The Toy Box: The Cure

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Retro Spins: The Cure - Disintegration

Touted as The Cure's opus, Disintegration is purportedly the best album in all of the 80's. Okay, maybe it's not that grandiose is stature, but it is highly praised as a masterpiece unto its own. The album is noted for its return to the gothic rock era of the band's early 80's outings, and this was a result of Smith himself, who wasn't happy with The Cure's mainstream popularity. This resulted in the singer turning to hallucinogenic drugs, which influenced the writing and recording of the album. This is a critical aspect, as it will come back towards the end of this post, and for me, seem almost hypocritical in retrospect.

In preparation of recording, the band met to compare notes of what each had written. From this, thirty-two songs were chosen to be worked on, and from them, twelve would make the final cut. Smith's writing adopted the tone of depression from the thought of turning thirty (gasp, the horror), and feeling like the band's music was being misunderstood.

There is also a bit of irony here in Smith's own personal assessment on life because in his efforts to go all dark and gloomy again, he actually ushered in a new era of goth, and with it, Disintegration became the bands best selling album of all time, spawning numerous hits as a result.

As I played through it, Disintegration sounded familiar, which was odd since I've never heard it before. I can't help but wonder if perhaps it's been used in pop culture, or maybe I caught it on the radio one day. Regardless, I feel I've heard a lot of this before.

As a whole, did it blow me away? Am I now that guy that's going to go around saying, "You've got to hear this album!"?

No.

It's okay, and it has some stuff on it that I added to my shuffle. Honestly though, I preferer the more peppier The Top, and The Head On The Door, the latter over the previous. Perhaps it's one of those "you had to be there" records. Like some of the Beetles stuff. Wherein at that moment in time it was revolutionary, but now is just music, and the impact is gone. I don't know. The Cure weren't on my radar in 1989.

For the record, or more so for my own old self to remember when I'm reading this post later, those songs I grabbed were Plainsong, Pictures Of You, Lovesong, Lullaby, Fascination Street

But, let's go back to that thing I said in the first paragraph. That part where in retrospect, things seemed hypocritical. See, prior to its recording, the band were starting to express annoyance with original founding member, Lol Tolhurst, for his alcoholism. His repeated abuse ended up in him not making it to recording sessions, and though he was credited on the album, apparently only contributed to one track. This led to him being fired prior to its release.

The hypocrisy that I see here is that you can do all the drugs you want as long as you show up to record, but if you drink and bail, you're out. I don't know, maybe get the guy help? You were, after all, Smith, turning thirty! You should have been old enough to one, cope with life to not need drugs, and two, be mature enough to want to help your friend.

I don't know, it just doesn't sit well with me. Like I said, it seems hypocritical, but I guess it also doesn't matter.

Dang it, now The Cure have me being all nonchalante nothing matter feeling.

Anyway, we now come down to that dramatic conclusion where Disintegration stands toe to toe with Siouxsie and the Banshees' Peepshow, and from there, we crown a grand finale victor.

Well, for this round, I honestly had to go back and forth for a bit. Peepshow has a lot of quirky and unique songs, many of which I had to edit myself, lest my shuffle be overtaken with forgettable tracks. Meanwhile, Disintegration has a lot of hits. Truthfully, I had to walk away from this one, and genuinely go think about it. By this I mean, nature called, and I figured I'd go do some reflecting in the place where I do my best thinking.

After deeply analyzing all the facets of both, it came down to the basics. Which one would I be more inclined to listen to again? For that, I immediately thought, "Peepshow". Thus, the winner came forth. Sorry, The Cure. The winner of this round is Siouxsie and the Banshees.

I'm sure I lost a lot of friends in that one. But, uh oh. We don't have an album to contend with Peepshow for the final slot in round two. Well, let's just dig into our bag of, my rules, my contest, and pull out who will be up against Peepshow.

For this decision, I thought back through all of the above who didn't make it past round one, and one clear cut winner kept popping back to the tip of my tongue - Through The Looking Glass by Siouxsie and the Banshees. I simply was not ready to let this one go, and as such, it will get the honorable mention last spot for an opportunity to advance to the next round.

Frankly, in comparison to Peepshow, it's going to do just that.

There you have it. My finalists for best album between The Cure, and Siouxsie and the Banshees. The Cure's Faith will go head to head with the Banshees' A Kiss In The Dreamhouse, and then Smith's boys with The Head On The Door will face off against Souxes' Through The Looking Glass. Who will win?

To be continued!

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Disclaimer: They Toy Box does not endorse or contribute to piracy. Retro Spins posts are intended for educational and entertainment purposes only. None of the music discussed here is available for sale, downloading or distribution.

THIS WEEK ON THE CHARTS
July 27, 1985

Retro Spins: The Cure - The Head On The Door

Despite his sudden departure from the band, bassist Simon Gallup and Robert Smith were able to reconcile their relationship, prompting his return to The Cure in 1984. Smith would be so elated by this that he would comment how the group was a band again. Additional members Port Thompson, and Boris Williams would also join the lineup.

1985's The Head On The Door would become the band's first international success, entering the top seventy-five in the USA, and top twenty in several other countries. It would become their best selling album to date, being certified gold on the BPI and RIAA.

For its recording, Smith took inspiration from Siouxsie and the Banshees' Kaleidoscope, and The Human League's Dare, with a goal of having an eclectic array of sounds and moods in the final production. A sound which critics immediately favored, praising the album for Smith's ability to take The Cure's gloom and doom sound, and make it danceable.

When I read the album title, The Head On The Door, it invoked a dark image. So, it caught me rather off guard when it starts with the peppy strumming of an acoustic guitar, and the upbeat In Between Days. This level of pep is present through the whole album, and can definitely fool you into thinking you're hearing a happy go lucky pop album. That is, until you actually focus in and listen to the words.

For me, The Head On The Door is pure deliciousness. It would be difficult for me to tell you what songs I love versus those I passed on, because I grabbed pretty much all of them. This also excites me all the more for their forthcoming 1989 Disintegration. The bliss has been building and building since The Top, and getting all the more enjoyable with today's Retro Spin.

What I also had to do in retrospect is revisit their 1987 released Kiss Me, Kiss Me, Kiss Me, which upon originally reviewing, I was not kind to. I don't normally take the time to listen to an album twice, because that time simply doesn't exist. However, in this case, I made the exception. Unfortunately, it didn't change my opinion of it. Still not a fan of that one.

As for today, The Head On The Door going up against Siouxsie and the Banshees' Tinderbox, The Cure are the clear winners here, and moving on to round two.

Tomorrow, we reset the board, and start over with the Banshees' Through The Looking Glass, which will be up against The Cure's Kiss Me, Kiss Me, Kiss Me, both from 1987.

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THIS WEEK ON THE CHARTS
July 24, 1982

Retro Spins: The Cure - The Top

Their prior album, Pornography (1982), had the band on the cusp of a breaking point. Smith was in a deep depression, purportedly considering suicide, while the rest of the band were heavily abusing drugs. Fighting, drama, and an overall state of exhaustion could have broken the band indefinitely.

That's not to say there weren't casualties during this period. After continuous fighting between bassist Simon Gallup and Robert Smith, one such altercation which almost turned physical (over a bartab no less), Gallup would leave the band.

While Andy Anderson would join the band for 1984's the top, it would be on drums. This was because prior drummer, Lol Tolhurst, would opt to switch his roll to keyboards. This may have been the best decision for The Cure, as the group would enter their more mainstream period as a result, and finally have a commercial breakthrough.

The album would also be notable for its experimentation and different sounds from previous works. In place of the drab doom and gloom were flutes, violins, and more complexe guitar work. There was also an incorporation of different styles, such as those from Spanish, and metal genres.

The Top was recorded in correlation with Siouxsie and the Banshees' Hyæna, which Smith was also the guitarist for. However, unlike the Banshees' album, which in my own personal review, sounded more so like an album from The Cure, The Top took a more psychedelia sound approach. The end result left critics praising not only for what it was, but what they speculated generations to come would appreciate it for.

Right from the starting gate, the sound is definitely different from what the band have brought to the table in the past. It sounds almost as if the core members have been reinvigorated since their last outing. Dare I say, happier? Is that a thing Robert Smith can experience?

Wailing Wall stood out to me for its guitar work. It was reminiscent in retrospect to the sounds that would eventually come with their 1994 song, Burn, from The Crow soundtrack, but ultimately wasn't one I added to my shuffle.

What I did end up grabbing were Shake Dog Shake, Birdmad Girl, Give Me It, The Caterpillar, and Piggy In The Mirror. This is the style of The Cure I like. This is what I want to hear more of. Frankly, if The Top was this good, I can only imagine how blown away I'll be when I finally make it to 1989's Disintegration, touted as their best work ever.

The Top is the clear winner when compared to Siouxsie and the Banshees' Hyæna. In fact, there's simply no competition in this one. Ironic, since Smith was involved with both. A new round kicks off tomorrow with Siouxsie and the Banshees' 1986 released, Tinderbox going up against The Cure's 1985 album, The Head On The Door.

Before we get there, there's something we also need to take care of, and that is to determine who is advance to round two between the Banshees A Kiss In The Dreamhouse, and The Cure's The Top. Now we're in the weeds. How do I choose between these two? Both were pretty solid.

Round three is going to be no easier task, when I have to decide between A Kiss In The Dreamhouse, and The Cure's Faith. I'm going to need to think on that one before revealing the winner.

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THIS WEEK ON THE CHARTS
July 22, 1989

Retro Spins: The Cure - Pornography

The Cure has a steep slope in front of them today. Their 1982 album is up against yesterday's Siouxsie And The Banshees' A Kiss In The Dreamhouse. That album packed a hard punch.

Things don't start off good for the band. Touring had taken its toll, people were burned out, stressed out, and The Cure were on the brink of collapse, with Smith at a turning point. He was either going to channel all of his energy into an album, and get his feelings out, or commit suicide. The sessions for Pornography's recording were riddled with drug addition, fighting, and lead singer Robert Smith's depression, which only helped fuel the lyrical direction of songs.

Upon its release, Pornography was met with negative reviews from critics, but still managed to peak at number eight. It's an album that in retrospective review has gotten more favorable with people, but remains a blemish for the band as one of their lowest selling of all time since their sophomore release.

Playing through it, it's very obvious cry for help from Smith, with a very harsh tone of depression and self loathing. I can certainly see why the goth crowd would flock to this type of record. If it weren't so tragic, it would be cliché.

That's not to say that there isn't good stuff to be found. Songs such as The Hanging Garden, The Figurehead, and A Strange Day stand out among the rest. They're not commercial by any means, but I suppose they're not intended to be either.

Perhaps the biggest benefit Pornography has (for me) in 2025, is that it's not the follow up at this point to 1981's Faith. Rather, it's just another album in a storied discography that I'm making my way through. Basically, at this point it has the benefit of the history associated with The Cure.

It's not terrible, it's not good. It's pretty much just okay. However, just okay is certainly not what's going to help it in comparison to Siouxsie And The Banshees' A Kiss In The Dreamhouse. The truth of the matter is that it simply doesn't hold a candle to the latter. Pornography is more of the same from The Cure, whereas A Kiss In The Dreamhouse is the Banshees coming to the party with experimental, and ever evolving sound.

The Banshees win this round. Tomorrow we'll start off the next bout with their 1984 released Hyæna, up against The Cure's The Top (also released in 1984). It's pretty much been back and forth so far, but will a clear winner start to emerge? I guess we'll see.

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THIS WEEK ON THE CHARTS
July 20, 1985

Retro Spins: The Cure - Faith

Today we continue the contest, which I have officially dubbed, The Cure For Siouxsie And The Banshees. We skip over the latter's Juju, because I had already heard it prior to kicking off this rotating listening session of albums, and instead move on to The Cure's 1981 released, Faith.

Though the band were no strangers to the studio at this point, the album proved difficult for them to record. Despite jumping from studio to studio, lead singer, Robert Smith wasn't happy with the end results of tracks being recorded. Smith points out the example of how he was going for a funeral sound on tracks Primary and All Cats Are Grey, but the end result were songs that just sounded dull. As a result, neither original recordings were ultimately utilized.

Despite the challenges, The Cure released Faith on April 17, 1981, which divided critics. While some praised it for its new sounds, others panned it for that same reason, comparing it to 60's Pink Floyd and The Doors, essentially calling it "dated".

Personally, I was in to the whole thing. I dug the use of the six string bass from Smith, and the overall gloomy undertone it followed. It was dark and moody, but with its own sense of fun. Basically, it was the sound I though of when contemplating The Cure.

While I won't call the album perfect, there were some standout tracks for me, those being The Holy Hour, Primary, Other Voices, and All The Cats. Basically, the first half of the album.

I would also say, in retrospective review of Siouxsie And The Banshees' Juju, that Faith is today's contest winner.

In light of that, it puts it head to head with the Banshee's Kaleidoscope for winner of the next round. In careful consideration, I have to give that victory to Faith as well, which makes it our first to advance to round two.

And since it always makes me laugh, I'll also post my all time favorite Robert Smith response to an interviewers question.

Classic!

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THIS WEEK ON THE CHARTS
July 18, 1981

THIS WEEK ON THE CHARTS
July 18, 1987

Retro Spins: The Cure - Seventeen Seconds

Yesterday, while reviewing Siouxsie and the Banshees' Kaleidoscope, I finished that post by saying I wanted to do something fun. So, in the 1980's, both the Banshees and The Cure, who were cited as heavily inspiring each other, both had seven albums. Most of these coincide with the same years, though there are some variations here and there. Anyway, the point being, with seven albums each, I thought I would bounce from one to the other, listening to their respective release, and then seeing which one was more favorable. A tournament as it were.

Now, the thing to keep in mind here is that I've already listened to the Banshees' Juju, and The Cure's Kiss Me, Kiss Me, Kiss Me, prior to making this decision. As such, when I get to those, I may have to give myself a refresh, or perhaps just re-read what I already posted about them, and go from there. We'll see. The point being, when it's all said and done, we'll have a victor of goth post punk.

Seventeen Seconds is the second album from The Cure. It starts off noteworthy for being the first to be produced by Robert Smith, and feature new bassist, Simon Gallup. The departure, or rather, final straw of prior bassist, Michael Dempsey came when Smith played him the demos for the album. Dempsey, in Smith's owner words, "Wanted us to be XTC part 2 and – if anything – I wanted us to be the Banshees part 2. So he left."

Smith would go on to say further that after playing with the Banshees himself, it inspired him to want to be like them all the more. "I wanted to have a band that does what Steven Severin and Budgie do, where they just get a bassline and the drum part and Siouxsie wails".

Critics have sighted the album as one of the earliest examples of gothic rock, describing the lyrics as vague, often unsettling, and dark with minimalistic melodies. Since then, Seventeen Seconds has also been noted as one of the must hear albums in one's lifetime.

By track three, I was already seeing how pitting The Cure against Siouxsie and the Banshees was going to be a problem. The reason being, I was already considering a tie. This would ultimately become an issue because one can't very well have a contest where no clear winner can be distinguished. This was a tough situation, indeed.

I wanted to edit myself, and carefully select songs to add to my shuffle. In the past, I've been too liberal with this, and it results in a bunch of songs that I end up skipping in the long run when they come back around. From this release I opted for Secrets, The Forest, and M.

As I continued to play through it, Seventeen Seconds did start to show a little fatigue. Which did ultimately help me decide on a clear winner. For round one, going into round two, is Siouxsie and the Banshees' Kaleidoscope.

If I hadn't already played through the Banshees' Juju, that would have been my next stop. However, since that's already in the bag, I'll give myself a quick sidebar refresher, and jump into The Cure's Faith. See you then!

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THIS WEEK ON THE CHARTS
July 17, 1982

Retro Spins: The Cure - Kiss Me, Kiss Me, Kiss Me

The Cure
Kiss Me, Kiss Me, Kiss Me
1987

I don't think I'm going to be a fan of The Cure. This was their first album I've ever heard and I don't think I really want to hear anymore. Kiss Me, Kiss Me, Kiss Me was honestly just too long (approximately an hour and fifteen minutes) and didn't feature much that stood out for me.

My first introduction to the band actually occurred in 1994 when I saw The Crow and subsequently bought the soundtrack. From the album, my standout favorite was Burn - Which of course is by The Cure. Though I didn't immediately go seeking any of their other work out, I always enjoyed the tune. In fact, it wasn't until my visit to Timmonium in March of 2018 that I actually bought my first official album from the band. For those of you who haven't put all of it together yet, it was this particular CD I'm talking about today.

When the opening track, The Kiss, started I got a little on the edge of my seat excited. I loved the deep guitar work and the build up it was going for. Catch followed this track and while I wasn't as hooked it sounded decent. Then the album just kept going and going and going and going until I finally found myself drifting off uninterested.

It wasn't until seven started that the album once again got my attention. However, this was only because the "sound effects" throughout the track were very reminiscent of Burn from The Crow. The song itself wasn't all that great.

Track eight is one many people would probably know if they heard it, but maybe not by the title, Just Like Heaven. It's one of three of the tracks from the album to hit the charts in 1987. The song made it to number forty by December of that same year, but by January was working its way back down.

The Cure had very mild chart success with Why Can't I Be You and Hot Hot Hot. Both tracks debuted fairly low on the charts and only lasted a week each.

Overall I think what really killed this album for me was the excessive length and not really hearing anything different from song to song. It all just kind of meshed into one giant track. While I have one other Cure CD in my library, I don't see myself pursuing anything further from the band unless the second (unheard) album blows me away. We'll see.

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