Like many British albums through the ages, going all the way back to the Beatles, the Cure’s debut album looked a lot different when it finally arrived in the U.S. a year after its original U.K. release. But unlike so many of those albums, the Cure’s ‘Three Imaginary Boys’ actually plays a little better as its stateside companion, retitled ‘Boys Don’t Cry.’ They’re mostly the same record, but with a few adjustments that give the edge to the LP that arrived in the U.S. in February 1980.
The Austin City Limits Festival makes its highly anticipated return to Austin's scenic Zilker Park this fall, and for the first time ever, the festivities will span two weekends: Oct. 4-6 and Oct. 11-13. This year’s stellar lineup features Atoms for Peace, the Cure, Wilco and the National, plus dozens more must-see acts.
Robert Smith once called ‘Wild Mood Swings’ one of his favorite Cure albums. He may be the only one to ever say that about the band’s 10th album and follow-up to 1992’s ‘Wish,’ which debuted at No. 2 and made them one of the biggest modern-rock bands in the world. ‘Wild Mood Swings’ came out in 1996, four years after their highest-charting record – the longest break they had taken between albums at that point. The extended hiatus, and lackluster songs, make for one of the most poorly received records of the group’s long career.
Before the Cure started getting frisky on pop-leaning singles like ‘Let’s Go to Bed,’ ‘The Walk’ and ‘The Love Cats,’ they had to make ‘Pornography,’ their fourth album and one of the gloomiest of their gloom-filled career. You can thank Robert Smith for that. The band’s singer and songwriter was deep in a depression that led him to drugs and some very dark thoughts. He decided to channel whatever inspiration was left in his band, which was on the verge of breaking up, into a set of songs all about his desolation.
The Cure had been building toward ‘Disintegration’ ever since their debut album was released in 1979. It took a decade to get there, but the slow climb was marked by good records (‘Kiss Me, Kiss Me, Kiss Me’) and not-so-good records (‘Pornography’). By the time their eighth LP was released on May 1, 1989, the Cure had cataloged enough gloom, pop and wild mood swings to make an album that was worthy of their growing reputation.
Following 1982’s ‘Pornography,’ one of the Cure’s gloomiest albums, the band went through a restructure of sorts. Frontman Robert Smith discarded, for the most part, the dark, murky goth that populated the band’s fourth album and replaced it with bouncier synth-pop. The first three singles that emerged from this reshuffling – ‘Let’s Go to Bed,’ ‘The Walk’ and ‘The Love Cats’ – put a new face on the Cure and set them up for their next album.
After a decade of slowly making their presence known in the U.S. -- first with MTV, then with college-music fans and eventually with the Top 40 audience – the Cure finally had a hit record with 1989’s ‘Disintegration,’ a moody mix of everything the band had mastered during their decade in the trenches. Goth, pop, radio-ready ballads, long, drawn-out space jams – ‘Disintegration’’s heady and heavy combination led to their first Top 10 hit, ‘Lovesong’ and an album that just missed the Top 10.
The Cure, Mumford and Sons, the Killers and Nine Inch Nails have been confirmed as headliners for Lollapalooza 2013, which takes place in Chicago's Grant Park on Aug. 2-4. The four monsters of alt-rock top a bill featuring dozens of artists, with Phoenix, New Order, the Postal Service and Vampire Weekend among the other top-tiered acts.
The Cure, R.E.M. and the Lemonheads are among the many artists with music set to be released via Rhino Records on Record Store Day 2013, which is scheduled for April 20. Other releases due out on RSD 2013 from Rhino include albums from the Cure side project the Glove; classic rockers the Doors, the Band and the Grateful Dead; punk veterans the Misfits and X and a Factory Records sampler featuring Joy Division, New Order, the Durutti Column and Happy Mondays.