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Posts from the ‘Cure’ Category


The Cure – Pornography (1982) – Lp

The Cure are an English rock band formed in Crawley, West Sussex in 1976. The band has experienced several line-up changes, with vocalist, guitarist and principal songwriter Robert Smith being the only constant member.












Artist:  The Cure
Title:  Pornography
Year:  1982
Format:  LP
Label:  Fiction Records
Catalog#  2383639

Pornography is the fourth studio album by British alternative rock band the Cure, released on 4 May 1982 by the record label Fiction. Preceded by the non-album single “Charlotte Sometimes” late the previous year, Pornography was the band’s first album with a new producer, Phil Thornalley, and was recorded at RAK Studios from January to April. The sessions saw the group on the brink of collapse, with heavy drug use, band in-fighting and group leader Robert Smith‘s depression fuelling the album’s musical and lyrical content. Pornography represents the conclusion of the group’s early dark, gloomy musical phase which began with Seventeen Seconds in 1980. Following its release, bass guitarist Simon Gallup left the band and the Cure switched to a much brighter and more radio-friendly new wave sound.

Later hailed as one of the key goth rock albums of the ’80s and considered by many hardcore Cure fans to be the band’s best album, Pornography was largely dismissed upon its 1982 release, witheringly reviewed as a leaden slab of whining and moping. The truth, as usual, is somewhere in between: Pornography is much better than most mainstream critics of the time thought, but in retrospect, it’s not the masterpiece some fans have claimed it to be. The overall sound is thick and murky, but too muddy to be effectively atmospheric in the way that the more dynamic Disintegration managed a few years later. For every powerful track like the doomy opener “One Hundred Years” and the clattering, desolate single “The Hanging Garden,” there’s a sound-over-substance piece of filler like “The Figurehead,” which sounds suitably bleak but doesn’t have the musical or emotional heft this sort of music requires. Pornography is an often intriguing listen, but it’s just a bit too uneven to be considered a classic.


Side one
1.  One Hundred Years  (6:42)
2.  A Short Term Effect  (4:25)
3.  The Hanging Garden  (4:32)
4.  Siamese Twins  (5:35)

Side two
1.  The Figurehead  (6:15)
2.  A Strange Day  (5:06)
3.  Cold  (4:26)
4.  Pornography  (6:28)


The Cure – Seventeen Seconds (1980) – Lp

The Cure are an English rock band formed in Crawley, West Sussex, in 1976. The band has experienced several line-up changes, with vocalist, guitarist and principal songwriter Robert Smith being the only constant member.

the cure - seventeen seconds












Artist:  The Cure
Title:  Seventeen Seconds
Year:  1980
Format:  LP
Label:  Polydor Records
Catalog#  2442174

Seventeen Seconds is the second studio album by English rock band the Cure, recorded at Morgan Studio and released on 22 April 1980 by Fiction Records. Seventeen Seconds established the group’s gloomy sound that would continue until 1982’s Pornography. It is the only Cure album to feature keyboardist Matthieu Hartley.

Inspiration was very high for the album, as Robert Smith wrote the lyrics and music for most of the record on just two occasions. Most of the music was composed by Smith in his parents’ home, on a Hammond organ with a built-in tape recorder. Interviewed in 2004, producer Mike Hedges does not recall any demo tracks, with the band generally playing the track in the studio before laying down a backing track to which overdubs were added.

Two members of The Magazine Spies, bass guitarist Simon Gallup and keyboardist Matthieu Hartley, were added to the band’s lineup. Gallup replaced Michael Dempsey, which relieved Smith as he felt Dempsey’s basslines were too ornate and that they weren’t getting on socially. Hartley’s synth work added a new dimension to the band’s newly ethereal sound, although Smith and he clashed over complexity (Hartley enjoyed complex chords; Smith wanted single notes). Hartley left the group after Seventeen Seconds.

Due to budgetary restraints, the record was recorded and mixed in seven days on a budget of between £2,000 and £3,000, which resulted in the band working 16 or 17 hours a day to complete the album. Smith stated that as a result, the track “The Final Sound” was actually planned to be much longer, but was cut down to 53 seconds because the tape ran out while recording, and they couldn’t record it again.

The record, mostly a collection of downbeat tracks, features ambient echoing vocals and minimally-treated instruments, with the album’s sonic direction driven by its drum sound.

Seventeen Seconds has been considered an early example of gothic rock. Jeff Apter, author of the Cure biography Never Enough: The Story of The Cure, wrote that, along with Faith, the band’s next album, Seventeen Seconds‘ “gloomscapes” would be “a sonic touchstone for the goth movement.” The track “The Final Sound”, in particular, he wrote, “[is] so positively gothic you could almost be fooled into believing that it was lifted from the soundtrack of some Hammer horror gorefest”.


Side one
1.  A Reflection  (2:12)
2.  Play For Today  (3:41)
3.  Secrets  (3:20)
4.  In Your House  (4:08)
5.  Three  (2:36)

Side two
1.  The Final Sound  (0:52)
2.  A Forest  (5:55)
3.  M  (3:04)
4.  At Night  (5:54)
5.  Seventeen Seconds  (4:00)


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

The Cure are an English rock band formed in Crawley, West Sussex, in 1976. The band has experienced several line-up changes, with vocalist, guitarist and principal songwriter Robert Smith being the only constant member.

the cure - standing on the beach












Artist:  The Cure
Title:  Standing On The Beach – The Singles
Year:  1986
Format:  LP
Label:  Polydor Records
Catalog#  829239-1

Standing on a Beach is a singles compilation released by the British rock band The Cure in May 1986, marking a decade since the band’s founding in 1976. The album’s titles are both taken from the opening lyrics of The Cure’s debut single “Killing an Arab“.

The “New Voice – New Mix” of “Boys Don’t Cry” (released as a single little over a fortnight before Standing on a Beach) is not featured on the album; thus the album’s singles span only from 1978 to 1985. The same mix has never again been released onto a compilation album.

The version of “A Forest” here is neither the album version (which was also on the 12″ single), nor is it the 7″ single edit (which removes a few bars between verses and fades out part way through the guitar solo ending).

Standing On A Beach: The Singles collects all of the Cure‘s biggest U.K. hits and best-known songs from the late ’70s and early ’80s. Spanning from “Killing an Arab” and “Boys Don’t Cry,” to “The Lovecats,” “In Between Days,” and “Close to Me,” the album captures some of the finest — and most influential — post-punk music. At their best, the Cure were nervy, intellectual, catchy, and foreboding, all at once. No matter how carefully crafted the Cure‘s individual albums were, their finest moments occurred on singles like these, when they distilled their essence into surprisingly catchy, but decidedly left-of-center, pop singles. Standing On A Beach not only selects highlights from their uneven early albums, it collects many of the group’s terrific non-LP singles. It’s a definitive retrospective of the Cure and is one of the finest albums of the ’80s.

The man featured on the album cover was not a member of the Cure; he was chosen because his appearance fit the desired aesthetic of the album. His name is John Button, and was at the time a retired fisherman.


Side one
1.  Killing An Arab   (2:22)
2.  Boys Don’t Cry   (2:35)
3.  Jumping Someone Else’s Train   (2:54)
4.  A Forest   (4:53)
5.  Primary   (3:33)
6.  Charlotte Sometimes   (4:13)
7.  The Hanging Garden   (4:21)

Side two
1.  Let’s Go To Bed   (3:33)
2.  The Walk   (3:28)
3.  The Lovecats   (3:38)
4.  The Caterpillar   (3:38)
5.  In Between Days   (2:56)
6.  Close To Me   (3:39)

Vinyl:  Good
Cover:  Good

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