The Cure "4:13 Dream" (2008)

4:13 Dream
release date: Oct. 27, 2008
format: cd
[album rate: 2,5 / 5]
producer: Robert Smith, Keith Uddin
label: Geffen Records - nationality: England, UK

Track highlights: 2. "The Only One" - 4. "Freakshow" - 6. "Real Snow White" - 8. "Switch"

13th studio album by The Cure. After O'Donnell and Bamonte was fired in 2005 the band toured as a trio with Robert Smith, Simon Gallup and Jason Cooper, but later in 2005 Porl Thompson rejoined the band. Another four years under its way, it's hard to see much progression from its predecessor The Cure (2004). I only find it an even more obvious mission for the band to thread the same steps like Franz Ferdinand ('Freakshow'), Bloc Party ('Switch') or other contemporary artists of post-punk revival wave. Unfortunately, the album turns out as yet another mediocre album from Robert Smith & Co, and by 2014 this has been the last studio album from the band, meaning no other album cam out in 2012. On the band members list it has also been in and out like it has for many years. O'Donnell and Tolhurst both have toured with the band, and Thompson on the other hand has announced no wish to continue in the band. Reeves Gabrels, famous guitarist in various art rock bands including Tin Machine and other work with David Bowie has toured and played in The Cure. Concerning new material, rumor has it that a new album is on its way, although, it has also been proclaimed that it would be outtakes from this album, which initially had been intended as a double album.
[ allmusic.com 2 / 5, Rolling Stone 3,5 / 5 stars ]

The Cure "The Cure" (2004)

The Cure
release date: Jun. 29, 2004
format: cd
[album rate: 3 / 5]
producer: Ross Robinson, Robert Smith
label: I Am - nationality: England, UK

Track highlights: 3. "Before Three" (3,5 / 5) - 4. "The End of the World" (4 / 5) (live)

12th studio album by The Cure - for the first time releasing on a new label, a small label licensed through Geffen Records. Again, it took the "usual" four years to release a new album. It's the band's first album in 25 years [!] not to be released on Fiction Records, and the band / Smith has found together with an American producer who has been known for his work with hard rock death rock and metal bands, which explains the much harder and heavier sound. Despite the improvement from the previous four releases and the effort to seek out new ways of expressing themselves, I don't think it's all that great. The international music scene has seen 'post-punk revival' bands from both the American as well as the European continent, and The Cure jumps that train with the excuse to have returned to their post-punk roots. I just find the band has only little to contribute with. The songs, the melodies, the originality, it's really not there except from on two or three songs, which doesn't make it a great album. Following the album release Roger O'Donnell and Perry Bamonte was fired from the band in 2005.
[ allmusic.com 3 / 5, NME, Rolling Stone 4 / 5 stars ]

The Cure "Bloodflowers" (2000)

Bloodflowers
release date: Feb. 14, 2000
format: cd
[album rate: 2,5 / 5]
producer: Robert Smith, Paul Corkett
label: Fiction Records - nationality: England, UK

11th studio album by The Cure was again 4 years under its way, although, the recording sessions took place from 1998-99. For at least this album the band members remain the same as on the previous album. The album is by many seen as a return to a more dark, introvert and gothic rock styled sound that puts it as the last in a trilogy with Pornography (1982) and Disintegration (1989). I do see the common traces of the three albums, but since neither of them ever were among the best of The Cure in my eyes, I can at least agree that it's a return to more introvert and complex compositions without the cheesy pop love songs. To me it's more the sound of a band in lack of direction and new ideas. They turn to the past and put everything on repeat.
[ allmusic.com, Q Magazine 3 / 5, Rolling Stone 2,5 / 5 stars ]

The Cure "Wild Mood Swings" (1996)

Wild Mood Swings
release date: May 7, 1996
format: digital
[album rate: 2,5 / 5]
producer: Steve Lyon, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 1. "Want" - 2. "Club America" (3 / 5) - 3. "This Is a Lie" (3 / 5) - 6. "Mint Car"

10th studio album by The Cure was four years under its way, the longest time so far between the band's studio albums (but also the time the band has spent ever since on new studio albums). The band almost dissolved after Wish (1992) as band members left, was replaced and left again. By 1994 and the rehearsals for a new album the band solely consisted of co-founder Robert Smith and (new member) Perry Bamonte. Simon Gallup and Roger O'Donnell rejoined the band by the end of '94, and during the recording process of the album drummer Jason Cooper entered the band. The style is something new for the band as it's more mainstream pop / rock based, which perhaps explains the poor reception it faced. I actually, find it somewhat interesting, although, it's evident that it really lacks hit singles.
[ allmusic.com 3 / 5, Rolling Stone 2 / 5 stars ]

The Cure "Wish" (1992)

Wish
release date: Apr. 21, 1992
format: cd
[album rate: 3 / 5] [3,08]
producer: David M. Allen, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 2. "High" (3 / 5) - 7. "Friday I'm in Love" (4 / 5) - 9. "A Letter to Elise" (3 / 5) - 10. "Cut" (3 / 5)

9th studio album by The Cure. After the exclusion of co-founder Lol Tolhurst and after Roger O'Donnell had decided to leave the band after only two years, they were in need of a new member, and Perry Bamonte who plays 6-string bass, guitar, and keyboards became official member of the band. Apart from that, The band plays in their usual synth pop dream pop and alt. rock combination with focus on keyboards and a heavy spacial sound. I didn't pay the album much attention back then, and have only purchased the album for digital download after 2010, mostly because I like the hit single "Friday, I'm in Love", which isn't enough to raise much over a mediocre album despite that I find it a bit more interesting as a whole compared to Disintegration (1989).
[ allmusic.com 2,5 / 5, Rolling Stone 4 / 5 stars ]

The Cure "Disintegration" (1989)

Disintegration
release date: May 1, 1989
format: cd
[album rate: 3 / 5] [3,22]
producer: Robert Smith, David M. Allen
label: Fiction Records - nationality: England, UK

Track highlights: 1. "Plainsong" (3 / 5) - 2. "Pictures of You" - 3. "Closedown" (3 / 5) - 4. "Lovesong" - 6. "Lullaby" (2,5 / 5)

8th studio album by The Cure. During studio work on the album co-founder Laurence Tolhurst was fired from the band (allegedly after long-time alcohol addiction) and Roger O'Donnell took over Tolhurst's place as keyboardist. The style is in the same ballgame as the previous album, but with a stronger focus on a dream pop and neo-psychedelic sound, and a small move away from their most popular universe of sweet melodic love songs. Some see it as a return to darker gothic rock and post-punk but I find this progression more than hard to see. To me, this is just more of the same songs and compositions in new disguises, and my disappointment with the band had come to a final draw. I couldn't stand listening to Robert Smith and the band's lamenting songs. Yes, I purchased the album, but I never really got accustomed to it and resold it only a few years later. O'Donnell left the band in 1990 before they started rehearsals for a new album. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4,5 / 5 stars ]

The Cure "Lullaby" (Remix) (1989) (single)

FICSP 29, Ltd. nb.
clear disc #2844
(my copy)

Lullaby (Remix), 7'' single
release date: Apr. 1989
format: vinyl (clear vinyl - FICSP29, #2844)
[single rate: 3,5 / 5] [3,38]
producer: Robert Smith, Dave Allen [David M. Allen]
label: Fiction Records - nationality: England, UK

Tracklist: A) "Lullaby (Remix)" - - B) "Babble"

7'' single by The Cure released in a normal edition with the album version of the track "Lullaby", but also in this Limited numbered clear disc Remix version of the track.

[ collectors' item - clear vinyl, ltd. numbered edition in PVC sleeve - from ~ €120,- ]

The Cure "Kiss Me, Kiss Me, Kiss Me" (1987)

Kiss Me, Kiss Me, Kiss Me
release date: May 5, 1987
format: cd
[album rate: 3,5 / 5] [3,44]
producer: David M. Allen, Robert Smith
label: Fiction Records - nationality: England, UK

Track highlights: 1. "The Kiss" - 5. "Why Can't I Be You" - 6. "How Beautiful You Are" - 9. "Just Like Heaven" (4 / 5) - 10. "All I Want" - 12. "One More Time" - 16. "A Thousand Hours"

7th studio album by The Cure. With this the band continues the style from The Head on the Door (Aug. 1985). The album was released as a double vinyl album but released as a single disc cd with the omission of one track to fit playing time limits for cds. Like I had been accustomed to, I went straight out and bought the album. I never got fond of it though. The album signalled the end of my fascination for the band. Occasionally, I listened to the album and found some tracks really great, some really beautiful, and others interesting, but overall I was just tired of Robert Smith's melancholic lamenting voice AND the new orchestrated sound with synths all over the place. Actually, in the early '90s I resold the album alongside the successor Disintegration (May 1989) with a couple of The Cure 12'' singles to afford to buy new music. Back then I wouldn't have handed it more than 2 / 5 stars, but in retrospect I acknowledge the music, although, I'm not really fond of it either.
[ allmusic.com, Rollings Stone 4 / 5, Blender 5 / 5 stars ]

The Cure "Staring at the Sea - The Singles" (1986)

Staring at the Sea - The Singles (compilation)
release date: May 6, 1986
format: cd (2002 reissue)
[album rate: 4,5 / 5]
producer: various
label: Fiction Records - nationality: England, UK

Compilation album by The Cure - on vinyl released as Standing on a Beach - The Singles containing 13 tracks and for cd format issued as Staring at the Sea - The Singles containing an additional four tracks. Also an official cassette version of the album is released containing 25 tracks on which the A-side is subtitled "The Singles" and the B-side "The B-sides".
The album compiles the band's single releases from 1978 to 1986 enlisted in chronological order.
I didn't pay much attention to the album at the time of its release - mostly because I knew all tracks from start to finish and also had tired somewhat from both band and the sound of Robert Smith's vocal. The album is, however, a quite fine collection showcasing the band's unique style and immense transformation going from post-punk to synth-pop and eventually neo-psychedelic pop / rock.
[ allmusic.com, Rolling Stone, Blender 5 / 5 stars ]

vinyl cover

The Cure "The Head On The Door" (1985)

FIXH 11

The Head on the Door
release date: Aug. 13, 1985
format: vinyl (FIXH 11) / digital
[album rate: 4 / 5] [3,86]
producer: Robert Smith, David M. Allen
label: Fiction Records - nationality: England, UK

Tracklist: A) 1. "In Between Days" (4,5 / 5) - 2. "Kyoto Song" (3 / 5) - 3. "The Blood" - 4. "Six Different Ways" - 5. "Push" (4 / 5) - - B) 1. "The Baby Screams" - 2. "Close to Me" (4 / 5) - 3. "A Night Like This" - 4. "Screw" (1,5 / 5) - 5. "Sinking"

6th studio album by The Cure signals a new start for the band after their move away from dark post-punk and gothic rock, as this is really neither despite its often labelled as such. It's hard to categorise but neo-psychedelia and alt. rock are more suitable styles. Since the previous album The Top (May 1984), which nearly showed us a one-man band, The Cure is now a quintet consisting of songwriter Robert Smith on guitars and lead vocal, Laurence Tolhurst on keyboards, and the new members Porl Thompson on guitars and keyboards, Boris Williams on drums and percussion, and a much welcomed return of bassist Simon Gallup.
The album has a highly original sound, dominated by Smith's characteristic voice and flanger-distorted guitar even though it's a band with plenty of keyboards. I recall the summer of '85 when the single "In Between Days" was played on national radio all the time. It was mostly great to see the band become massively popular with a distinct sound, but at the same time a bit sad to witness the progression from cult to mainstream. I really enjoyed this album at the time and many saw this as the rebirth of a band. Before this, The Cure had mostly been a cult band for the few, but it now embraces a whole new and much broader audience. My favourite track then was "Push" with Smith's soaring guitar, but despite the album was an immediate favourite, I also tired soon of the new incarnation of The Cure.
[ allmusic.com 4,5 / 5, Blender, Rolling Stone Album Guide 4 / 5 stars ]

The Cure "Concert - The Cure Live" (1984) (live)

FIXH 10

Concert - The Cure Live (live)
release date: Oct. 16, 1984
format: vinyl (FIXH 10)
[album rate: 3,5 / 5] [3,42]
producer: Dave Allen [David M. Allen], The Cure
label: Fiction Records - nationality: England, UK

1st live album by The Cure. The album is quite fine as documentation. The tracks were recorded live at the Hammersmith Odeon in London, on May 9 & 10, 1984, and in Oxford, May 5, 1984. Although, the concerts were held after The Cure had been engaged in seeking out a new style, and after turning its back on gloomy gothic rock, this album, with the exception of three compositions, only document the old days with tracks from the band's first four albums. In that way the album seemed like a strange release. Anyway, when you know the first albums it's fine but also incoherent with tracks of synth pop in between.
[ allmusic.com 3 / 5 stars ]

The Cure "The Top" (1984)

The Top
release date: May 22, 1984
format: cd
[album rate: 2,5 / 5] [2,58]
producer: David M. Allen, Chris Parry, Robert Smith
label: Fiction Records - nationality: England, UK

5th studio album by The Cure follows two years after Pornography (May 1982) and it's the band's first studio album after a move away from post-punk and gothic rock, and after having released several singles that suggested a clear change of style. The band is back to a trio with the core of Smith and Tolhurst supplemented by new percussionist Andy Anderson. The album is actually close to a solo album by Robert Smith who wrote most of the songs and played nearly all instruments by himself. Laurence Tolhurst is credited for playing 'other instruments'. To me this was more than a big change of style, and I have always found the album of little interest.
I purchased the vinyl album upon its release but later resold it back around the late '80s to finance new albums.
[ allmusic.com 2 / 5, Rolling Stone Album Guide 2,5 / 5 stars ]

The Cure "Japanese Whispers" (1983)

FIXM 8

Japanese Whispers (compilation)
release date: Dec. 12, 1983
format: vinyl (FIXM 8) / digital
[album rate: 3 / 5] [3,18]
producer: various
label: Fiction Records - nationality: England, UK

Compilation album by The Cure. The album is sub-titled "The Cure Singles Nov 82: Nov 83" and hence a collection of single releases in the aftermath of Pornography (1982). The tracks are all synth pop-styled, some more dance-oriented than others.

The Cure "The Walk" (1983) (single)

FICS 18

The Walk, 7'' single
release date: Jun. 27, 1983
format: vinyl (FICS 18)
[single rate: 3,5 / 5] [3,42]
producer: Steve Nye
label: Fiction Records - nationality: England, UK

Tracklist: A) "The Walk" - - B) "The Dream"

7'' single by The Cure. It's obvious that the band is in a period of transition, and the group is now reduced to a duo consisting of Robert Smith and Laurence Tolhurst. The music has become more electronically-driven and the post-punk element is hardly present, and synth pop and alt. dance now seems the most fitting labels.

The Cure "Let's Go to Bed" (1982) (single)

FICS 17

Let's Go to Bed, 7'' single
release date: Nov. 15, 1982
format: vinyl (FICS 17)
[single rate: 3 / 5] [3,16]
producer: Chris Parry
label: Fiction Records - nationality: England, UK

Tracklist: A) "Let's Go to Bed" (3 / 5) - - B) "Just One Kiss" (3,5 / 5)

7'' single by The Cure. The aftermath of the album Pornography (May 1982) saw some changes within the band. Simon Gallup left, and Steve Goulding was included to play drums while Laurence Tolhurst changed his role as drummer to handling keyboards. This new setup introduces a major step into a totally new direction only few months after the release of their darkest and most sinister album. I never liked this transition period very much, and simply found it too pop-polished, although, I know that Robert Smith hated "Top of the Pops" but still felt that he could embrace that culture by making it different. I just don't think he succeeds well on this nor on the next few attempts but eventually he did get it right.

The Cure "A Single" (1982) (ep) (single)

FICG 15
(my copy)

A Single, ep
release date: Jul. 12, 1982
format: vinyl 2 x 7'' (gatefold - FICG 14)
[single rate: 4 / 5] [4,08]
producer: The Cure and Phil Thornally
label: Fiction Records - nationality: England, UK

Tracklist: A) "The Hanging Garden" - - B) One Hundred Years" - - C) "A Forest" (live) - - D) "Killing an Arab" (live)

An extended single release by The Cure with two tracks taken from the album Pornography (May 1982). The single is a (rare) gatefolded double 7'' vinyl issue with the two tracks on the first record taken from the new album and an additional two live recordings (side C and D) taken from a live concert at the Manchester Apollo, Apr. 27, 1982 (the single was also released as a traditional 7'' single without the live tracks).

[ collectors' item, 'double gatefold' ]

The Cure "Pornography" (1982)

Pornography
release date: May 3, 1982
format: vinyl (2383 639) / 2 cd (2005 remaster)
[album rate: 4 / 5] [4,02]
producer: Phil Thornalley, The Cure
label: Fiction Records - nationality: England, UK

Tracklist: A) 1. "One Hundred Years" (4 / 5) - 2. "A Short Term Effect" (4 / 5) - 3. "The Hanging Garden" (4,5 / 5) - 4. "Siamese Twins" (3 / 5) - - B) 1. "The Figurehead" (3,5 / 5) - 2. "A Strange Day" (4 / 5) - 3. "Cold" (3 / 5) - 4. "Pornography" (4 / 5)

4th studio album by The Cure following one year after Faith (May 1981). The band remains a trio, although, the band's bassist Simon Gallup would leave after the album release and Laurence Tolhurst shows initiating attempts with his (rather big) instrumental change going from drummer to keyboardist, although, he only plays keyboard on "One Hundred Years", whereas Smith still handles keyboards on the remaining tracks. At this point of their career the band hasn't yet made two albums with a similar sound or style. It's still gothic rock and post-punk but on this, drum machines and keyboards play a much more central part, and the whole atmosphere of the album is one of strong tension and anger. This is also the band's final album of dark, sinister gothic rock. From Seventeen Seconds (Apr. 1980) to this, you'll notice a progression from dark, over gloomy darkness and despair, to almost touch on explosive self-destructiveness. Robert Smith has often explained how they felt on a musical slope where they ended with this, and there was no going further from here. The only way out was death or a change of style. They obviously chose life, and from here on they started to play much lighter synth pop music, and met greater commercial success.
The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 3,5 / 5, Rolling Stone 1,5 / 5 stars ]

[ collectors' item - 'near mint' from ~ €60,- ]

The Cure "Charlotte Sometimes" (1981) (single)

Charlotte Sometimes, 12'' single
release date: Oct. 1981
format: vinyl (1986 reissue)
[single rate: 3,5 / 5] [3,67]
producer: Mike Hedges, The Cure
label: Fiction / Polydor - nationality: England, UK

Tracklist: A) "Charlotte Sometimes" (4 / 5) - - B) 1. "Splintered in Her Head" (3 / 5) - 2. "Faith" (live) (4 / 5)

12'' single release by The Cure. The tracks #1 and #2 were not included on the most recent album Faith (released in Apr. that year) nor are they included on the successor Pornography (May 1982), so it's basically only the live track one will find on a studio album, although, this version is an extended live recording running for approx. 10 minutes.

[ collectors' item ]

BEST OF 1981:The Cure "Faith" (1981)

FIX 6

Faith
release date: Apr. 14, 1981
format: vinyl (FIX 6) / (2cd) (2005 RM)
[album rate: 5 / 5] [4,82]
producer: The Cure, Mike Hedges
label: Fiction Records - nationality: England, UK

Tracklist: 1. "The Holy Hour" (4,5 / 5) - 2. "Primary" (5 / 5) - 3. "Other Voices" (5 / 5) - 4. "All Cats Are Grey" (4 / 5) - 5. "The Funeral Party" (4 / 5) - 6. "Doubt" (4 / 5) - 7. "The Drowning Man" (5 / 5) - 8. "Faith" (4,5 / 5)

3rd studio album by The Cure following Seventeen Seconds (Apr. 1980), after which Matthieu Hartley left the band and they were back to a trio. Robert Smith also did keyboards on this album, and drummer Laurence Tolhurst also contributed with drum programming, although, he would eventually handle keyboards for the band.
One word: M a s t e r p i e c e . I hold this album very dear. I suppose I've heard it sooo many times on the turntable that the pick-up must've digged out some hidden... expressiveness... and unfortunately, but also inevitably, scratched it just a bit too much. I know, it's dark. It's sinister, it's cold, and it's depressive. Or actually not, really. When I was 16, and all school mates and everyone else at the time listened to old pop / rock, disco, funk, glam pop like Queen, ABBA, Jean Michel Jarre [going pop], ELO, Genesis, Boney M, Kim Wilde, Tina Turner etc. etc., I listened to punk rock, new wave, post-punk and gothic rock like this. I remember sitting in my room late in the evening on many cold winter days all by myself. I switched off all light, and had my best chair facing the dark window, only displaying the occasional lights of cars driving by and reflecting raindrops running slowly down. I sat there in my chair with my B&O headphones on with the volume turned to maximum. I would then sit there listening to this album over and over again while experiencing how good the songs made me feel. The music is soothing with its coldness, hopelessness, and by expressing such depression that it it had the exact opposite effect on me - it lifted me out of my own loneliness, my despair, making everything worthwhile in my melancholic teenage "weltschmerz". The Cure is one of many artists I've listened to long before they became international big stars. I recall the day I became hooked on The Cure. My best friend and I shared the same musical taste, and we listened to a program on the radio presenting new bands and music. I already knew The Jam, The Clash, Elvis Costello, and many others - but mainly punk rock or new wave bands, and this was something really new. Gothic rock had evolved from post-punk featuring Joy Division as the stylistic icon with bits from glam rock and progressive rock. On the radio that day, they had played tracks from Seventeen Seconds (1980), as well as Boy's Don't Cry (1980), and I was really hooked - I had never heard anything like this before. Of course we recorded the tracks on tape, so we could share and hear it again. One of the following days I went to my local record dealer with the intention to buy Seventeen Seconds but he had only just received the brand new album by The Cure, so I purchased Faith without really listening to it. The immediate impression as I returned home was bland, as this was something else than what I had heard and liked so much but after the first full listen, I was caught in the fascinating musical universe of Faith. I stayed a big fan of The Cure's music, and got tired of Robert Smith and Laurence Tolhurst with band [The Cure] in the mid-80s and especially with the release Disintegration - an album which most critics and an ever-growing audience received as a good progression. Later on they got even bigger but I didn't like it anymore. Nowadays, I hardly ever listen to The Cure although, I do understand why I liked it so much. Today, it may appear too linked up with the 1980s post-punk and gothic rock era but nevertheless, I find it a true modern classic, way more important than Michael Jackson's Thriller, and anyhow, it's one of a handful of albums from my teens that runs in my veins.
"Every home should have one".
[ allmusic.com 3,5 / 5, Sounds Magazine 4,5 / 5 stars ]

1981 Favourite releases: - 1. The Cure Faith - 2. The Sound From the Lions Mouth - 3. The Durutti Column LC

[ collectors' item ]

The Cure "Seventeen Seconds" (1980)

FIX 4

Seventeen Seconds
release date: Apr. 22, 1980
format: vinyl (FIX 004) / 2cd (2005 remaster)
[album rate: 4 / 5] [3,88]
producer: Robert Smith, Mike Hedges
label: Fiction Records - nationality: England, UK

Track highlights: A) 2. "Play for Today" (4 / 5) - 3. "Secrets" - - B) 2. "A Forest" (5 / 5) - 5. "Seventeen Seconds"

2nd studio album by The Cure and the follow-up to Three Imaginary Boys (May 1979). Before recording this Michael Dempsey left the band and two new members were included. Simon Gallup replaced Dempsey on bass and Matthieu Hartley stepped in to play keyboard. The album introduces what became a new style of post-punk labelled gothic rock. This was the second album I listened to with The Cure. I really loved "Play for Today" and "A Forest", but I may not have heard it until early '81. I had only just turned 15 and "overnight" went from listening to The Police, Thin Lizzy, Kiss, Blondie, and all my older brothers' favourites like Pink Floyd, Deep Purple, and Dire Straits to discover punk rock and post-punk. It was like an awakening. I had so much to catch up with and tried to digest everything I could get hold of by The Clash, The Jam, Stiff Little Fingers, The Stranglers, The Damned, Undertones, XTC, Siouxsie and the Banshees, Dead Kennedys, Elvis Costello, Sods...
I've always found this more than ordinarily interesting but not entirely up there among the absolute best. The album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 3 / 5, The Guardian, Rolling Stone 4 / 5 stars ]