The Cure

Voodoo Experience 2013 Adds the Cure as Third Headliner
New Orleans' annual Voodoo Experience festival has revealed its third headliner, and it's a biggie. It's none other than -- drumroll, please -- the Cure. Other bill-topping acts include Pearl Jam and Nine Inch Nails, giving the event a very '90s alt sheen. Nothing wrong with that, either.
A Way With Words
The Cure have a reputation as a pretty moody band. But many of their best songs aren't all that gloomy. Peer beneath the minor-chord settings and Robert Smith's often-pained vocals, and you'll find a group that just wants to be loved. Or sexed...
34 Years Ago: The Cure’s ‘Three Imaginary Boys’ Album Released
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
Atoms in Austin
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.
24 Years Ago: The Cure’s ‘Disintegration’ Album Released
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 worth
29 Years Ago: The Cure’s ‘The Top’ Album Released
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 th

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