Posts Tagged ‘The Cure’


There is no other band in pop or rock who is able to master the balance between gloom and radiance quite like The Cure. And when it was released on May 2nd, 1989, no other album in their catalouge reflected both the darkness and light of their sound like “Disintegration”.
The band’s eighth LP was intended to be a return to the more oblique, gothic undertones of their landmark 1982 LP Pornography The epic, synth-heavy pastiche of opening track “Plainsong,” “Closedown” and the nine-minute “The Same Deep Water As You” all remain beacons of beautiful sorrow that seemed miles away from the pop vibrancy of such mid-80s faves as The Head On The Door and Kiss Me, Kiss Me, Kiss Me.

Disintegration and this particular classic lineup of The Cure, comprised of fearless leader and vastly underrated guitar hero Robert Smith; longtime bassist Simon Gallup; guitarist Porl Thompson; drummer Boris Williams; keyboardist Roger O’Donnell; and original drummer Lol Tolhurst, who didn’t play on the album but provided the basis for the song “Homesick” managed to channel the pop maneuvering of songs like “The Love Cats,” “Close To Me” and “Just Like Heaven” into a dark wave of black romance throughout the record’s 72 minutes.

The romantic gloom on Disintegration is more achingly beautiful depressive wallowers everywhere rejoiced. Perfect for any introspective occasion it also happens to be the perfect breakup album, including the album title! If there was a class called Album Openers , “Plainsong” would take up the first and last sections of the course. We relive the happy times captured in pictures “Pictures of You”, experience the high of expressing one’s love and devotion (“Lovesong”) only to experience the sadness of impending heartache (“Last Dance”) and the nightmares that follow (“Lullaby”). There’s also anger and desperation in songs like “Fascination Street,” “Prayers for Rain,” and “The Same Deep Water as You” in which Smith laments “can’t you see I try?/swimming the same deep water as you is hard.” With the sounds of breaking glass the epic title track begins where Smith describes his own failings. “Homesick” has Smith begging for another “go” before walking away and the album closer (“Untitled”) has Smith sadly admitting that he’ll “never lose this pain/never dream of you again.” Full of shimmery guitars, synths, and emotional lyrics, the album creates a lush atmosphere of love and loss. Perfect for heartbreak in the dark.

Each of the four singles taken from Disintegration provided more momentum for The Cure’s visibility and success on the charts across the globe. And while songs like “Fascination Street,” “Lullaby” and “Pictures of You” did, “Fascination” peaked at No. 1 on the Alternative Songs chart, it was the album’s most pop-positive moment, “Lovesong,” that skyrocketed them to the No. 2 position as well as largely universal acclaim to music listeners beyond the goth crowd.

“Despite making challenging music that deals with the biggest themes, their impact has been gigantic,” proclaimed Trent Reznor of Nine Inch Nails in his speech inducting The Cure into the 2019 Rock and Roll Hall of Fame. “They’ve sold the best part of who gives a shit how many million records and been an essential touchstone in the genres of post-punk, new wave, goth, alternative, shoegaze and post-rock. They’ve been in and out of fashion so many times in the last four decades that they ended up transcending fashion itself. Though they might be a hip name to drop in 2019, this wasn’t always the case. Their dedication to pushing sonic and artistic boundaries while making music for the ages wasn’t always rewarded with glowing reviews in the press. But they never failed to attract a passionate, intelligent and loyal fanbase who always knew the truth: The Cure are one of the most unique, most brilliant, most heartbreakingly excellent rock bands the world has ever known.”


Dropping through sky, through the glass of the roof, through the roof of your mouth, through the mouth of your eye, through the eye of the needle / It’s easier for me to get closer to heaven than ever feel whole again I never said I would stay to the end / I knew I would leave you with babies and everything.” Running more than eight minutes, the title track to the band’s best album features Robert Smith at his wordiest … and nastiest. It’s basically a cycle-of-life thing, with childhood abuses giving way to similar adult patterns. Chilling.

‘Pictures of You’

“Pictures of You” is the fourth and final single from the British rock band the Cure’s 1989 album Disintegration. Called “chilly goth-rock” and “accessible…synth-pop”, the song has a single version which is a shorter edit of the album version.
“If only I’d thought of the right words, I could have held on to your heart / If only I’d thought of the right words, I wouldn’t be breaking apart all my pictures of you.Robert Smith has said that he wrote ‘Pictures of You’ after a fire at his home. Among the remains were some pictures of his wife in a wallet. But read the lyrics, and you’ll discover something that cuts way deeper: a broken heart and shattered memories.

‘Fascination Street’

a 1989 North-American-only single by the English rock band The Cure from their album Disintegration.Their American record company refused the band’s original choice of song“Lullaby” as the first single (it was the lead single in the UK and was released in the U.S. later) and used “Fascination Street” instead.
The song is notable for its extended bass introduction. “I like you in that like I like you to scream / But if you open your mouth, then I can’t be responsible for quite what goes in or to care what comes out.”The first single from the Cure’s breakthrough U.S. album is one of Robert Smith’s vaguest songs. Is it about sex? Control? A breakdown of a relationship? We can’t say for sure, but the menacing rhythm hints that something sinister is going on. A perfect summation of the Cure at their best.


The Cure, released “Lovesong” as the third single from their eighth studio album Disintegration in 1989. The song saw considerable success in the United States, where it was a number two hit.

The song is performed in A minor and is built around a distinctive bass riff. The verses follow an Am/G/F/Em chord progression, which changes to F/G/Am/C in the choruses. The lyrics are simple, with each verse having the same structure (“Whenever I’m alone with you / you make me feel like I am … again”). Speaking of its simplicity and unusually upbeat nature compared to the other tracks on Disintegration, Smith stated, “It’s an open show of emotion. It’s not trying to be clever. It’s taken me ten years to reach the point where I feel comfortable singing a very straightforward love song”

The single version of the song is almost exactly the same as the album version, but the mix is slightly different, with extra reverb and harmonies added to Smith’s vocals. In addition, in the instrumental section between the first two verses, the guitar doesn’t join the keyboards like it does on the album.


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Cure frontman Robert Smith turned 60 years old (April 21st) fans have been sending their best wishes to Smith as well as sharing photographs of Smith through the ages.

One fan said “Happy 60th Birthday…without your music I’d be lost.” Another said “Happy 60th birthday to this legend” before sharing pictures of Smith at gigs she’d been to from The Cure’s beginnings to the current day. So we thought I would check out some of their best videos.

It all began in 1976, when schoolmates Robert Smith, Michael Dempsey, Lol Tolhurst and Porl Thompson formed Easy Cure in Crawley, West Sussex. By 1978, both “Easy” and Thompson were dropped from the band, and The Cure signed to Fiction Records, releasing their debut album, “Three Imaginary Boys”, in May 1979. It was the start of a career both musically and visually mysterious, and Cure videos combined both to unforgettable effect.

‘A Forest’ (1980)

The band’s first promo video, ‘A Forest’ sees a very different Robert Smith to the one most fans picture when they think of Cure videos. The Cure were allegedly very anti-image to begin with, until the day Robert Smith daubed himself in hairspray and lipstick, and knew his face would never be the same again. “We had to get away from that anti-image thing, which we didn’t even create in the first place,” he later said. “And it seemed like we were trying to be more obscure. We just didn’t like the standard rock thing.”

‘The Hanging Garden’ (1982)

“Pornography” was The Cure’s fourth studio album, and was followed by the Fourteen Explicit Moments tour, during which the band finally shook off their anti-image look, teasing out their hair and adorning black clothes and smudged makeup. The video for the only single to be lifted from Pornography, Smith said, “For ‘The Hanging Garden’ video we got two people who did Madness videos, but it was a really awful video. They wanted to make us look serious and we wanted them to make us look like Madness.”

‘Let’s Go To Bed’ (1982)

A landmark among Cure videos, ‘Let’s Go To Bed’ marked their first collaboration with director Tim Pope, who went on to direct many videos for the band. Three years later, during an interview on the set of the ‘In Between Days’ video (also directed by Pope), Robert Smith recalled meeting the director for the first time: “As soon as he walked through the door, I thought, Brilliant, because he had on a really horrible shirt and a really horrible, ill-fitting pair of trousers. One eye was going up there and one eye was going down there and I thought, This man must be a brilliant video director to get away with it. We’ve been with him ever since.” ‘Let’s Go To Bed’ also marks the only instance where the band’s line-up consisted of only two members, Robert Smith and Lol Tolhurt.

‘Close To Me’ (1985)

Probably one of the most famous Cure videos, ‘Close To Me’ is set inside a wardrobe on the edge of a cliff. Another Tim Pope creation, the director said that he wanted to shoot the video in a confined space, in order to mirror the claustrophobic feeling of the song. Interestingly, his treatment actually ended up influencing the song, as The Cure remixed ‘Close To Me’ for the video, making it sound even denser.

Smith later claimed it was the most unpleasant video experience he’d had, as the band spent six hours shoved inside a wardrobe with freezing cold water. “It was a bizarre endurance test to see who was going to crack first,” he later recalled. “I absolutely hated this day.” The scene where the wardrobe fell off the cliff also proved difficult, with Smith recalling how “they only had one shot to do it because I don’t think they had permission, so they turned up with this wardrobe, threw it over the cliff, then drove off”.

‘Boys Don’t Cry’ (1986)

Another Tim Pope creation, the ‘Boys Don’t Cry’ music video featured three boys miming along to the song, with shadows of The Cure projected onto the background. As the younger version of the band were filmed live in front of a blank screen, Pope couldn’t see if their actions were even matching up. Speaking about the video on TV documentary series Video Killed The Radio Star, Pope revealed that the three boys from the video still collectively attend various Cure gigs and meet up with Robert.

‘Why Can’t I Be You’ (1987)

The first single from Kiss Me, Kiss Me, Kiss Me, ‘Why Can’t I Be You’’ video stood out for its radical overhaul of what people had come to expect from Cure videos – though some aspects have dated less well than others. Featuring the band as a variety of characters, the dance routine was choreographed in a single night at the Westbury Hotel bar in Dublin. Robert Smith later said it was mostly about not taking themselves too seriously: “It took five days to teach us 30 seconds of dancing. This is probably as far out as it got for us; as far away from what I thought The Cure was all about. A lot of die-hard Cure fans were actually really, really upset about this video. We got a lot of disgruntled murmurings from people saying, ‘Why are you doing this? You’re ruining what the band means.’ But I always felt if we couldn’t take the piss out of ourselves at the same time as taking the piss out of other people, then there was very little point in making a video.”

‘Catch’ (1987)

Also from Kiss Me, Kiss Me, Kiss Me, the ‘Catch’ video was shot at the home of Lady Kildare in Cap Camarat, France. “The whole location in Nice, France, stank of dog shit,” Tim Pope later recalled. “Tortoises were everywhere, cooking in the sun like boil-in-a-bag crustaceans, and we found another room that was just like something Miss Havisham would have lived in. It was filled with rotting ballerinas’ dresses and rag dolls with maggots in. The elderly lady who owned the joint came down the spiral staircase, like Gloria Swanson in Sunset Boulevard.”

Smith, meanwhile, said he liked the video, apart from one scene: “Lol [Tolhurst] ruined it. We made this beautiful video and this old bastard in coal miner’s jeans wanders down the spiral staircase not even bothering to pretend he’s playing the violin.”

‘Just Like Heaven’ (1987)

Filmed in Pinewood Studios, ‘Just Like Heaven’ was yet another Tim Pope creation set on a cliff. Robert Smith said the song was about “something that happened to me a long time ago” and directed fans towards the video for more.

In it, Smith’s wife, Mary Poole, appears dressed in white and dances with the singer. Revealing that she was the girl he was singing about, Smith said, “I wanted a girl to be in it [the video] and I didn’t want someone I’d feel uncomfortable with, and I can’t imagine grabbing hold of anyone but Mary.” Tim Pope later added that she “can honestly lay claim to being the only featured female in any Cure video, ever”.

‘Hot, Hot, Hot!!!’ (1987)

The fourth and final single taken from Kiss Me, Kiss Me, Kiss Me, ‘Hot, Hot, Hot!!!’ was typically unpredictable. Filmed in black-and-white, it features The Cure disguised as dwarves in 50s clothing. Robert Smith later described how his ideas for the video got somewhat lost in translation: “I told Tim Pope I wanted us to look like a lowdown funky soul band. He translated ‘lowdown’ as ‘dwarf’ and ‘soul band’ as ‘black-and-white’. Polydor said it wouldn’t get shown. It didn’t.”

‘Friday I’m In Love’ (1987)

It would be impossible to list the Cure videos without including what Robert Smith himself said was the best one they ever made. In homage to silent filmmaker Georges Méliès, ‘Friday I’m In Love’ features the band performing on a soundstage in front of various backdrops, with a variety of props and costumes. There are several cameos, including director Tim Pope, who is seen riding a rocking horse and shouting stage directions, as well as producer Dave M Allen, who can be seen holding props in the background. A particular quirk is the logo on Boris Williams’ kick drum, which reads “The Cures”. Filmed in just under three hours, the video went on to win MTV Europe viewers’ vote for Best Video Of The Year.



The Cure has announced four concert dates in Australia to celebrate the 30th anniversary of the legendary album, “Disintegration”. They will be playing at the Sydney Opera House on May 24-25, 27-28. This is considered to be the “world premier” of the 30th anniversary shows, leading us to believe that they be doing more of these shows in the future.

Also in 2019, expect The Cure to perform at quite a few festival shows, release their first album in over 10 years, and get inducted into the Rock And Roll hall of fame. It could be quite a busy year.

In the meantime, enjoy this video of one of their new songs that they have been playing at recent shows. It’s called “It Can Never Be The Same” and it already has the makings to be one of their best songs.

The song is a perfect balance of long guitars loops, effective keys and drums, and the bass line feels like a classical Cure trademark. The result is that intimate and powerful mix of bitterness and sadness that probably only this band is capable to produce.

The lyrics could easily indicate the loss of a person (and the animated image of a candle used as a background during the live performance reinforces this supposition), and if that is the case, at this point we don’t know if it’s about a real loss in Robert’s life, or an hypothetical one, the fruit of his imaginary work. The subtle crescendo toward the end is very touching, with a little note of rage that fades into despair.

This is one of those songs that just get stuck inside and don’t let you off the hook for a while, because once you are taken into that emotional state.

It Can Never Be The Same live from The Cure North American Tour 2016 during the 3 shows @ Madison Square Garden on 18th, 19th and 20th June.

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New releases for this week Kamasi Washington 4LP set, we’ve not managed to give it a full listen yet but what we’ve heard so far sounds really good. There is a brand new Nine Inch Nails album is also out tomorrow, we’ve heard just one track but can’t wait to get stuck into it tomorrow. If you missed out on the limited green vinyl for the Sleep album, now’s the chance to get the black vinyl LP version, it’s now in stock.

Also out are new albums from Panic At The Disco, Princess Nokia, Gang Gang Dance, Soulwax, and our favourites The Wave Pictures, an EP from Stella Donnelly . The best of the weeks releases are some really good reissues out tomorrow too from The Cure, Garbage, King Crimson, The Pogues. 


Stella Donnelly –  Thrush Metal EP

The Thrush Metal EP originally came out last year, self-released by the artist on tape and digitally. Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters and now Secretly Canadian release the EP on Vinyl. Boys Will Be Boys is the standout track. Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? / Wearing her shirt that low / And they said boys will be boys / Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.


 Warmduscher. – Whale City

The second album from Warmduscher. South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood. There is power in repetition. Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as “a rock opera so vast in magnitude that – were in not for my being strapped naked to a chair in a garage – could send a man hurtling towards the outer perimeters of uncharted space.” It’s difficult to argue with. The characters that inhabit Whale City are, as the title suggests, larger than most aquatic life forms. A cast of millions. Pretty Lilly, Whale Jimmy, Uncle Sleepover, Ice Cream Keith, Disco Minny. The people you walk by late at night with bottles in their hands and money in their pockets. The woman with bright red lipstick and straight razor smiles. Thrill seekers to a person. Powerful. Intoxicated. Intoxicating. In the words of Clams Baker, Whale City is “a playground for the people that have stepped above and beyond their comfort zone.” What are you waiting for? If you love the repetition of the Fall, the chaos of Fat White Family and own a Pebbles or Nuggets compilations – then this a must have.


The Wave Pictures  –  Brushes with Happiness

As one of the UK’s most prolific and beloved bands, it has become expected – nay, the fans have demanded – that The Wave Pictures release several albums a year. This year, they are releasing two albums and they’re kindly letting us know well in advance, so that we can set our calendars and save our pennies in anticipation. Starting with the spontaneous, recorded in one-day, minor-key, epic masterpiece that is Brushes with Happiness in June, the trio of Jonny Helm (drums), Dave Tattersall (guitar and vocals) and Franic Rozycki (bass), will be following up with a more up-beat party album, Look Inside Your Heart in October. Brushes With Happiness sees The Wave Pictures in contemplative and expansive mood. Mellower and more reflective than last year’s rock’n’roll surf-garage-rock collaboration with Charles Watson from Slow Club, as new band The Surfing Magazines, or 2016’s blues driven Bamboo Diner in the Rain or 2015’s Billy Childish produced Great Big Flamingo Burning Moon. This album is more akin to 2016’s acoustic release A Season in Hull, which, like Brushes With Happiness, was recorded live in one room in a single January day.

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Nine Inch Nails  – Bad Witch

Nine Inch Nails release Bad Witch, completing the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence., Nine Inch Nails will launch COLD AND BLACK AND INFINITE NORTH AMERICA 2018 on September 13 with support The Jesus and Mary Chain. The band will bring their “musical, visual, emotional sensory onslaught,” as hailed by The New York Times, to some of the most iconic venues in the USA.


Pete Yorn and Scarlett Johansson  –  Apart

Pete Yorn and Scarlett Johansson’s 5 Track EP Apart is the follow up to their critically-acclaimed 2009 album Break Up. The EP features four brand new recordings and a new version of Tomorrow, a song that originally appeared on Yorn’s last album, 2016’s ArrangingTime. Scarlett Johansson adds, “Being able to revisit this project with Pete in a totally different context but within the same creative parameters is a unique artistic opportunity for me. It is always a pleasure to sing with Pete because I think our voices and stories complement each other.”

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The Cure  –  Mixed Up

A reissue and remastered version of the Cure’s 1990 remix album Mixed Up. Featuring 11 remixes of their hits including; Lullaby, Close to Me, Pictures of You, Love Song and Why Can’t I be You?

3CD – Expanded Deluxe Edition with a second CD of long deleted remixes from 1982 to 1990 and a third CD containing 16 brand new Remixes done by himself, Torn Down: Mixed Up Extras 2018.

CD – Standard CD Version.

2LP – Double 180 Gram Vinyl housed in Gatefold Sleeve with Download. Half Speed Double Vinyl Mastered by Robert Smith and Tim Young at Metropolis Studios, London.

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Cream –  Live In Detroit ‘67

Cream, live at the Grande Ballroom, Detroit, MA on October 15th 1967. White-hot from two months of touring the US, Cream played this remarkable show shortly before the release of Disraeli Gears. Regarded by some as the finest live document of the trio in existence, it typifies their explosive chemistry, with some outrageous wah-wah from Clapton, thunderous bass from Jack Bruce, and virtuoso drumming from Ginger Baker. This show from Detroit’s Grande Ballroom on October 15th 1967, originally broadcast on WRIF-FM, is presented in full here, together with background notes and images.

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Spacemen 3  – For All The Fucked Up Children of This World We Give You

Space Age Recordings are pleased to announce the first official limited edition vinyl release of the album For All The Fucked Children Of This World We Give You Spacemen 3 (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). For All the Fucked Up Children from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3’s first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce’s vocals. The album’s liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the “all singing, all dancing answer to the problems of a grey 1985.”

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Sorry  –  Showgirl

Sorry are back with a new 7”, following their previous 7” singles, Wished / Lies from last year and2 Down 2 Dance earlier in the year. The ferocious Showgirl is the third and last instalment of the band’s early singles period, produced by Frank Ocean and James Blake collaborator Sean Oakley, who also helmed the band’s 2017 debut single, Lies. Showgirl is a sordid and seedy 90’s sounding nugget with breathy and addictive vocals and spidery guitar work. Sorry just keep getting better and better.

Today also saw the announcement of the new Mogwai album

There’s also new albums coming from Death Grips (with an indie stores only limited clear vinyl LP), The Jayhawks, The Pineapple Thief, The Internet, Menace Beach, Pram,Villagers, Bellini, Rise Against, Helena Hauff, Tirzah, Kate NashThe Amity Affliction, Wild Nothing

There are five Flaming Lips albums coming back out that have not been on vinyl for years. We have the next Tom Waits reissue out on 13th July with ‘Foreign Affairs’ . There’s a set of Moody Blues 180g vinyl reissue coming soon, some of which will feature bonus tracks for the first time. and U2 wade in with three strong albums in ‘Achtung Baby’, ‘Zooropa’ and ‘The Best Of: 1980-1990’.  Also coming soon are reissues from Mick Ronson, REMand a ‘Best Of’ fromThe Libertines.

This Week’s Releases

The Cure – ‘Mixed Up’ black vinyl 2LP reissue
The Cure – ‘Torn Down’ black vinyl 2LP reissue

Stella Donnelly – ‘Thrush Metal’ 12″ EP
Richard Edwards – ‘Verdugo’ limited coloured vinyl LP
Richard Edwards – ‘Verdugo’ LP

Field Division – ‘Dark Matters Dream’ silver vinyl LP
Gang Gang Dance – ‘Kazuashita’ limited red vinyl LP
Garbage – ‘Version 2.0’ limited deluxe 3LP box set
Garbage – ‘Version 2.0’ orange vinyl 2LP reissue

King Crimson – ‘Discipline’ LP reissue
Danni Minogue – ‘Neon Nights’ 2LP reissue
The Nextmen vs Gentlemen’s Dub Club – ‘Pound For Pound’ LP
Nine Inch Nails – ‘Bad Witch’ LP
The Orb – No Sounds Are Out Of Bounds’ 2LP
Panic At The Disco – ‘Pray For The Wicked’ LP

The Pogues – ‘The Best Of’ LP reissue
Princess Nokia – ‘A Girl Cried Red’ limited red vinyl LP
Sleep – ‘The Sciences’ black vinyl LP
Soulwax – ‘Essential’ 2LP
Spacemen 3 – ‘For All The Fucked Up Children Of  This World’ LP reissue
Various Artists – ‘The Songs Of Elton John & Bernie Taupin’ 2LP
Kamasi Washington – ‘Heaven & Earth’ 4LP set
The Wave Pictures – ‘Brushes With Happiness’ limited coloured vinyl LP

Rhino isn’t holding back this Record Store Day, planning more than 30 special vinyl releases for Saturday, April 21st, to be sold at all participating retailers. Interestingly, several releases are companion pieces to recent general reissues, offering bonus content from different re-releases and box sets as standalone vinyl. Several singles and oddities are in the mix, from a 12″ of The Notorious B.I.G.’s “Juicy,” to a rare “short version” of Prince’s 1999, featuring only seven tracks from the album on one LP. Picture discs from Yes, Whitesnake, and Cheech & Chong are part of the line-up, and outtakes will be used to create alternate versions of Van Morrison’s Moondance and Fleetwood Mac’s Tango In The Night.

Most interesting for collectors are not one but two reproductions of rare Madonna vinyl releases outside the U.S., the vinyl debut of a promo collection by British hip-hop artist The Streets, unreleased mid-’80s masters from Miles Davis and a pair of vinyl sets covering new and old remixes by The Cure.

Among these titles, announced on Tuesday, now stand alongside previously announced RSD exclusives for Led Zeppelin (their first) and David Bowie. More RSD info is at the organization’s official site, while breakdowns of all Rhino’s new titles are below.

Air, Sexy Boy (12″ Picture Disc) (Parlophone)
Celebrate the 20th anniversary of the French synth duo’s debut, Moon Safari, with this shaped picture disc of the band’s first single. It features art from the original 12″ sleeve. (6000 copies)

Cheech & ChongUp In Smoke (40th Anniversary Picture Disc) (Rhino)
This marijuana leaf-shaped disc features the title track to the comedy duo’s first film (the soundtrack of which is being reissued by Rhino the same week) plus an unreleased version with an extra Spanish verse from Cheech Marin as well as a scratch ‘n’ sniff sticker! (4500 copies)

John Coltrane, My Favorite Things, Part I & II (Atlantic)
This U.S.-only single reissue was first included in a Coltrane mono box set. (1000 copies)

The Cure, Mixed Up and Torn Down: Mixed Up Extras 2018 (Elektra)
Long desired by fans of The Cure, the group’s 1990 remix album will be released as a 2LP picture disc set alongside another double picture disc featuring 16 new remixes of Cure tracks by frontman Robert Smith. The band is celebrating their 40th anniversary this year, so hopefully this is the first in a wave of commemorative titles! (7750 copies each)

Miles Davis, Rubberband EP (Warner Bros.)
This four-track 12″ disc features the title song to an unreleased 1985 album, intended to be Miles’ first for Warner Bros. Records after a lengthy tenure on Columbia. It features a new remix featuring Ledisi, a completed version of the track finished by Randy Hall and Zane Giles, and cover art painted by Davis. (6000 copies)

The Doors, Live At The Matrix Part 2: Let’s Feed Ice Cream To The Rats, San Francisco, CA – March 7 & 10, 1967 (Elektra)
This 180-gram, individually numbered sequel to last year’s RSD release features a set from the band at San Francisco’s The Matrix, which was last heard on a 50th anniversary edition of The Doors’ self-titled debut. (13,000 copies)

Fleetwood Mac, The Alternate Tango In The Night (Warner Bros.)
As is becoming tradition for Record Store Day, this album brings together demos and outtakes from last year’s box set version of Fleetwood Mac’s hit 1987 album. (8500 copies)

The Grateful Dead, Fillmore West, San Francisco, CA 2/27/69 (Grateful Dead/Rhino)
A 4LP box set edition (with fourth side etching) of a beloved Dead show, which has been out of print since its release in The Complete Fillmore West 1969 CD box set in 2005. (9000 copies)

Hawkwind, Dark Matter: The Alternative Liberty/U.A. Years 1970-1974 (Parlophone)
A 2LP collection in a gatefold jacket featuring rare tracks from the 2011 compilation Parallel Universe. (5000 copies)

Jethro Tull, Moths (Parlophone)
This six-track 10″ EP is tied to the 40th anniversary of Heavy Horses, recently reissued by Rhino. (6500 copies)

Madonna, The First Album and You Can Dance (Sire)
Two exciting Madonna titles are due for Record Store Day: first, a picture disc version of Madonna’s 1983 debut, reissued in 1985 after the success of Like a Virgin. This set replicates the original Japanese packaging, down to the sticker. Then there’s a red vinyl reissue of her 1987 remix album, featuring the poster and obi from the European vinyl release. (14,000 copies and 12,000 copies)

Van Morrison, The Alternative Moondance (Warner Bros.)
Constructed from alternates and outtakes from the deluxe edition of Van’s 1970 album, this LP features unreleased mixes of “And It Stoned Me” and “Crazy Love.” (10,000 copies)

The Notorious B.I.G., Juicy 12″ (Bad Boy)
A clear/black marble swirl vinyl reissue of Biggie’s defining single. (9000 copies)

Prince, 1999 (Warner Bros.)
A quirky reissue of an ex-U.S. single-LP, seven-track cutdown of Prince’s breakthrough 1982 double album, with a different cover, even. (13,000 copies)

Ramones, Sundragon Sessions (Sire)
These early mixes of tracks from Leave Home were first heard in the 40th anniversary box set of the album and appear on vinyl for the first time. (10,000 copies)

Lou Reed, Animal Serenade (Sire)
A 3LP edition of Lou’s 2003 live album, its first appearance on vinyl. (7500 copies)

The Stooges, The Stooges (Detroit Edition) (Elektra)
This 2LP set was first made available only at Third Man Record shops (it was compiled by the label’s own Ben Blackwell), but now this collection, featuring the band’s 1969 debut album and handpicked rarities from Rhino’s 2010 deluxe edition, is available at all indie stores. (8000 copies)

Various Artists, Twin Peaks: Music From The Limited Event Series and Twin Peaks: Limited Event Series Soundtrack (Rhino)
These two picture discs feature soundtrack and score, respectively, from the acclaimed 2017 revival of David Lynch’s television series, including Roadhouse band performances and original compositions by Angelo Badadamenti. (11,000 copies and 10,000 copies)

Whitesnake, 1987 (30th Anniversary Edition) (Parlophone)
A picture disc version of the rock group’s recently reissued hit LP, featuring “Here I Go Again.” (6500 copies)

Wilco, Live At The Troubadour 11/12/96 (Reprise)
The premiere 2LP edition of a live set included in the deluxe edition of the alt-country act’s Being There, reissued last year. (8500 copies)

Yes (Atlantic)
The legendary prog-rock’s ninth album, released in 1978, gets a picture disc release. (5400 copies)


Turntable Kitchen, a Seattle-based company that has a variety of delightful deals like a subscription that brings a bag of coffee beans and an exclusive 7” single to your door every month. Their most ingenious offer though is the Sounds Delicious series, a club that releases limited edition records featuring a current artist covering a full album from the past. To date, that has included Ben Gibbard performing all of Teenage Fanclub’s Bandwagonesque and Yumi Zouma covering the second Oasis album.


More recently, Turntable Kitchen unveiled a version of The Cure’s sophomore studio work Seventeen Seconds, as interpreted by Frankie Rose and pressed onto a gorgeous piece of blood red vinyl. She and producer/co-conspirator Jorge Elbrecht don’t mess with the formula of these songs much, sticking close to the original arrangements even as they throw a little sunlight and modern synth sounds at them. Somehow it doesn’t deter from the creeping dread and downcast glances that Robert Smith and co. exhibited in 1980. The mood is deepened considerably by the surprisingly great pressing of this record. Rose and Elbrecht’s work comes out full and enrapturing, with her tart vocals cleanly cutting through the mix.



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A new show for London 2018! Ride are thrilled to be playing BST Hyde Park on Saturday 7th July, joining The Cure’s big 40th Anniversary Concert! Interpol,Goldfrapp, Editors, Slowdive(band) and The Twilight Sad (Official) are also on the bill plus many more to be announced.

The Robert Smith-led band will celebrate four decades since the release of their debut single ‘Killing An Arab’ next year, while 2019 will mark the 40th anniversary of their debut album ‘Three Imaginary Boys.’

Pope wrote on Twitter earlier this week: “So, 2018 will see me collaborating with Robert on a feature-length, chronological documentary of The Cure’s history from the 1970s via present day to the future. Robert himself will tell the story and this will work alongside other events for the band’s 40-year celebration.”

He continued: “The film to which I will bring my own style of jiggery-pokery will use as well as ‘old favourites’ a cornucopia of material from Robert’s collection which has never been seen before; Super-8; interviews; bootlegs; rare performances; behind-the-scenes, blah.”

The Cure are set to play Hyde Park next July with support coming from Interpol, Editors and Goldfrapp.

In August of 1985 The Cure released their 6th studio album “The Head On The Door”, and album that takes its title from the single Close to Me. this day in 1985

This record marks the return of bassist Simon Gallup who had departed after touring for the band’s 4th album Pornography . The album also saw Porl Thompson officially rejoin the band, as he had played guitar during the Malice and Easy Cure days. Also added to the lineup was drummer Boris Williams who had previously worked with the Thompson Twins, The album also included The hit singles  “Close To Me” and “In Between Days” With its variety of styles, it allowed the group to reach a wider audience in both Europe and North America. In the United Kingdom, it quickly became their most successful album to date.

The album was the first to to be released by singer/songwriter/guitarist Robert Smith after he had left Siouxsie and the Banshees in May of 1984 Smith has stated that the Banshees album “Kaleidoscope” was a strong influence of the wide variety of tracks on The Head On the Door: be it Kyoto Song’s Japanese flavor or  The Blood’s Spanish style played in a Flamenco style. The piano tune in the track Six Different Ways was evolved from from the single Swimming Horses. The last song of the album, “Sinking”, was reminiscent of the band’s Faith era, while Close To Me was described as a disco type thing”

The Head on the Door is the first Cure album where all the songs were composed solely by singer and guitarist Robert Smith.

Following the ill informed controversy between The Cure’s The Walk, and New Order’s Blue Monday, is the even stronger similarity between The Cure’s single from this record “In Between Days to New order’s “Dreams Never End” Regardless of what you believe from the rivalry above, the video only single A Night Like This admittedly reuses previous material by reworking the original melody from the early Easy Cure track Plastic Passion.

‘A Night Like This’  “I’m coming to find you, if it takes me all night / A witch hunt for another girl / For always and ever is always for you / Your trust, the most gorgeously stupid thing I ever cut in the world.”

One of Robert Smith’s greatest breakup songs, ‘A Night Like This’ (from 1985’s ‘The Head on the Door’) is filled with regret, sadness and a looming hopelessness that’s bound to repeat itself over and over again. The sax solo drives it home.

Here included is the full “Les Enfants du Rock” program from 1985 where The Cure are promoting “The Head On The Door”. Note that at 6 minutes and 45 seconds, Robert half jokingly derides founding member and keyboardist Lol Tolhurst for his alcoholism a subject that is addressed at length in Lol’s book “Cured The Story Of Two Imaginary Boys.

In 2006, the album was re-released by Fiction Records/Polydor Records labels, digitally remastered with various demos and live tracks from the era. Included were demos of the four B-Sides from the era (“The Exploding Boy”, “A Few Hours After This”, “A Man Inside My Mouth” and “Stop Dead”) and four previously unreleased songs. The remaining tracks included demos or live versions of all 10 songs from the first disc. One of the four new songs, “Mansolidgone”, is similar both musically and lyrically to another demo, “A Hand Inside My Mouth” (not to be confused with “A Man Inside My Mouth”) which appeared on “The Top”Deluxe Edition. Both songs, and the uncovered demo “Lime Time”, contain lyrics which would be later used in the songs “In Between Days” and “Six Different Ways.”


1. In Between Days
2. Kyoto Song
3. The Blood
4. Six Different Ways
6. The Baby Screams
7. Close to Me
8. A Night Like This
9. Screw
10. Sinking

thanks to

We described Stevie Parker as a thoughtful indie pop gold and compared her to London Grammar and The Japanese House last year. Tough standards you might think, but her debut album “The Cure” has gone down a treat, especially with The Guardian describing it as ‘one of those idiosyncratic British heartbreak albums that has the potential to go far’.

There should be a mutual support organisation for those exes who are the subjects of famous heartbreak albums. If it all goes to plan, Stevie Parker’s errant former girlfriend could end up sitting in a corner at this theoretical get-together, a little agog. Parker’s debut is mostly about this one ex is one of those idiosyncratic British heartbreak albums that has the potential to go far.

Parker’s manager is the fabled ex-punk Jeannette Lee , “The Cure” is an intriguing dose of romantic misery, full of atmospheres, self-flagellation and a little bunny-boiling. Front and centre is Stevie Parker’s voice and Parker herself, whose jeans’n’trainers “anti-styling” strives to downplay the visual side upon which so much pop is sold.

Originally from Frome in Somerset, Parker is now based in Bristol, and you can tell. The city’s sound infuses songs such as “Better Off” a slow-burner whose minor key verses and encroaching electronics  neighbouring Portishead with much more aplomb than usual. “I will keep you safe,” promises Parker. The instrumentation suggests the situation might not be so straightforward.

Over 12 tracks there are break-up cliches Parker can’t help but stumble into ,“I’ve been blue over you” is the revolutionary gist of a song called “Blue” but there is enough viscera on show here to make up for these well-worn sentiments.

“Stay” voices a pretty common-or-garden feeling. But this particular garden has a sharp axe left lying around. “If she told you she loves you, I’ll hunt her down and have my way,” sings Parker, “If she tells you she missed you, it’ll be the last thing that she’ll say.” Parker sings all this with a winsome and tremulous flutter. Then, finally, she bares her teeth. “I want you to stay, stay, stay!” comes as a pent-up yell.


thanks to theguardian.


Kane Strang – Two Hearts and No Brain

A winning blend of careful precision and mercurial abandon, Kane Strang’s new album Two Hearts and No Brain is constantly surprising. With a penchant for melodic earworms to rival those of the world’s best pop songwriters, the New Zealand artist’s glittering hooks twist and turn in perfect synch with meticulous band arrangements. Hints of 60s pop (NB: Zombies, Stooges) and early 00’s alt-rock (Interpol, Elliott Smith) shine through; but there’s a contemporary crunch, sheen and bald lyrical tone to Strang’s sound that places him firmly in the here and now. Strang’s proclivity for writing smart, anthemic guitar pop shines brightest now that he has moved away from the bedroom and into the studio. Showcasing his new collaborative approach to recording and writing with his band, the four-piece twists Strang’s melodies upside down and pushes his hooks inside out. Two Hearts and No Brain proves emotive and playfully laced with a tongue-in-cheek nostalgia – timelessly old and new in the same breath.

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Terry  –  Remember Terry

Terry is a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album (Terry HQ) last year on Upset The Rhythm. After returning from summer 2016’s European tour, Terry set about writing a new album of songs. These are now grouped together as Remember Terry, an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully. Remember Terry is a fitting follow-up to last year’s celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. Remember Terry was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

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The Myrrors – Hasta La Victoria

Hasta La Victoria comes just one year after Entranced Earth, and serves as its perfect companion piece. And yet, not a moment of the albums thirty-seven minutes ever feels even remotely rushed, or anything short of natural. Indeed, in the best possible way, Hasta La Victoria sounds like The Myrrors couldnt be doing anything else. Perhaps its not the victory in the albums title that focuses the bands attention perhaps its the until. Throughout Hasta La Victoria, the band sounds utterly propelled by an invisible force, by the indelible impression that their actions as a band, as artists, as people have an impact, and that impact should continue until victory. Be here now or be here later, there’s little doubt that The Myrrors will be continuing to walk the path when you get here.

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Triptides -Afterglow

As the tides of the ocean draw their power from the moon above, the music of Triptides is fueled by the mind-bending inspiration and wide-ranging creative talents of Glenn Brigman (vocals and guitar), Josh Menashe (guitar and vocals), Dylan Sizemore (bass guitar) and Shaugnessy Starr (drums). The trip began in the bohemian basements of Bloomington, Indiana in 2010, where Glenn and Josh shared ideas and influences before evolving to craft a complex yet cohesive range of lush, “psychedelic beach-pop” sounds. Two EPs and four LPs later, Triptides are now an essential element of the Los Angeles psych scene, where they are preparing to launch their newest album, Afterglow. Inspired by the spirit of ’60s and ’70s West Coast pop and psychedelia, as well as legendary albums ranging from The Piper at the Gates of Dawn to The Notorious Byrd Brothers,

Beach House -B-Sides and Rarities

Beach House release the B-Sides and Rarities album, a 14-track compilation of songs from throughout their career so far. The album features two previously unreleased tracks Chariot and Baseball Diamond, which were recorded during the Depression Cherry and Thank Your Lucky Stars sessions, both albums of which were released two months apart in 2015.

LP – Black Vinyl packaged in colour inner and spot varnished deluxe cardstock outer sleeve with digital download code.

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The Cure – Acoustic Hits

First time on vinyl for The Cure’s acoustic rendition of their Greatest Hits. This was a limited edition CD which accompanied the 2001 Greatest Hits compilation and has never appeared on vinyl. The Record Store Day 2017 Release was a Double Picture Disc and now gets re-released on Double 180 Gram Black Vinyl.

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The Rolling Stones – The Complete British Radio Broadcasts 1963 – 1965

Legendary performances on various BBC radio shows from the 1960’s. Digitally remastered for greatly enhanced sound quality. ‘In view of the past increase of interest in rhythm and blues groups in Britain, an exceptionally good future is predicted for us by many people,’ Brian Jones wrote to the BBC in January 1963, requesting an audition. They turned him down, but soon changed their mind. Between that autumn and the summer of 1965, the Stones recorded numerous classic radio sessions for the Beeb, which are presented here together with background notes and images. Containing some of the most vital British R&B ever recorded, the set is an essential purchase for serious Stones fans.


The Beach Boys -1967 – Sunshine Tomorrow

1967 – Sunshine Tomorrow  is a unique 2CD collection from The Beach Boys – arguably one of the greatest bands of all-time. Featuring producers Mark Linett and Alan Boyd’s new, first–ever stereo mix of the 1967 Wild Honey album. As well as opening up the legendary band’s vault to debut 54 sought-after rarities from that year, 50 years after they were first put to tape. This collection dives into a fascinating and frenetic chapter in The Beach Boys’ long, groundbreaking creative arc, exploring the band’s dynamic year in the studio and on tour. Previously unreleased highlights include The Beach Boys’ shelved ‘live’ album, Lei’d in Hawaii, studio recordings from the Wild Honey and Smiley Smile album sessions, and live concert recordings from shows in Hawaii, Washington DC and Boston.