Simon Gallup's departure from the Cure is among the band's sad moments. Ending abruptly the violent Pornography tour in June of 1982, after a severe fight in Brussels, the Cure practically disbanded for some months, before the unexpected return of Smith and Tolhurst with the sarcastic pulse of "Let's got to bed".Simon Gallup's trace was lost for some months, until he resurfaced in the end of 1982 with Fools Dance, a new band which of course visually and sonically pointed strongly to the Cure of the Faith-Pornography era.

Playing gigs and preparing new material was the next move. In between 1983 and 1985, when in February Simon returned to the Cure, Fools Dance existed as his own group, and a very active one.

FOOLS DANCE is an EP that was released in 1986, even though the material is around the aforementioned period of 1983-1984. From the cover layout to the core of the 5 songs included here, there is a strong reminiscence of the Cure. Gary Biddles' performances point over to Smith. However there is more to their music than just nostalgia of the Cure-- the songs are well written, they offer intensity and energy, the lyrics are sharp, the addition of synths and saxophone is a surprise, and the result in each case is impressive.

The "Priesthole" that opens the first side is a dark anthem which could easily be in PORNOGRAPHY. The "eastern" guitar riff, the mid tempo rhythm section howling underneath, the addition of weird effects and saxophone, the bouncing vocals portraying religion, sex, and sadism in chilling results, all make for a great song, and the definitive introduction to the Fools Dance's demented universe.

"Happy families waiting(at the skylab landing bay)" has a bizarre title, and enigmatic lyrics about a mixture of experiments and chaotic relationships. The music is great, and the closest connection I can come up with is "All cats are grey". Slow tempo, keyboards and washes of acoustic guitars and a great touch from the saxophone accompany Biddles' Smith-esque wail.

"I'm so many (talk talk) ends Side A with a more danceable, winning new wave style. More uptempo and energetic, the sax-guitars here creating an "arty" approach, the erotic lyrics giving strength to the song's character, and the vocals sounding convincing. Truly, a great song.

Side B offers two atmospheric songs, the first being the more melodic new wave of "Sa'ha", with the description of a woman on the edge of erotic collapse, wailing vocals and chiming guitars pointing to the pre-FAITH period of 17 SECONDS, and a beat that allows a more danceable pattern to appear...

"The Don Diddy song" hides the EP's most desperate, ominous song behind a seemingly comic title. Piano, echoing vocals mixed with background effects and lots of reverb on the guitar create a disturbing, unsettling atmosphere, and at times the result reminds of HEAVEN UP HERE's more eerie moments. A great conclusion to a rare and valuable EP.

Fools Dance received mixed critics for their performances by the UK press of the time, mostly being accused as mere Cure clones. Though this may be true to some extent, it is absolutely natural, since Gallup was a key member of the 1980-1982 Cure, so there's no wonder there are similarities and a common ground..but beyond that, FOOLS DANCE is an EP of multiple value, musical and historical. All five songs are great. And thats what counts in the end: twenty minutes of very good music and high historical importance...