a second track. It is lighter, almost playful, and it sits oddly next to the opener. The song works on its own terms, but it does not carry the weight of what came before it.
“Wailing Wall” is the centerpiece of the early part of the record. It builds slowly, layering guitar lines until it reaches a climax that feels earned rather than forced. It is one of the best songs on the album, and it shows what happens when the band lets ambition sit with patience.
Give Me It and Dressing Up Carry the Middle
“Give Me It” is the record’s most straightforward pop moment. It is catchy, almost danceable, and it stands as one of the strongest tracks on the album. It is a relief after the heavy build of “Wailing Wall,” and it shows the band can do hooks without losing its identity.
“Dressing Up” is shorter and sharper. It is a character study set to music, and it is one of the most distinctive tracks here — the lyrics paint a picture of a performer putting on a show, and the music matches the theatricality. It is a small gem buried in the middle of the record.
“The Caterpillar” and “Piggy in the Mirror” are the weaker links. They are not bad songs, exactly, but they feel like filler — competent, forgettable, and easy to skip when the record plays through. They do not add much to the overall shape of the album.
The Empty World and Bananafishbones Close It Out
“The Empty World” is a brief, quiet track that works as a palate cleanser. It is the shortest song on the record, and it offers a moment of calm before the final push.
“Bananafishbones” is the other standout of the back half. It is a strange, surreal song — a mix of pop melody and odd imagery — and it lands well because it refuses to play by the rules. It is not a hit single, but it is a strong, confident piece of writing.
The Top Closes the Album
The title track is the closer, and it runs over six and a half minutes. It uses that time to stretch out — building tension, repeating lines, and ending on a note that feels both triumphant and exhausted. It is a fitting end to an album that spends its entire runtime trying to balance opposites.
What Works and What Does Not
The record’s strengths are its ambition and its willingness to take risks. The Cure are not playing it safe here — they are reaching for something bigger, and when they hit, the payoff is real. The weaknesses are the moments where that ambition goes too far — the middle tracks that feel like they were added to fill space rather than improve it.
Here is how the album holds together:
- “Shake Dog Shake” — the best opening statement on the record
- “Wailing Wall” — the best song on the album
- “Bananafishbones” — the strangest, most confident track
- “Give Me It” — the most accessible pop moment
- “Dressing Up” — the most theatrical track
| Track | Length | Role |
|---|---|---|
| “Shake Dog Shake” | 4:55 | Opening statement |
| “Birdmad Girl” | 4:05 | Light contrast |
| “Wailing Wall” | 5:18 | Album highlight |
| “Give Me It” | 3:43 | Pop peak |
| “Dressing Up” | 2:51 | Character study |
| “The Caterpillar” | 3:41 | Filler |
| “Piggy in the Mirror” | 3:40 | Filler |
| “The Empty World” | 2:36 | Calm interlude |
| “Bananafishbones” | 3:11 | Surreal standout |
| “The Top” | 6:50 | Closer |
Verdict
The Top is a flawed but fascinating record. It is uneven, but it is also one of the more interesting albums the Cure made — a band willing to chase ambition even when it means risking coherence. The highs are very high, and the lows are very low, but the album as a whole rewards attention.
This is a record that deserves to be heard in full, warts and all.
- Shake Dog Shake4:55
- Birdmad Girl4:05
- Wailing Wall5:18
- Give Me It3:43
- Dressing Up2:51
- The Caterpillar3:41
- Piggy in the Mirror3:40
- The Empty World2:36
- Bananafishbones3:11
- The Top6:50
