Posts Tagged ‘The Cure’

The Cure Glastonbury

The Cure presided over the Pyramid Stage for the first time since 1995, unleashing a perfect set that will be remembered as the bookend to a legendary career.

It’s a poignant setting for a band that first headlined back in 1986. In their ascendency, the Crawley group seemed fated to become post-punky upstarts or funereal doomsayers. That they emerged as emperors of goth and pop, and now stand as great British eccentrics, is testament to their remarkable vision. Their show on Sunday night illustrates the breadth of feeling that can be experienced in a single human life.

True to type, Robert Smith wanders on-stage at showtime head to toe in black, with panda eyes and crispy seaweed hair. He has appeared before the lights even dim, as if lost on his way back to the cemetery. Fans nudge friends as they spot his ambling figure, preparing to start the show. We laugh before we cry.

It also looks like The Cure’s headline set on the Sunday night at Worthy Farm was a big contributor in the spike of interest in the six-string, with website searches for Schecter Guitars – the kind used by the band’s Robert Smith and Simon Gallup – rising by 55% after their set. “But 49 years later it’s amazing to see that people continue to be inspired by their musical heroes and it makes us proud that we’re able to give them everything they need to emulate their favourite musicians.” .

“It’s probably not the first time or the last that I’m going to burst into tears at the end of a show this summer,” he told us about the set down at Worthy Farm, Robert Smith said of the event.

“It was a long weekend and it probably got to me. For the first 20 minutes I was very, very unsure. In some respects, for the first half hour we didn’t really offer much concession to the ‘casual’ listener. Everyone was a little concerned about that. They were going, ‘Oh, maybe we should load the front end of the set with songs that people know a little bit more’, and I was going ‘No, we’ll build towards the end with this big release in the encore’.”

He continued: “I never get nervous, but for about 20 minutes I was like, ‘Ooh, maybe I haven’t read this one right’. Then by the end it was a slight release because the encore was absolutely fantastic. It was just a huge sing-along, but we’re not really that band.”.

Starting with “Plainsong”, the opening section is a transcendent mush largely composed of Disintegration tracks, full of waterfall reverb and basslines that breach an alternate dimension. If Smith once sounded wounded, time has lent him the sinister air of an avenging spirit, ready to reap vengeance through the medium of clingy boyfriend bangers.

It all sounds exquisite. The pitfalls of ageing rock bands never really applied to The Cure, their music a timeless wash and their frontman sounding, even at a sprightly 21, as if he were hovering by death’s door. But at this epic scale, backdropped by a setting Glastonbury sun, they sound otherworldly. The horizon swallows the last sunlight under the Armageddon squall of “Burn”, and it seems inconsequential whether it ever comes up again.

To my right, Radiohead’s Ed O’Brien goes wild in the sort of trilby and overcoat combo usually favoured by 19th-century occultists. Moments of magic come in waves: the deferred ecstasy of “Just Like Heaven’s “run away with you” chorus, the way “A Forest” conjures a gorgeous dread you could sleep inside, before “Shake Dog Shake” shatters its reverie with diabolical thunder. But it’s in the finale – after Smith has taken “two minutes to put my pop head back on” – that all the pieces click.

“I’ve been here over the weekend,” he says on his return. “It’s just hot and f***ing excellent. It’s just weird to be part of it. What we do on stage is difficult to translate into this. Hang on. It isn’t. The next half-hour is Glastonbury.” If he had his bearings, he might accurately have said: the next half hour is Glastonbury history.

In a climax that sweeps from “Lullaby” to “Friday I’m in Love”, “Close to Me” to “Why Can’t I Be You”, Smith lets loose: vogues and scats during “Close to Me”, hobbles around and scrunches his face. It’s a strange and mesmerising spectacle that reminds us, before we head back to reality, that the world’s greatest glories will always belong to the weirdos.  The Cure at Glastonbury 2019

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The Cure bring their melancholic, majestic melodies back to Roskilde Festival Black clothing, sooty eyeliner, blood-smear lipstick and a cobwebbed forest of hair have always made Robert Smith a stand-out front figure. And once you have heard him and the rest of The Cure give sound to their sometimes mournful, sometimes ecstatic, always dead-on-catchy songs, you find a true signature there as well.

Robert Smith and co. have been around in various line-ups for 40+ years now, and they have a hit-after-hit catalogue of songs for a massive live show.  Today, The Cure have sold about 30 million records worldwide, and they have released no less than three best-of compilations. This says a lot about the popularity surrounding a band that started playing post-punk in the London suburb of Crawley before moving onwards to an infectious mix of haunting melancholy and off-kilter pop. Through the years they have produced more than 30 critical singles, including ear worms like “The Lovecats”, “Close To Me”, “Just Like Heaven”, “Lullaby” and “Friday I’m in Love”. Among their 13 studio albums they have created dark masterpieces that remain on various ‘best ever’ lists, including Pornography, Disintegration and Bloodflowers.

The Cure has always put on marvellous shows that resonate with thousands of Roskilde-goers. And once they start playing they don’t stop anytime soon. Their setlists are always immense.

Seeing the Cure live is much more than a celebration of their legacy. You sense that you’re witnessing that rare feat of a decades-old band perhaps entering their prime rather than their twilight years. On their 1982 track “Pornography” Robert Smith sings: “I must fight this sickness, find a cure”. A vivid image on how The Cure’s music is soul-cleansing, cathartic stuff.

Setlist:

00:00:00 – Intro 00:01:40 – Shake Dog Shake 00:06:20 – From the Edge of the Deep Green Sea 00:14:20 – Just One Kiss 00:18:40 – Lovesong 00:22:26 – Last Dance 00:27:31 – Pictures of You 00:35:04 – High 00:38:44 – A Night Like This 00:43:04 – Burn 00:49:29 – Fascination Street 00:54:29 – Never Enough 00:57:34 – Push 01:02:16 – Inbetween Days 01:05:13 – Just Like Heaven 01:09:12 – Play for Today 01:13:16 – A Forest 01:21:26 – Primary 01:25:35 – Want 01:30:47 – 39 01:38:09 – One Hundred Years [encore] 01:50:12 – Lullaby 01:55:03 – The Caterpillar 01:58:59 – The Walk 02:02:32 – Friday I’m in Love 02:06:27 – Close to Me 02:10:00 – Why Can’t I Be You? 02:13:49 – Boys Don’t Cry

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Robert Smith wasn’t ready for the full 4K experience when he sat down to watch a concert film of The Cure’s stunning 2018 Hyde Park concert. “The first close-up of a human face I saw was me,” he says. “It was quite terrifying.” Smith says he was initially on the fence about making the film, which is titled Anniversary 1978-2018 Live in Hyde Park London and will get a special screening in movie theaters around the world on Thursday, July 11th. People tend to be more self-conscious when they know they’re being filmed, but he decided it was ultimately worth it since it was a momentous occasion.

The gig took place 40 years to the weekend from when the Cure played their first gig in Crawley, and he’d jammed the set list with favorites like “Just Like Heaven,” “Lovesong” and “Boys Don’t Cry.” So he asked the band’s longtime videographer, Tim Pope, to direct the film “on the sly” with 16 cameras and didn’t tell his band mates, who had enough to worry about with playing for some 65,000 people that day. Despite his initial fright with the close-up, he’s happy he did it.

“It’s actually quite an overwhelming experience,” he says of the picture. “I thought that I’d be a bit blasé, but I was actually quite taken aback with the whole thing. I’m really pleased we did it because it turned into probably one of the best days we’ve ever had through a combination of just great weather and England’s football team was doing remarkably well in the World Cup. And I picked the bill for the whole day at Hyde Park. … It was just, like, a huge celebration of music.”

The show came after the Cure played another gig in London as part of the Meltdown festival, so he worked hard to differentiate the two experiences. For the Meltdown show, dubbed Curætion, he played a set that started with the band’s earliest material, progressed to their most recent, and returned to the earliest. For the 40th anniversary show, he picked nearly 30 songs that “an audience would want to hear.”

“Knowing that we’d sold 65,000 tickets, you think, ‘This isn’t a normal show,’” he says. “We’ve got to acknowledge that a lot of people are going there for the whole day. So we approached it more as a festival. Certain clusters of songs I just know work really well together. I thought there’s no point in trying to shoehorn B sides or obscure songs into the set, because we would lose people in five or six minutes. So I think we knew the set was going to work before we walked out onstage.”

Beyond the performance, the other reason Smith likes the film so much is because he had some distance from making it. Other than working on a 5.1 surround sound mix with his Bloodflowers co-producer Paul Corkett, he left the rest to Pope. According to Smith, all he had to do was field questions like, “Do you think we should open with this?” “Do you think this shot works?” and, “Do you think you look too hideous in this shot for me to keep it in?” The space has made it so he was able to appreciate it more, and now he wishes he’d done more, such as filming openers Interpol, Goldfrapp and Ride, among others. But he’s happy things worked out as well as they did for his set.

The only problem he had during the day was facing off with the sun. It was nearly 90-degree heat, and he’s used to performing in the dark. “I really honestly can’t talk until the sun goes down,” he told the crowd. “It’s taking up all my energy not to dissolve into a pile of dust.” Looking back on it now, he says he just wasn’t prepared for so much light, which finally set about halfway into the gig.

“It was a bit shocking actually walking out because we were backstage the whole time, just kind of hanging out with everyone,” he says. “It’s all under covers, parasols, chilled drinks and so forth. So walking out onstage was really the first time I’d realized how hot it was. They had portable fans and stuff around us backstage, so walking onstage was like, ‘Whoa.’ We walked directly into the sunset, and it was quite dramatic. It was like the best light show in the world — if you can bear it. If we’d been 20 years younger, it might have been a little easier.

“But in a way, it gives it all a theatrical feeling,” he continues. “It gives the film itself what Tim would call a narrative or an arc. There’s a natural progression, and we end up right back where we started with a cluster of the very early songs and that very frantic, manic lighting. I think it would have been a lot less good in a funny way, if we’d walked on in darkness, and it had just been another concert film.”

He also likes how the sunlight makes the whole thing look “rubbish” and that people can see “all the junk on the side of the stage and backstage.” “It kind of makes you feel like you’re onstage,” he says, “which, for me, was the most important part of the film.”

And that’s a funny thing in and of itself, because Smith says when he’s onstage, he likes to lose himself. For all the times he looks like he’s surveying the crowd, such as in the footage of “Friday I’m in Love,” he says he’s actually trying to forget everything from the moment he sets foot onstage.

“For the first two or three songs, I’m adjusting,” he says. “I’m not one of the performers that constantly reminds themselves that, ‘Hey, Hyde Park, how you doing?’ I don’t really want to remember where I am. I’m just onstage, playing these songs. That’s why I don’t talk onstage. I’ve kind of lost the ability to communicate with words. It’s very odd. When I’m singing and playing, I’m just kind of transported and that’s what I feel like doing. It sounds hippie-ish, but it’s always been like that with me. I just feel like if I’m getting lost in the songs, there’s a fair chance everyone else is as well.”

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Exclusive to Vivid LIVE, alternative British rock legends The Cure brought their magisterial, slow-burn masterpiece “Disintegration” to the Opera House Concert Hall for five shows to mark the 30th anniversary of their career-defining epic. This was the world premiere of these 30th anniversary performances, and their only Australian engagement. This live stream was directed by British filmmaker Nick Wickham, a close collaborator of The Cure’s who is known for his work with Iggy Pop, Joe Cocker, Annie Lennox and Madonna.

Released in 1989, Disintegration peaked at No 3 in the UK album charts, making it the band’s highest-charting record. Songs such as Lullaby, Lovesong, Pictures of You and Fascination Street cemented the band’s success in the United States too. By 1992, the album, described by this publication as “exquisitely morose”, had sold more than three million copies worldwide.

The Cure played the record with a full band, featuring lead singer Robert Smith alongside Simon Gallup, Jason Cooper, Roger O’Donnell and Reeves Gabrels.

This will be the second time the Cure have played Vivid Live after 2011’s Reflections shows, at which the band played their first three albums in full: Three Imaginary Boys, Seventeen Seconds and Faith.

This time, the band will play Disintegration along with other tracks from their back catalogue.

Today marks 30 years since the release of the Disintegration album – and we are very pleased to announce to Cure fans around the world that we will be global live streaming our final performance from the Sydney Opera House on 30th May, where we will be playing the album in its entirety – plus extras! – at Vivid LIVE. We look forward to celebrating the anniversary of this special album with you all… …And remember: this album was mixed to be played loud… so turn it up!” — Robert Smith, 2nd May 2019.

The Cure’s fifth and final performance of “Disintegration” at Sydney Opera House on 30th May 2019

Setlist:

B-Sides and Demos 1. Delirious Night 17:20 2. Fear of Ghosts 23:44 3. No Heart 30:54 4. Esten 34:20 5. 2 Late 38:17 6. Out of Mind 41:10 7. Babble 44:45 Disintegration 8. Plainsong 49:15 9. Pictures of You 59:31 10. Closedown 1:06:44 11. Lovesong 1:11:00 12. Last Dance 1:14:40 13. Lullaby 1:19:54 14. Fascination Street 1:24:46 15. Prayers for Rain 1:29:47 16. The Same Deep Water as You 1:35:34 17. Disintegration 1:44:47 18. Homesick 1:53:10 19. Untitled 2:00:18 Encore 20. Burn 2:10:55 21. Three Imaginary Boys 2:17:52 22. Pirate Ships (Wendy Waldman cover) 2:21:30

Photos Ben Houdijk / Pinkpop and Bart Heemskerk / Pinkpop

From light and in love to a black swelling and gloomy. An extremely balanced layering that takes you to the depth. From a rather obscure start with album favorites, to hits such as ‘Friday I’m in Love’, ‘Close to Me’, ‘Boys Don’t Cry’ that were completely preserved. The British new wavers from The Cure gave a mighty musical concert on the second day of Pinkpop that will be remembered for a long time.

Welcomed as conquering heroes to Geleen in 1986, with The Cure Pinkpop didn’t just get one of the biggest bands of the moment (witness the all-time classics on their set list back then: Boys Don’t Cry, A Forest, In Between Days, The Walk, Close To Me), but after two slim editions a crowd of 50,000 helped ensure that the ‘sold out’ sign was once again hung on the Pinkpop gates. The Cure saved Pinkpop was the verdict, so it’s only logical that these new wave legends should play the fiftieth anniversary. 2019 is also a special year for the band: they’ve been inaugurated into the Rock & Roll Hall Of Fame, their debut album Three Imaginary Boys celebrates its fortieth birthday, the successful Disintegration (featuring classics Lullaby, Lovesong and Pictures Of You) turns thirty and frontman Robert Smith turned sixty in April.

Who would have thought that The Cure would draw the fiftieth Pinkpop. The band colored no less than 2.5 hours of a festival day that had yielded much predictable sentiment until then. While Rowwen Hèze culminated in a hopping party, the band Krezip, who had just reunited after ten years, had a sympathetic reunion with Pinkpop. And retro star Lenny Kravitz also swung back in time. Casually cool with sunglasses – he doesn’t seem to be getting older – he brought a routine, edifying retro show like a cozy foam rock bath.

The Cure performs “A Forest” live at the Pinkpop Festival in Landgraaf, 2019.

As a final act of day two, The Cure took Pinkpop into the dark. The fact that a final act would follow, the dance of Armin, hardly counted for the fans of The Cure. Their heroes, now in their sixties, with the hefty foreman Robert Smith still as a melancholy eye-catcher with the dark raised hair, black flared eyes and red lipstick, were back since 2012.

With dedicated authority, The Cure immediately faded acts such as White Lies and The Kooks . With here even a little nod or smile. When ‘Just Like Heaven’ comes out fantastic. When ‘In Between Days’ is completed brilliantly. ‘A Forest’ was an eerily strong climax in which a lot came together: the depth, the quality, the load of a song that still comes in almost forty years later.

The Cure performs Boys Don’t Cry live at the Pinkpop Festival in Landgraaf, 2019.

Setlist:

  1. Shake Dog Shake
  2. Burn
  3. From the Edge of the Deep Green Sea
  4. A Night Like This
  5. Pictures of You
  6. High
  7. Just One Kiss
  8. Lovesong
  9. Just Like Heaven
  10. Last Dance
  11. Fascination Street
  12. Wendy Time
  13. Push
  14. In Between Days
  15. Play for Today
  16. A Forest
  17. Primary
  18. Want
  19. 39
  20. One Hundred Years  Encores:
  21. Lullaby
  22. The Caterpillar
  23. The Walk
  24. Doing the Unstuck
  25. Friday I’m in Love
  26. Close to Me
  27. Why Can’t I Be You?
  28. Boys Don’t Cry

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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.”

‘Disintegration’

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.

“Lovesong”

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. 

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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.

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 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.

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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.

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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)