Posts Tagged ‘The Cure’

The Cure were arresting enough as a band to land its first album “Three Imaginary Boys” into the U.K. charts in 1979. A year later, with their sophomore effort “Seventeen Seconds” ready to be released in April, the band arranged for a brief tour of the of the United States, the first time they had “jumped the pond” after having played entirely British gigs up to that point, with the exception of a handful of dates in Europein places like Netherlands, Belgium, and France.

The Cure’s first-ever show on the North American continent was not in New York City. It was in scenic Cherry Hill, New Jersey, at the Emerald City Lounge, on April 10 or 12, 1980. Actually, a local fanzine review of that show in Cherry Hill by Frank Chmielewski show survives, and it’s interesting to note how unusual the Cure seemed to the writer.

So original, this Cure, it is really hard to expalin it. It is not a dance band, yet it is very rhythmic, and has a textured sound. … The Cure’s music is brain-stroking, maybe.

Remarkably, according to Chmielewski one of the openers for the Cure at that show was The Dickies.

Anyway, the Cure then headed to D.C. for a show at the Bayou and then traveled to NYC for a three-show stint at Hurrah on West 62nd Street on April 15th, 16th, and 17th. Some of you might recall that Hurrah was the club where in December 1978 Sid Vicious got into a fight with Todd Smith (the brother of Patti Smith) during a gig, which incident led to the incarceration of Sid Vicious in Rikers Island. It was also where “Divine” starred in the play The Neon Woman. These three Cure gigs took place towards the end of Hurrah’s existence, as it was defunct by 1981.

It’s not entirely clear which show of the three this footage comes from. The Cure was taped by Charles Libin and Paul Cameron, who took video footage of many bands in New York during that era. For any band playing multiple gigs in New York, their whole M.O. was to watch the first one(s) as prep for the final show, where they would do the actual taping. So it’s likely this show took place on April 17th, 1980.

We presented a portion of this footage early last year, but only two songs were available then. Fortunately for us “new shit has come to light,” as a certain fictitious stoner once said. In this clip we have an actual majority of one of the shows, with eleven songs represented from a set that probably would have had somewhere shy of twenty.

Of the Hurrah dates, Robert Smith said that “we’d obtained cult status … but we only played New York, Philly, Washington and Boston. We played three nights … at Hurrah in New York and it was packed.” Simon Gallup noted one of the key differences of playing in the United States, that “instead of having cans of beer backstage, we’d have shots of Southern Comfort!”

This is not a “complete” show, as already mentioned, and indeed it’s not even continuous, there are breaks between the songs. Libin and Cameron knew what they were doing for sure, which makes this footage very enjoyable to apprehend.

Thanks to Dangerous Minds

https://www.youtube.com/watch?v=szQjujMwaw8

Setlist :

1. Three Imaginary Boys – 0:00
2. Fire In Cairo – 2:54
3. In Your House – 5:50
4. M – 9:35
5. 10.15 Saturday Night – 10:32
6. At Night – 16:06
7. Boys Don’t Cry – 21:26
8. Jumping Someone Else’s Train – 24:00
9. Another Journey By Train – 26:25
10. A Forest – 29:46
11. Secrets – 35:53

Image may contain: 1 person, on stage, playing a musical instrument and concert

Porl was part of the original lineup of the Cure, and was in and out of the band until 1994 when he left The Cure to play with Jimmy Page and Robert Plant of Led Zeppelin during the Page and Plant tour of 1995. Porl is also a talented artist website; Porl and designer Andy Vella are the co-founders of Parched Art, which has produced many of the record sleeves found on The Cure albums, many of which Porl drew or painted. Porl has also held his own artwork exhibition “100% Sky”.

Porl officially rejoined the band for a third time in June 2005 and recorded the live DVD, The Cure: Festival 2005 and appeared on their 13th studio album,“4:13 Dream”.He also toured with The Cure for their 2007-2008 4Tour.

The collection up for sale includes guitars, amps, studio/stage equipment, stage clothing, original artwork and other memorabilia. See preview below::

Auction of Guitars, stage equipment, stage clothing, artwork and memorabilia. Saturday 19th May 2012, Omega Auctions, Meadow Mill, Stockport, http://www.omegaauctions.co.uk. Official Limited Edition Catalogue for the auction now available

 

In April 1992 The Cure released their 9th album “Wish”. To celebrate the 25th year anniversary of this iconic album many Sydney acts will come together to play and sing the entire album plus many many other songs off their previous 8 albums before its release. The Factory Theatre in Sydney hosted the celebration of the 25th Anniversary to the Cure’s ninth album “The Wish” with a complete front to back of the album headlined by Steve Kilbey of The Church.

Steve Kilbey (The Church), The Exploding Boys, The Hummingbirds, Jamie Hutchings, Peter Fenton (CROW), Dave Challinor (Sounds Like Sunset), J M S Harrison, Christine Jane + many more!”

 

Cured: Signed Edition - The Tale of Two Imaginary Boys (Hardback)

Coming of age in Thatcher’s Britain in the late 70s and early 80s was really tough, especially if you lived in Crawley. But against the grinding austerity, social unrest and suburban boredom, the spark of rebellion that was punk set alight three young men who would become one of the most revered and successful bands of their generation.

The Cure. Cured is a memoir by Lol Tolhurst, one of the founding imaginary boys, who met Robert Smith when they were five. Lol threads the genesis of The Cure through his schoolboy years with Smith, the iconic leader of the group, and the band’s most successful era in the 1980s. He takes us up to the present day, a riveting forty years since the band’s inception. The band’s journey to worldwide success is woven into a story not only of great highs and lows but also of love, friendship, pain, forgiveness and, ultimately, redemption on a beach in Hawaii. Cured highlights those parts of the creative journey that are not normally revealed to fans, incorporating many first-hand recollections around Lol’s personal odyssey. From suburban London to the Mojave desert, Cured brings an acute eye for the times to bear on a lifelong friendship, with tales of addiction and despair along the way. Cured is the story of a timeless band and a life truly lived.

Some of you reading this may have already had the good fortune to have seen this vintage footage of The Cure performing at the breathtaking Roman-esque theatre in Orange, Vaucluse, France known as Theatre Antique d’Orange back in 1986. I also have no doubt that some of you might even possess copies of the show (known as The Cure in Orange) on VHS. If you fall into neither of these categories, then you are in for a treat as the show recently popped up on Vimeo. Shot over the course of two nights by longtime Cure collaborator director Tim Pope, the out-of-print footage contains a staggering 23 songs from The Cure’s mid-80s catalog (like The Head on the Door) as well as 1980’s Boys Don’t Cry and 1993’s Show and other assorted gems. It was also the apparently the first time Smith debuted his new short haircut much to the dismay of his gothy followers.

Though Smith himself has promised that The Cure in Orange would be released to DVD sometime in 2010, that never happened—though you can find bootlegged copies of the show for sale out there on various music-loving Internet sites as well as copies of the original VHS tape. As in the past when this extraordinary footage has made its way online it will likely once again quickly disappear so stop what you’re doing now and watch it before it vanishes.

https://vimeo.com/177796032

Tracks: “Introduction”, Recording of “Relax”, from the album Blue Sunshine by “The Glove”
“Shake Dog Shake”
“Piggy in the Mirror”
“Play for Today”
“A Strange Day”
“Primary”
“Kyoto Song”
“Charlotte Sometimes”
“Inbetween Days”
“The Walk”
“A Night Like This”
“Push”
“One Hundred Years”
“A Forest”
“Sinking”
“Close to Me”
“Let’s Go to Bed”
“Six Different Ways”
“Three Imaginary Boys”
“Boys Don’t Cry”
“Faith”
“Give Me It”
“10:15 Saturday Night”
“Killing an Arab”

The Cure

Anticipation for The Cure’s current North American Tour has been nothing short of fiendish, especially as it’s progressed and word of the band’s extraordinary, rarity- and multi-encore-packed set lists have hit the blogosphere. But Robert Smith and his band have always made their live shows major events actually worthy of the word “epic.”

Exhaustive, thoughtful and unpredictable, filled with both melancholy moments and raucous freakouts, The Cure’s live shows proved long ago that these pioneers are far more than gothy groovers on a nostalgia trip. Quite possibly, they’re in their prime right now when it comes to playing live.

The band’s penchant for protracted performances meant their Hollywood Bowl set Sunday (the first of three sold-out gigs there in a row) had to start early due to a sound curfew. They went on around 7:35 p.m. while it was still light out, which gave the show’s start a surreal festival feel that slowly melted into the dusk, and into something more profound.

The moody melodies of 1989’s Disintegration opened the show with the first three tracks, “Plainsong,” “Pictures of You” and “Closedown.” Then they gave fans of the older gem, 1985’s Head on the Door, a tempestuous trifecta: “A Night Like This,” “Push” and “In Between Days,” only to return back to Disintegration with “Last Dance,” “Lullaby” and “Fascination Street,” adding one later-era track “The End of the World” before the wistful “Lovesong.” They’d revisit Disintegration again a few songs later with “2 Late” in the middle of the set and the album’s title track as closer.

It was a to-die-for set for fans of Disintegration, obviously. But dissecting a Cure set list beyond the immediately apparent can be tricky. On paper, it can seem pretty all over the place, but you get the feeling that Smith really ponders the experience he’s presenting in a way that maybe other artists don’t. In Sunday’s case, it seemed to be about evoking a time and a feel for a lot of us (the late ’80s) when we bought records and played them in their entirety, but ultimately became attached to certain tracks, skipping straight to them to sing along over and over again, wistfully reliving the emotions they evoked.

A mix of early material from Pornography, Seventeen Seconds, The Top and Kiss Me, Kiss Me, Kiss Me really brought that feeling home. Mixed with two formidable new numbers, “”Step Into the Light” and “It Can Never Be the Same,” the set proved to be as nuanced as one would expect from a band known for gloomily poetic music, but vigorous as well. The final encore was hit-packed perfection, starting off with the playful pounce of “Love Cats,” and keeping its vim with “Hot Hot Hot!!!”, “Close to Me,” “Why Can’t I Be You” and definitive closer “Boys Don’t Cry.”

The Cure's Robert Smith

The lighting, backdrop imagery and set design was one of the most immersive and gorgeous I’ve ever seen within the shell of the Bowl, with intense hues of purple, red, green and blue drenching throughout, flashing white lights during the jammy segments and paneled screens that illustrated related visuals for almost every number (a fluorescent, Blair Witch-ish tree scene for “A Forest,” a sinister red and black spider web for “Lullaby”). Perhaps the band didn’t want any close-ups, because the only cameras were placed near the bottom edges of the stage, making the giant screens flanking the stage a parade of constant crotch shots and lots of leg action by the band’s bassist, Simon Gallup.

Still, production on the whole complimented what was happening on stage, especially when the band rocked their graying heads off. Don’t let the 57-year-old Smith’s omnipresent red lipstick and guy-liner fool you; he can be a monster on the guitar and his riffs still rage.

Save for a few languid parts, this was a high-energy rock show of the highest order. Smith’s band these days features David Bowie’s long time guitarist Reeves Gabrels, and his dense and potent playing elevated the classic renditions Sunday (most of which were faithful to the original recordings, though some veered off slightly). Mostly it was Smith’s vocals that changed things up, in subtle cadence or tempo. But however he chose to sing, his whiny croon remained as wondrously emotive as ever. No one will ever sound like Robert Smith, and it’s a gift to hear him still do it.

The Cure have not waned in skill or showmanship one bit since I saw them bring L.A. audiences to tears at the Pantages in 2011 and inspire an a cappella sing-along (after they broke curfew and their sound was cut) at Coachella in 2009. Whether focusing on the gloomy early days or the giddy later ones, they are one of the best live bands still doing it today. We got 32 songs last night, but this tour has been averaging about 40. You get your money’s worth with the iconic band, that’s for sure. And whatever the next set list looks like, or however many encores they decide to do the next two nights in L.A. or rest of the tour, it will be as passionate as it is powerful ’til the bittersweet end.

Set List

Plainsong
Pictures of You
Closedown
A Night Like This
Push
In Between Days
Last Dance
Lullaby
Fascination Street
The End of the World
Lovesong
Just Like Heaven
2 Late
Trust
Want
One Hundred Years
Disintegration

Encore:
It Can Never Be the Same
A Forest

Encore 2:
Shake Dog Shake
Piggy in the Mirror
All I Want
Give Me It

Encore 3:
Step Into the Light
Never Enough
Burn
Wrong Number

Encore 4:
The Lovecats
Hot Hot Hot!!!
Close to Me
Why Can’t I Be You?
Boys Don’t Cry

The Cure’s “A Few Hours After This” originally appeared as a b-side on the “In Between Days” single.

The band re-recorded the track for the British TV Show Luther (which stars Idris Elba) as a request of the show’s creator. Neil Cross said, “I have been an obsessive fan of The Cure since I was 13. After we had finished shooting the second episode of this special, I phoned the producer and said there is this really obscure Cure track – an extra track on a 12-inch single called ‘A Few Hours After This’ – which I have always loved and think it would really go.”

Cross added, “Long story short, we contacted Robert Smith and he re-recorded the song. That was one of those moments where I wanted to hijack the Tardis and go back and see my teenage self and say, ‘One day…’”

B-sides often fall onto the obscure side of a band’s repertoire, the kind of tracks that only the most ardent fans know and love. Such was the case with The Cure’s “A Few Hours After This”, the reverse of the The Head on the Door classic “In Between Days”. Thirty years after it was initially released, the cult favorite song has been revived and re-recorded for the Christmas episode of BBC’s Luther.
Ultimately, the band not only were willing to give Cross permission to use the song, they went ahead and recorded a brand new version specifically for the show. “Long story short,” Cross explained, “we contacted Robert Smith and he re-recorded the song.

The original version of “A Few Hours After This” was an ornate, orchestral beast of a track, full of floating strings and staccato drums and keys. For the update, Smith went quite the opposite route, turning the song into a menacing haze of synths and ghostly reverberating vocals. The old rhythms come in towards the end, with pounding piano replacing those old punctuated moments.

COWBOY JUNKIES  perform “Seventeen seconds” originally recorded by the Cure  from 1980 taken from the album “One Soul Now”  recorded in 2004

Our cover of The Cure’s title song from their 1980 album of the same name. The post-punk bands coming out of England were a big influence on the band in the early days. Seventeen Seconds Time slips away And the light begins to fade And everything is quiet now Feeling is gone And the picture disappears

Through his Devinyl Splits subscription series, which got underway at the beginning of this year, Kevin Devine has been spotlighting musicians he’s become friends with over his decade-plus career in the underground rock scene. In the two installments released so far, Nada Surf frontman Matthew Cawes and Devine covered each other, and Perfect Pussy frontwoman Meredith Graves put out her first-ever solo track. For the upcoming third iteration — out in September — Devine and Tigers Jaw both provide their own takes on songs by the Cure, an essential touchstone band for anyone picking up a guitar today. A few weeks back, we heard Tigers Jaw’s “In Between Days cover, and now here’s Devine’s interpretation of “Lovesong” .

 

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The Twilight Sad have been trying their best to work with Robert Smith for over three years. It began when fellow Scottish prog-rocker Mogwai’s Stuart Braithwaite sent the band an email from The Cure frontman professing his fandom. They initially tried to have him remix a track for their remix release of No One Can Ever Know, but Robert Smith was occupied with the Cure on the road. Then, after releasing their 2014 album Nobody Wants to be Here and Nobody Wants to Leave, they took another shot and emailed Smith to see if he’d want to cover a song for a double A-side for the final single, “It Never Was the Same”.

“I couldn’t believe it when he replied, saying he’d like to cover ‘There’s a Girl in the Corner’,recalled Twilight Sad guitarist Andy MacFarlane. “He sent it over when we were playing San Francisco in March, and we listened to it over and over in the van, driving out after the gig. Hearing someone that we’ve all looked up to for so long sing and play one of our songs is definitely one of the most surreal moments we’ve ever had.” Take a listen here now .