Category Archives: Cure

The Cure Discography

Killing An Arab (1978)
b/w 10.15 Saturday Night. Originally released on 7-inch on August 1978 in the UK (Small Wonder). Re-released on 7-inch on February 1979 in the UK (Fiction).

THREE IMAGINARY BOYS (1979)
10.15 Saturday Night / Accuracy / Grinding Halt / Another Day / Object / Subway Song / Foxy Lady / Meat Hook / So What / Fire In Cairo / It’s Not You / Three Imaginary Boys. Released on elpee and cassette on May 11, 1979 in the UK (Fiction/Polydor, 001); reached #44 on the UK charts. Re-released on CD on April 1990 in the UK and in 1998 (Polygram International, 827686).

Boys Don’t Cry (1979)
b/w Plastic Passion. Released on 7-inch on June 1979 in the UK (Fiction).

Jumping Someone Else’s Train (1979)
b/w I’m Cold. Released on 7-inch on October 1979 in the UK (Fiction/Polydor).

I’m A Cult Hero (1979)
b/w I Dig You. Released on 7-inch on November 1979 in the UK (Fiction/Polydor). The A side was recorded under the pseudonym Cult Heroes.

A Forest (1980)
b/w Another Journey By Train. Released on 7-inch and 12-inch on March 28, 1980 in the UK (Fiction/Polydor); reached #31 on the UK charts (charted April 12, 1980 for 8 weeks).

SEVENTEEN SECONDS (1980)
A Reflection / Play For Today / Secrets / In Your House / Three // The Final Sound / A Forest / M / At Night / Seventeen Seconds. Released on elpee and cassette on April 18, 1980 in the UK (Fiction/Polydor); reached #20 on the UK charts. Re-released on CD on January 1986 in the UK.

BOYS DON’T CRY (1980)
Compilation released on elpee in 1980 in Canada (North American, 024) and Japan (Vap Inc., 35124-25). Released on cassette on August 1980 in the UK (Fiction) and US (PVC). Re-released on elpee on August 1983 in the UK (Fiction); reached #71 on the UK charts. Re-released on CD in 1986 in the UK.

Primary (1981)
b/w Descent. Released on 7-inch and 12-inch on March 20, 1981 in the UK (Fiction/Polydor); reached #43 on the UK charts (charted April 4, 1981 for 6 weeks).

FAITH (1981)
The Holy Hour / Primary / Other Voices / All Cats Are Grey // The Funeral Party / Doubt / The Drowning Man / Faith. Released on elpee and cassette on April 11, 1981 in the UK (Fiction/Polydor) and on September 1981 in the US (PVC); reached #14 on the UK charts. The cassette versions featured an extra track, “Carnage Visors.” Re-released on CD on January 1986 in the UK.

Charlotte Sometimes (1981)
b/w Splintered In Her Head + Faith (live). Released on 7-inch and 12-inch on October 1981 in the UK (Fiction/Polydor) and US (PVC); reached #44 on the UK charts (charted October 17, 1981 for 4 weeks).

…HAPPILY EVER AFTER (1981)
Reflection / Play For Today / Secrets / In Your House / Three / Final Sound / A Forest / M / At Night / Seventeen Seconds / Holy Hour / Primary / Other Voices / All Cats Are Grey / Funeral Party / Doubt / Drowning Man / Faith. Compilation released on 2LP in 1981 (A&M, SP2-6020). Re-released on CD (A&M, 6020).

PORNOGRAPHY (1982)
One Hundred Years / A Short Term Effect / The Hanging Garden / Siamese Twins / The Figurehead / A Strange Day / Cold / Pornography. Released on May 3, 1982 on elpee and cassette in the UK (Fiction/Polydor) and US (A&M, 4902); reached #8 on the UK charts. Re-released on CD on January 1986 in the UK, on CD and cassette in the US (Elektra, 60785-2/4) and on digitally remastered CD in 2006 in the US (Fiction/Elektra/Rhino, R2 73351).

The Hanging Garden (1982)
b/w Killng An Arab (live) + One Hundred Years (live), A Forest (live). Released on 7-inch, double 7-inch and 12-inch on July 12, 1982 in the UK (Fiction/Polydor) and US (Sire); reached #34 on the UK charts (charted July 24, 1982 for 4 weeks).

Let’s Go To Bed (1982)
b/w Just One Kiss + Let’s Go To Bed (extended version). Released on 7-inch and 12-inch on November 1982 in the UK (Fiction, FICSX17) and US (Sire, 29689); reached #44 on the UK charts (charted November 27, 1982 for 5 weeks).

The Walk (1983)
b/w The Dream + The Upstairs Room, Lament. Released on 7-inch and 12-inch on June 1983 in the UK (Fiction, FICSX18) and US (Sire); reached #12 on the UK charts (charted July 9, 1983 for 8 weeks). Original 12-inch featured a bonus 12-inch single with “Let’s Go To Bed” b/w “Just One Kiss.” The 7-inch single was also available as a picture disc.

THE WALK (1983)
Released in 1983 as an extended play (EP) record in 1983 in the US (Sire, 23928-1).

The Lovecats (1983)
b/w Speak My Language + Mr. Pink Eyes. Released on 7-inch and 12-inch on October 1983 in the UK (Fiction), US (Sire, 20161) and Canada (Sire, 29 01610); reached #7 on the UK charts (charted October 29, 1983 for 11 weeks). The 7-inch single was also available as a picture disc.

JAPANESE WHISPERS (1983)
Let’s Go To Bed / The Walk / The Lovecats / The Dream / Just One Kiss / The Upstairs Room / Lament / Speak My Language. Released on elpee and cassette on December 1983 in the UK (Fiction/Polydor, 4) and US (Sire); reached #26 on the UK charts. Re-released on elpee, CD and cassette in 1990 in the US (Sire, 25076-1/2/4) and on CD in 1998 (Polygram International, 817470).

The Caterpillar (1984)
b/w Happy The Man + Throw Your Foot. Released on 7-inch and 12-inch on March 26, 1984 in the UK (Fiction, FICSX20) and the US (Sire); reached #14 on the UK charts (charted April 7, 1984 for 7 weeks). The 7-inch single was also available as a picture disc.

THE TOP (1984)
Shake Dog Shake / Bird Mad Girl / Wailing Wall / Give Me It / Dressing Up / The Caterpillar / Piggy In The Mirror / Empty World / Bananafishbones / The Top. Released on elpee, CD and cassette on April 30, 1984 in the UK (Fiction/Polydor, 9) and US (Sire); reached #10 on the UK charts. Re-released on elpee, CD and cassette in 1990 in the US (Sire, 25086-1/2/4) and on CD in 1998 (Polygram International, 821136).

CONCERT – THE CURE LIVE (1984)
Live tracks: Shake Dog Shake / Primary / Charlotte Sometimes / The Hanging Garden / Give Me It / The Walk / One Hundred Years / A Forest / 10:15 Saturday Night / Killing An Arab. Released on elpee on October 1984 in the UK (Fiction, FIXH-10); reached #24 on the UK charts. Also released on expanded cassette version on October 1984 with bonus material billed as Concert And Curiosity – Cure Anomalies 1977-1984 that includes 10 tracks: Heroin Face / Boys Don’t Cry / Sunway Song / At Night / In Your House / The Drowning Man / Other Voices / The Funeral Party / All Mine / Forever.

In Between Days (1985)
b/w Exploding Boy + A Few Hours After This. Released on 7-inch and 12-inch on July 1985 in the UK (Fiction, FICSX22); reached #15 on the UK charts (charted July 27, 1985 for 10 weeks).

THE HEAD ON THE DOOR (1985)
In Between Days / Kyoto Song / The Blood / Six Different Ways / Push / The Baby Screams / Close To Me / A Night like This / Screw / Sinking. Released on elpee, CD and cassette on August 1985 in the UK (Fiction) and US (Elektra, 60435-1/2/4); reached #7 on the UK charts and #59 on the US charts.

Close To Me (1985)
b/w A Man Inside My Mouth + Stop Dead, New Day. Released on 7-inch, 10-inch and 12-inch on September 1985 in the UK (Fiction) and on 7-inch and 12-inch on January 1986 in the US (Elektra, 66856); reached #24 on the UK charts (charted September 21, 1985 for 8 weeks) and #99 on the US charts. US 7-inch features “Stop Dead” on the B side and adds “A Night Like This” to the 12-inch. Re-released on 7-inch on March 1986 in the US with different B side, “Sinking.”

HALF AN OCTOPUSS (QUADPUS) (1986)
Close To Me / A Man Inside My Mouth / New Day / Stop Dead. Released as an extended play (EP) record in 1986 in the UK (Fiction) and US (Elektra). Released as Quadpus in the US with a different track selection: A Night Like This / New Day / Close To Me / A Man Inside My Mouth.

Boys Don’t Cry (1986)
b/w Pillbox Blues + Do The Hansa. Released on 7-inch and 12-inch on April 1986 in the UK (Fiction) and on 7-inch on May 1986 in the US (Elektra, 7-69537); reached #22 on the UK charts (charted May 3, 1986 for 6 weeks). Us 7-inch features a different B side, “Let’s Go To Bed.” Also released as a promotional 12-inch in 1986 in the US (Elektra, 5175) with extended version of “Boys Don’t Cry” on the B side.

STANDING ON A BEACH – THE SINGLES (1986)
Killing An Arab / Boys Don’t Cry / Jumping Someone Else’s Train / A Forest / Primary / Charlotte Sometimes / The Hanging Garden // Let’s Go To Bed / The Walk / The Lovecats / The Caterpillar / In Between Days / Close To Me. Compilation released on elpee on May 9, 1986 in the UK (Fiction, FIXH12), the US and Canada (Elektra, 60477), Australia (Fiction, 600141), Europe (Polydor, 823 239) and Mexico (Polydor, LPR 16684); reached #4 on the UK charts and #48 on the US charts (RIAA certified double platinum as of December 12, 1997). Regional versions of original elpee feature gatefold cover and picture innersleeve. Also released as double cassette in 1986 in the UK (Fiction, FIXHC12) featuring the twelve original B sides from the singles.

Why Can’t I Be You (1987)
b/w A Japanese Dream + Why Can’t I Be You (Remix), A Japanese Dream (Vocal Extended), Six Different Ways (live), Push (live). Released on 7-inch, double 7-inch and 12-inch on April 1987 in the UK (Fiction/Polydor) and US (Elektra, 7-69474, 66810); reached #21 on the UK charts (charted April 18, 1987 for 5 weeks) and #54 on the US charts. Also released as promotional 12-inch in 1987 with two versions of A side in the US (Elektra, 5222).

KISS ME, KISS ME, KISS ME (1987)
The Kiss / Catch / Torture / If Only Tonight We Could Sleep / Why Can’t I Be You / How Beautiful You Are / Snakepit / Hey You / Just Like Heaven / Hot Hot Hot!!! / All I Want / One More Time / Like Cockatoos / Icing Sugar / The Perfect Girl / A Thousand Hours / Shiver And Shake / Fight Time. Released on 2LP, CD and cassette on May 1987 in the UK (Fiction/Polydor, 13) and the US (Elektra, 60737-1/2/4); reached #6 on the UK charts and #35 on the US charts. Original 2LP featured picture innersleeves and included a FREE 12-inch in orange or green vinyl with six tracks: “A Japanese Dream,” “Breathe,” “Chain of Flowers,” “Sugar Girl,” “Snow In Summer,” “Icing Sugar (Remix).”

Catch (1987)
b/w Breathe + Chain of Flowers, Night Like This (live), Kyoto Song (live). Released as 7-inch and 12-inch on June 1987 in the UK (Fiction/Polydor) and the US (Elektra); reached #27 on the UK charts (charted July 4, 1987 for 6 weeks). Some 7-inch singles were pressed on clear vinyl.

Just Like Heaven (1987)
b/w Snow In Summer + Sugar Girl. Released on 7-inch and 12-inch on October 1987 in the UK (Fiction/Polydor) and the US (Elektra) with different B side (“Breathe”); reached #29 on the UK charts (charted October 17, 1987 for 5 weeks) and #40 on the US charts. Some 7-inch singles were pressed on white or clear vinyl.

Hot Hot Hot!!! (1988)
b/w Hey You + Hot Hot Hot!!! (Remix), Hot Hot Hot!!! (Extended Remix), Hey You (Extended). Released on 7-inch, 12-inch and CD single on February 1988 in the UK (Fiction) and the US (Elektra, 0-66783); reached #45 on the UK charts (charted February 20, 1988 for 3 weeks) and #65 on the US charts. Also released as promotional 12-inch with three versions of A  side in 1988 in the US (Elektra, 5273).

THE PEEL SESSIONS (1988)
Killing An Arab / Boys Don’t Cry / 10:15 Saturday Night / Fire In Cairo. Released on 12-inch EP on May 1988 in the UK (Strange Fruit).

Lullaby (Remix) (1989)
b/w Babble + Out of Mind, Lullaby (Extended Remix), Untitled (live). Released on 7-inch, 12-inch, CD single and cassette single on April 1989 in the UK (Fiction) and the US (Elektra, 66664) with different B side, “Homesick (live);” reached #5 on the UK charts (charted April 22, 1988 for 6 weeks) and #74 on the US charts. Some 7-inch singles were pressed on clear vinyl; some 12-inch singles were pressed on pink vinyl. Also released as promotional 12-inch and promotional CD single in 1989 in the US (Elektra, 5418/PR-8125) with two versions of A side.

Fascination Street (1989)
b/w Babble + Out of Mind, Fascination Street (Extended Remix). Released on 7-inch, 12-inch, CD single and cassette single on April 10, 1989 in the US (Elektra, 7-69300/0-66704/66702/94 69300) and Canada (Elektra, 96 67040); reached #46 on the US charts. Also released as promotional 12-inch in 1989 in the US (Elektra, ED-5374) with two versions of A side.

DISINTEGRATION (1989)
Plainsong / Pictures of You / Closedown / Lovesong / Lullaby / Fascination Street / Prayers For Rain / The Same Deep Water As You / Disintegration / Untitled. Released on elpee, CD and cassette on April 24, 1989 in the UK (Fiction) and the US (Elektra, 60855-1/2/4); reached #3 on the UK charts and #12 on the US charts. Original CD featured two bonus tracks: “Last Dance,” “Homesick.”

Lovesong (Remix) (1989)
b/w 2 Late + Fear of Ghosts, Lovesong (Extended Remix). Released on 7-inch, 12-inch, CD single and cassette single on August 1989 in the UK (Fiction) and the US (Elektra, 66687); reached #18 on the UK charts (charted September 2, 1989 for 7 weeks) and #2 on the US charts.

Pictures of You (Remix) (1990)
b/w Prayers For Rain (live) + Disintegration (live), Last Dance (live), Fascination Street (live). Released on 7-inch, 12-inch and CD single on April 9, 1990 in the UK (Fiction) and the US (Elektra, 66639); reached #24 on the UK charts (charted March 31, 1990 for 6 weeks) and #71 on the US charts. Some 7-inch and 12-inch singles pressed on green or purple vinyl.

ENTREAT (1990)
Released as promotional 12-inch EP in 1990 and re-released as elpee, CD and cassette on April 1991 in the UK (Fiction, 17) and the US (Elektra); reached #10 on the UK charts.

Never Enough (1990)
b/w Harold And Joe + Let’s Go To Bed (Milk Mix). Released as 7-inch and 12-inch on September 1990 in the UK (Fiction) and the US (Elektra); reached #13 on the UK charts (charted September 29, 1990 for 5 weeks).

Close To Me (Closer Remix) (1990)
b/w Just Like Heaven + Close To Me (Dizzy Remix), Primary (Red Mix), Why Can’t I Be You (Extended). Released on 7-inch, 12-inch and CD single on October 1990 in the UK (Fiction) and the US (Elektra); reached #13 on the UK charts (charted November 3, 1990 for 5 weeks) and #97 on the US charts.

In Between Days (Shiver Mix) (1990)
b/w In Between Days (LP Version). Released as 12-inch and promotional 12-inch in 1990 in the US (Elektra, 66882/5527).

MIXED UP (1990)
Lullaby (Extended Mix) / Close To Me (Closer Mix) / Fascination Street (Extended Mix) / The Walk (Everything Mix) / Lovesong (Extended Mix) / A Forest (Tree Mix) / Pictures of You (Extended Dub Mix) / Hot Hot Hot!!! (Extended Mix) / The Caterpillar (Flicker Mix) / In Between Days (Shiver Mix) / Never Enough (Big Mix). Released on 2LP, CD and cassette on October 30, 1990 in the UK (Fiction) and US (Elektra, 60978); reached #8 on the UK charts and #14 on the US charts. Original 2LP featured a bonus track, “Why Can’t I Be You.”

High (1992)
b/w This Twilight Garden + Play, High (Higher Mix), High (Trip Mix), Open (Fix Mix). Released on 7-inch, 12-inch, CD single and cassette single on February 27, 1992 in the UK (Fiction, FICS/FICSX/FICCD/FICCS-39), the US (Elektra, 464766/66437), Australia (Fiction, 903177164), France (Fiction, 4211) and Germany (Fiction, 865564-7/2); reached #8 on the UK charts (charted March 28, 1992 for 3 weeks) and #42 on the US charts. Also released as clear vinyl 12-inch on April 1992 in the UK (Fiction, FICSX-41).

WISH (1992)
Open / High / Apart / From The Edge of the Deep Green Sea / Wendy Time / Doing The Unstuck / Friday I’m In Love / Trust / A Letter To Elise / Cut / To Wish Impossible Things / End. Released on 2LP, CD and cassette on April 21, 1992 in the UK (Fiction, FIXH/FIXHC-20), the US (Elektra/Fiction, 61309-2/4), Brazil (Fiction, 513261-1), Colombia (Polydor, 513261-1), Japan (Polydor, POCP-1190), Mexico (Polydor, CDEPR/MCE-1415), Taiwan (Fiction, 513261-2) and Venezuela (Polydor, 30.605); reached #1 on the UK charts and #2 on the US charts (RIAA-certified platinum record). Original 2LP featured lyrics innersleeves.

Friday I’m in Love (1992)
b/w Halo + Scared As You, Friday I’m In Love (Strangelove Mix). Released as 7-inch, 12-inch, CD single and cassette single on May 1992 in the UK (Fiction) and the US (Elektra); reached #6 on the UK charts (charted May 23, 1992 for 7 weeks) and #18 on the US charts.

A Letter To Elise (1992)
b/w The Big Hand +A Foolish Arrangement. Released on 7-inch, 12-inch, CD single and cassette single on October 1992 in the UK (Fiction) and the US (Elektra); reached #28 on the UK charts (charted October 17, 1992 for 2 weeks).

PURE CURE COMPILATION (1992)
Open / High / A Letter To Elise / From The Edge of the Deep Green Sea / Just Like Heaven / Why Can’t I Be You? / Never Enough (Big Mix) / Fascination Street / In Between Days (Shiver Mix) / Love Cats / Boys Don’t Cry / Love Song / Close To Me (Closer Mix) / Hello I Love You. Compilation released as promotional CD in 1992 in Canada (Fiction, CURE-1).

SHOW (1993)
Live tracks: Tape-Open / High / Pictures of You / Lullaby / Just Like Heaven / A Night Like This / Trust / Doing The Unstuck / Friday I’m In Love / Inbetween Days / From The Edge of the Deep Green Sea / Never Enough / Cut / End. Released on 2LP, 2CD and cassette on September 13, 1993 in the UK and Germany (Fiction, FIXH-25/519951) and on 2LP, CD and cassette on September 21, 1993 in the US (Elektra, 61551); reached #29 on the UK charts and #42 on the US charts. Original 2LP/2CD featured three bonus tracks (“Fascination Street,” “The Walk,” “Let’s Go To Bed”), which were also released separately on a CD single as Sideshow.

SHOWPRO (1993)
Just like Heaven (live) / Doing The Unstuck (live). Released as promotional CD single in 1993 in the UK (Fiction, SHOWPRO1).

PARIS (1993)
Live tracks: The Figurehead / One Hundred Years / At Night / Play For Today / Apart / In Your House / Lovesong / Catch / A Letter To Elise / Dressing Up / Charlotte Sometimes / Close To Me. Released on 2LP, CD and cassette on October 1993 in the UK (Fiction) and on December 7, 1993 in the US (Elektra, 61552); reached #56 on the UK charts.

The 13th (Two Chord Cool Mix) (1996)
b/w It Used To Be Me + Ocean, Adonais. Released on 7-inch and CD single on April 22, 1996 in the UK (Fiction, 576 469) and the US (Elektra); reached #13 on the UK charts (charted May 4, 1996 for 2 weeks) and #44 on the US charts.

WILD MOOD SWINGS (1996)
Want / Club America / This Is A Lie / The 13th / Strange Attraction / Mint Car / Jupiter Crash / Round & Round & Round / Gone! / Numb / Return / Trap / Treasure / Bare. Released on elpee, CD and cassette on April 26, 1996 in the UK (Fiction) and the US (Elektra); reached #9 on the UK charts and #12 on the US charts. Original CD release in Japan included a bonus track, “It Used To Be Me.”

Mint Car (1996)
+ Home, Mint Car (Buskers Mix). Released on CD single on June 17, 1996 in the UK (Fiction, FICCD-52) and the US (Elektra); reached #31 on the UK charts (charted June 29, 1996 for 2 weeks).

Gone! (1996)
+ The 13th (Feels Good Mix), This Is A Lie (Ambient Mix), Strange Attraction (Strange Mix). Released on CD single on December 1996 in the UK (Fiction, FICD-53); reached #60 on the UK charts (charted December 14, 1996 for one week).

Strange Attraction (1996)
+ The 13th (Feels Good Mix), This Is A Lie (Ambient Mix), Gone (Critter Mix), Strange Attraction (Strange Mix). Released on CD single on October 8, 1996 in the US (Elektra, 63999).

GALORE: THE SINGLES 1987-1997 (1997)
Why Can’t I Be You? / Catch / Just Like Heaven / Hot Hot Hot!!! / Lullaby / Fascination Street / Lovesong / Pictures of You / Never Enough / Close To Me/ High / Friday I’m In Love / A Letter To Elise / The 13th / Mint Car / Strange Attraction / Gone! / Wrong Number. Compilation released on CD on November 4, 1997 in the US (Elektra, 62217).

Wrong Number (1997)
+ ?. Released on CD single on November 1997 in the UK (Fiction); reached #62 on the UK charts (charted November 19, 1997 for one week).

BLOODFLOWERS (2000)
Out of This World / Watching Me Fall / Where The Birds Always Sing / Maybe Someday / The Last Day of Summer / There Is No If… / The Loudest Sound / 39 / Bloodflowers. Released on CD on February 15, 2000 in the US (Elektra, 62236).

GREATEST HITS (2001)
Boys Don’t Cry / A Forest / Let’s Go To Bed / Lovecats / Caterpillar / Inbetween Days / Close To Me / Why Can’t I Be You / Just Like Heaven / Lullaby / Love Song / Pictures of You / Never Enough / High / Friday I’m In Love / Mint Car / Wrong Number / Cut Here / Just Say Yes. Compilation released on CD on November 31, 2001 (Universal).

Cut Here (2001)
+ ?. Released on CD single on November 2001 in the UK (Fiction); reached #54 on the UK charts (charted November 10, 2001 for one week).

JOIN THE DOTS: B-SIDES & RARITIES 1978-2001 (2004)
10:15 Saturday Night / Plastic Passion / Pillbox Tales / Do The Hansa / I’m Cold / Another Journey By Train / The Descent / Splintered In Her Head / Lament (Flexipop Version) / Just One Kiss / The Dream / The Upstairs Room / Lament / Speak My Language / Mr. Pink Eyes / Happy The Man / Throw Your Foot / New Day / The Exploding Boy / A Few Hours After This… / A Man Inside My Mouth / Stop Dead // A Japanese Dream / Breathe / A Chain of Flowers / Snow In Summer / Sugar Girl / icing Sugar (Remix) / Hey You!!! (Extended Remix) / How Beautiful You Are… (Remix) / To The Sky / Babble / Out of Mind / 2 Late / Fear of Ghosts / Hello I Love You (Psychedelic Version) / Hello I Love You / Hello I Love You (Slight Return Mix) / Harold And Joe / Just Like Heaven (Dizzy Mix) // This Twilight Garden / Play / Halo / Scared As You / The Big Hand / A Foolish Arrangement / Doing The Unstuck (Saunders 12” Remix) / Purple Haze (Virgin Radio Version) / Purple Haze / Burn / Young Americans / Dredd Song / It Used To Be Me / Ocean / Adonais // Home / Waiting / A Pink Dream / This Is A Lie (Ambient Mix) / Wrong Number (P2P Remix) / More Than This / World In My Eyes / Possession / Out of This World (Oakenfold Remix) / Maybe Someday (Hedges Remix) / Coming Up / Signal To Noise (Acoustic Version) / Signal To Noise / Just Say Yes (Curve Remix) / A Forest (Plati/Slick Version). Compilation released as 4CD box set on January 27, 2004 in the US (Rhino, 78043).

THE CURE (2004)
Lost / Labryinth / Before Three / The End of The World / Anniversary / Us Or Them / Alt. End / I Don’t Know What’s Going On / Taking Off / Never / The Promise / Going Nowhere. Released on CD on June 29, 2004 in the UK (Universal) and Taiwan (Universal, 986288). Also released as Deluxe Edition CD in 2004 in the UK (Universal, 986289) and Germany (Universal, 986290) with bonus track (“Truth Goodness And Beauty”) plus bonus DVD featuring three tracks (“Lost,” “The Promise,” “Truth Goodness And Beauty”).

The End of The World (2004)
+ This Morning, Fake. Released on CD single on July 2004 in the UK (Fiction) and on August 3, 2004 in the US (Geffen, 306622); reached #25 on the UK charts (charted July 31, 2004 for 3 weeks).

Alt.End (2004)
+ Why Can’t I Be Me, Your God Is Fear. Released on CD single on October 12, 2004 in the US (Geffen, 365032).

Taking Off (2004)
+ Why Can’t I Be Me, Your God Is Fear, Taking Off (video). Released on CD single on October 19, 2004 in the UK (Fiction) and the US (Geffen); reached #39 on the UK charts (charted October 30, 2004 for one week).

The Only One (Mix 13) (2008)
b/w The Perfect Boy (Mix 13). Released on CD single on May 20, 2008 in the UK (Fiction) and the US (Geffen); reached #48 on the UK charts (charted May 24, 2008 for one week).

Freakshow (2008)
b/w All Kinds of Stuff. Released as CD single on June 10, 2008 in the US (Geffen).

Sleep When I’m Dead (2008)
b/w Down Under. Released on CD single on July 15, 2008 in the UK (Fiction) and the US (Geffen); reached #68 on the UK charts (charted July 26, 2008 for one week).

The Perfect Boy (Mix 13) (2008)
b/w Without You. Released on CD single on August 12, 2008 in the US (Geffen).

HYPNAGOGIC STATES (2008)
The Only One / Freakshow / Sleep When I’m Dead / The Perfect Boy / Exploding Head Syndrome. Released on CDEP on September 16, 2008 in the US (Geffen).

4:13 DREAM (2008)
Underneath The Stars / The Only One / The Reasons Why / Freakshow / Sirensong / The Real Snow White / The Hungry Ghost / Switch / The Perfect Boy / This. Here And Now. With You. / Sleep When I’m Dead / The Scream / It’s Over. Released on CD on October 28, 2008 in the US (Geffen).

INTO THE DARK (2009)
Albums: THREE IMAGINARY BOYS / SEVENTEEN SECONDS / FAITH / PORNOGRAPHY. Compilation of first four albums released on 4LP colored vinyl boxed set in 2009 in the UK (Lilith, LR402).

The Cure: Three Imaginary Boys (1979)

Kronomyth 1.0: PUNKICILLIN. A lot of new wave bands started out as punks: Adam and The Ants, The Damned, The Stranglers, XTC. I’d even throw The Police and Devo into that group. The Cure, however, started as a really good punk band. Three Imaginary Boys, their first record, is one of the best records to come out of the late 70s English punk movement. “Accuracy,” “Grinding Halt” (a personal favorite of mine), “Object,” “Fire In Cairo” and “It’s Not You” are some of the best punk/pop songs this side of The Buzzcocks. The gloomy and dense Cure albums that followed have little in common with these Boys save for a few dark turns on “Subway Song,” the atmospheric “10.15 Saturday Night” (selected as the album’s single, although it’s not nearly the best song on here) and the spooky, slinky title track. Unfortunately, Three Imaginary Boys was packaged without the boys’ full approval, from the unauthorized album cover (which I actually like) to the unwanted inclusion of “Foxy Lady” (sung by Michael Dempsey and very reminiscent of XTC’s “All Along The Watchtower”) and the sloppy 12-bar blues at the end (eventually credited as the album’s thirteenth track, “The Weedy Burton”). Whether or not this is the album that Robert Smith would have released, it’s the album that launched The Cure and caught the ear of punk fans after the Pistols went silent. Despite some youthful mistakes (“So What,” “Meat Hook”), Three Imaginary Boys is a varied and very good first album of English punk with just the right amounts of attitude, energy and oddball antisocialism. It’s kind of a shame they didn’t stick with punk.

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The Cure: Seventeen Seconds (1980)

Kronomyth 2.0: A HEAVENLY SEVENTEEN. The opening argument for The Cure’s new, dark manifesto is two minutes of instrumental music that creeps like a cool mist over a moonlit cemetery. In other words, this is the first record that actually sounds like a Cure record in all of its psychedelic, gothic glory. The vision is still a little murky here, but all the familiar pieces were beginning to take shape: Robert Smith’s pained and vulnerable voice, the flanged guitars, atmospheric keyboards and seductively slinky bass lines. Songs like “A Forest,” “In Your House” and “Play For Today” begin to carve out a distinctive and effective style for The Cure that builds on the sound of contemporaries like Joy Division, Siouxsie and the Banshees and Wire, and adds the gilding of a beautiful melancholy to it. The lyrical imagery invokes darkness, night and cold; lovers are lost in the forest, dreams are dead. It isn’t nihilism so much as a natural affinity for the night and the dark reflections it inspires. Suspended in the act of introspection, time loses meaning as the remembrances of sweetness and sadness are eternally savored. Seventeen years become seventeen seconds that feel like an eternity in the gothic midnight of the mind. With Laurence Tollhurst and Simon Gallup on board, the core lineup of The Cure was now intact. Subsequent albums would refine the vision, delve into darker places with lurid detail and finally emerge at the end of the mind’s tunnel into a brighter, better place. Three Imaginary Boys, as good as it is, remains something of a false start. Seventeen Seconds is the beginning of a much longer, deeper journey and a logical starting place for longtime fans.

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The Cure: Pornography (1982)

Kronomyth 5.0: SEX AND DEATH. The Cure continues to perfect their PoePopGothRock on Pornography, provided your definition of perfection includes gloomy, glommy ruminations on suicide and murder. With an opening line of “It doesn’t matter if we all die,” Robert Smith leads us into a strange world where paranoia and poetry play an equal part in creation. If you’ve heard any of the early Cure albums, you’ll know they’re difficult by design, with uncomfortable imagery (e.g., the slaughterhouse setting of “The Hanging Garden”) and lots of psychological self-eviscerating as Smith battles dark, uncontrollable urges in a madhouse of pounding rhythms and warped melodies. And, yes, right now you’re thinking “Add a punchbowl and you’ve got a party,” but Pornography really is a pleasure, albeit of a different kind. The opening “One Hundred Years” and “A Short Term Effect” usher the listener into a lurid world where melodies (and time) are distorted in the carnival mirrors of morbid reflection. After those two tracks, I happily followed The Cure as the music grew progressively darker, through the hanging garden, past the figurehead and into the cold, strange day. It ends at the edge of nightmares on the final, title track, where murky shapes and disembodied, discombobulated voices paint over the last exit in deep, impenetrable black. Reading later reviews of The Cure’s music, you get the sense that most listeners were happy to put the past of Pornography and Faith behind them, yet I would tell you this chapter is just as essential to appreciating the band as Head On The Door. Malady was their muse, suffering their supper, and if the giddy songs that followed were fueled by an almost desperate energy, it was because the next dark turn was right around the corner. I’d stop short of calling Pornography a great record because it is a bit of an underdone downer in the middle, but in many ways the album is an early Gothic masterpiece.

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The Cure: The Head On The Door (1985)

Kronomyth 9.0: CLOSE TO PERFECT. Somewhere outside of London (?), The Smiths and Siouxsie And The Banshees were being hurled one at the other in the eye-on collider of Robert Smith’s imagination. Everyone’s favorite gothic moptop had already come a-courting on songs like “The Lovecats” and “The Caterpillar,” but even they didn’t prepare you for the sweetness of “Inbetween Days,” “Close To Me” and “Six Different Ways.” With just a few synthesizers (including the Yamaha DX-7 and E-mu Emulator II) and a five-piece band that now included drummer Boris Williams, Smith converted his boiler room of intense emotions into a psychedelic candy store of sounds. Scratch the marzipan surface and, yes, it’s still the same bitter fruit you’re chewing on: fear, anxiety, loathing. But Smith has somehow found joy in his despair, and the result on The Head On The Door is the giddy realization that we can be happy in our miserable state. It’s a liberating thought, and Smith uses his newfound freedom to expand his musical borders with some very unCure-like elements, from saxophone (“A Night Like This”) to nylon-stringed guitar (“The Blood”). The contrast between light and dark is what’s most striking on this album, and it remains a kind of fulcrum on which tastes teeter between The Cure’s dark past and their bright future. I personally love the record and think it’s the best thing they’ve done, but I’m an inveterate fence-sitter, more throw pillow than man most days. 20 years later, long after the last hope that The Cure might labor in obscure darkness again, The Head On The Door was released in a deluxe double-disc edition with home recordings, studio demos and live tracks. The handful of home recordings are illuminating and (a word I would have thought to safely sequester before writing a Cure review) charming; Smith’s informal version of “Inbetween Days” is a little slice of homespun heaven. Of the remaining demos, many of which never made it onto record, “The Exploding Boy” and “A Few Hours After This” could have become contenders for a coveted album spot. The added live tracks, which focus on the original album’s darker aspects, are interesting as well, if only because you don’t hear an audience get excited at the prospect of hearing songs called “The Blood” and “The Baby Screams” every day.

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The Cure: Standing On A Beach – The Singles (1986)

Kronomyth 10.0: LIFE’S A BEACH, AND THEN YOU DIE. Standing On A Beach collects the first 13 singles from The Cure in chronological order, which might seem a kindness but, in fact, plays out more like a gloomy history lesson. I bought this because I was in love with “The Lovecats.” I ended up playing the crap out of that song, “In Between Days” and “Close To Me.” The rest of the record is dour, difficult—in other words, exactly what you’d expect if you’d already heard albums like Faith and Pornography. Poor me, I’d just bought Head On The Door and imagined that all Cure albums sounded like that. They don’t. They’re dark, complex records that deal with difficult subjects (“The Hanging Garden”) and can seem unduly noisy (“Primary”). I did enjoy “The Caterpillar” from The Top and the unbreakable “Boys Don’t Cry,” which was re-released as a single for this album and finally charted. Yet I would ultimately rank Standing On A Beach as one of the more depressing greatest hits albums you’re likely to encounter, simply because The Cure’s early albums were so, well, depressing. On a more interesting note, this was issued in several different formats including an extended CD release (oddly re-titled Staring At The Sea) and a double cassette release that featured an album’s worth of B sides (on the off chance that you still own a cassette player). Beachcombers beware: If you’re really interested in the early Cure, pick up Seventeen Seconds, Faith or Pornography instead and leave the singles for the seagulls.

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The Cure: “Fascination Street (Remix)” (1989)

Kronomyth 12.02: FASCIST TREE NATION. You Cure fans are a double lucky lot because Cure singles are so much fun to collect. Take this one for example: it’s a remix of the original and the B side is the nonalbum “Babble.” As if that weren’t enough, an Extended Remix version of “Fascination Street” exists on a CD single and 12-inch that also includes (for US collectors) another nonalbum entry, “Out of Mind,” that had earlier appeared on the UK single “Lullaby.” And their discography is rife with fruit like this: nonalbum tracks of actual merit (“Babble” could have easily been an album track), interesting remixes, picture discs. I can’t tell you what the difference is in the single remix version of “Fascination Street” since I don’t own Disintegration, but I can tell you that the song itself is terrific. Always reminds me of PiL, two bands I don’t usually lump together for some reason but who, in fact, are very similar. I tried my hand at transcribing the lyrics from Babble, but the ends of the third and fourth couplets are a little hard to make out.

“Babble”
oh nothing ever changes, nothing ever moves
and I sit around in circles in the same old lifeless room

we talk about the mirror man that whispers in my ear again
the hot and sticky pillow man is smothering my face again

oh nothing ever changes, nothing ever moves
and I run around hysterical in dead persistent gloom

babble out in simile
like dog head monkey musing me

shut up shut up shut up shut up and let me breathe

shut up shut up shut up shut up and let me breathe

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The Cure: Mixed Up (1990)

Kronomyth 13.0: A MIXED SUCCESS. A kindness to kure kollectors, who number not a few, Mixed Up kompiles a handful of hard-to-find 12-inch mixes with some newly released and re-recorded mixes. Robert Smith has gone on record as saying that the album’s intent was to put this material within easier reach of fans who might not be inclined to pay $20+ for an aftermarket single, but fans still had to reach into their wallets if they wanted to hear the new stuff (and enough of them did to send it platinum). There are new visions of old nightmares now de-fanged (“The Walk,” “A Forest”), quirky revisions of the classics (two of which, “Close to Me” and “Inbetween Days,” were released as singles to promote this album) and the usual sort of sonic spelunkering one might expect from the psychedelically inclined Smith. It didn’t change my world, it won’t change yours; Mixed Up is about filling in the cracks in your collection, not adding another brick to the wall between you and The Cure and the rest of the world. Time moves excrementally toward the clogged catch basin of our collected memories and Mixed Up seeps through without so much as a stain to remember it by. I wouldn’t make acquiring this a priority since it’s not where the real party is happening, but cure-iosity is bound to get the better of you sooner or later.

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Rubaiyat: Elektra’s 40th Anniversary (1990)

This is an interesting idea: 38 songs from Elektra’s back catalog performed in the idiom of 38 artists from their current roster, some of whom (The Cure, Linda Ronstadt) have the distinction of being both interpreter and interpretee. That said, if you were to allocate 120 minutes and 20 bucks to every interesting idea that crossed your path, you’d be more than a dollar short and a day late. I listened to this simply because I wanted to hear The Cure’s version of The Doors’ “Hello I Love You.” Elektra did me the kindness of putting that track first, so after five minutes I could have begged off a little wiser (if none the richer) and spent the next 115 minutes saving the world or filing paper or something in between. Instead, I stuck it out for the whole elektrafixation and was rewarded with a few more surprises: Billy Bragg steamrolling through “Seven And Seven Is,” The Sugarcubes messing with “Motorcycle Mama,” a Spanish version of “Hotel California” by the Gipsy Kings, Television’s “Marquee Moon” in a classical light, Jon Zorn demolishing The Stooges’ “TV Eye,” that sort of thing. The concept fails as often as not, though, largely because I didn’t care about the originals to begin with. In fact, I hadn’t even heard of half of these songs, and I grew up in the 70s. Appearances by Metallica, They Might Be Giants and Pixies are wasted on poorly matched songs that don’t deserve the attention. Too many obscure artists on both sides of the interpretations ultimately undermine Rubaiyat. Yes, this is a celebration of Elektra’s eclectic history, but I’ve worked in marketing too many years not to smell a cross-sell. Outside of a desire to hear more of The Sugarcubes, I wasn’t sold on digging any deeper into Elektra’s roster old or new.

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The Cure: “High” (1992)

Kronomyth 14.01: THE MYTHING LINK. Kronomyth, or The Adventures of Mebyl Spaetzmann, chapter the first. This is the advance satellite from KM.14, indicating that there were plenty of planets of interest ahead in the constellation of The Cure. “High” sailed smoothly into the UK quadrant, stalled after a near-collision in the US quadrant, and entered the select company of iProbable songs from this magical band. Here it appears in a shortened single mix, a dizzier high mix, and comes on the cd single with two new asteroids clinging to its orbit: “This Twilight Garden” and “Play.” The asteroids are album-worthy, the first languid and lovely (at least to the ears of longtime Curists), the second stuck in a slow orbit but not without merit. Captain Mebyl found a strange, 12-inch plastic disc that contains a rare trip mix, which collectors might wish to mine for their own.

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