The opening track on The Cure’s debut album and the B-side for their debut single “Killing An Arab,” “10:15 Saturday Night” has all of the sadness in the lyrics that a casual Cure fan will identify with (“Waiting for the telephone to ring/And I’m wondering where’s she been”) but the sound is a little more post-punk, darker, and guitar-driven than most people maybe realize or remember. At this point in their career The Cure were an angry trio—this is their only album as a trio—and it would be their next album that would begin their journey as a more gothic pop/rock group. This was also the only album that Robert Smith had limited to no control over. The end result was a solid debut effort, a perfectly imperfect album that built the foundation for a band that didn’t always sell consistently huge in the U.S. but influenced a legion of singers and songwriters who were willing to embrace their inner sadness and heartache in new ways. “10:15 Saturday Night” isn’t in a hurry to get from point A to point B: the slow parts have time to breathe, it builds up on its own pace, and the guitar solo is loud but not overlong. It has all of the necessary components of a track that revolves around a chorus of drip, drip, drip, drip, drip, drip, drip, and the reality and madness and anger and depression of such an idea.