The Cure - Hit Collection 2000 (CD)

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The Cure in concert in Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. It's just one of the many examples in the Cure's discography of longtime group percussionist Boris Williams improbably stealing the show from his bandmates. The song that effectively closed the book on The Cure as a contemporary commercial force, "The 13th" was a disastrous choice of lead single, debuting at No.

It's not exactly tough to pinpoint why -- the song sounds like a flamenco remix of a mid-'80s Style Council singlewhich a Kiss Me, Kiss Me, Kiss Me deep cut occasionally bursts out the middle of.

It had nothing to offer '90s rock audiences in the era of Beck and Oasis, but for Cure fans, its stylistic inscrutability and unpredictability makes it an enduring gem -- also featuring some of Robert Smith's most enjoyable schizophrenic vocals, and the group's best use of horns since "Close to Me" a decade earlier. Every post-punk group worth its salt needed its own "Frankie Teardrop," an eerily understated one-act that ends in absolute horror. The two-minute "Subway Song" escapes novelty primarily on the strength of its bare-bones groove -- particularly then-bassist Michael Dempsey's looping hook, which sticks in your head far longer than Smith's unexpected shriek to close the song.

The finest of the band's early album closers, "Faith" sounds utterly defeated in its slow-rolling saunter, stretching out to seven minutes almost out of a lack of inertia. The Cure's dips into Eastern instrumentation weren't always the most graceful or successful, but the sitars or sitar-leaning keyboards, anyway on "If Only Tonight We Could Sleep" proved an invaluable texture in the song's rich psychedelic stew.

A cuddly electro-pop number with an inscrutable lyric that sounds more like the Frazier Chorus than Disintegration"Harold and Joe" is everything you could hope for from a great B-side: Quirky, endearing and totally removed from whatever else the band was doing at the time. Often thought of as an attempt to keep pace with peers New Order and their culture-shifting synth-disco single "Blue Monday," the hammering bass and screeching synths of "The Walk" were not quite as geared for such mass consumption.

The first single from the follow-up to a group's obvious high-water mark has a tough road to hoe, and Wish 's first offering performed admirably, if not quite spectacularly. The closing single on the band's canonical first compilation, Staring at the Sea or Standing on the Beachdepending on format and country The Cure - Hit Collection 2000 (CD), "A Night Like This" feels like The Cure trying to compete with the big boys of American mainstream rock, down to the deployment of a searing sax solo following the song's bridge.

It didn't get the band on U. While it's often overshadowed by its A-side brethren from Japanese Whispersit was actually "Lament" -- first issued as a single along with copies of U. Though maintaining the grumbling bass and skeletal six strings of their early-'80s albums -- the song's clanging guitar hook is the closest thing it has to a chorus, but still ends up more memorable than the majority of the group's conventional refrains -- "Lament" pushes the pace with a hissing and clapping drum machine, giving the song a tenacity missing in many of their lumbering jams of the The Cure - Hit Collection 2000 (CD).

Both an historically important rarity in the group's catalog, and one of their most striking early compositions. The fact that this was fairly chosen as the lead single should tell you pretty much everything you need to know about Pornography as an album. The first of The Cure's trio of pivot singles, "Let's Go to Bed" made its intentions plain from its opening " doo-doo-doo-doo "s, placing a group that had most recently been hanging out in the Hanging Garden firmly in classic girl group territory.

The list of bass riffs more immediately identifiable than Simon Gallup's "Fascination Street" opening thrust -- shooting out from the UFO-sounding feedback fragments that begin the song like the laser beam that incinerates the White House in Independence Day -- is a pretty short one. Hell, it'd be tough to name all that many '80s six-string riffs more adrenalizing than this, laying the foundation for one of the hardest-rocking songs in The Cure's history, and a predictable choice for the first American single off Disintegration.

Rest of it's pretty good too, but the song only really needs one verse and a chorus -- the riff, which runs ceaselessly throughout the song's five minutes, does all the heaviest lifting. The beginning of The Cure's pop imperial phase, a song so big and catchy and generally extra -- The Cure - Hit Collection 2000 (CD) an absurdly choreographed video to match -- that there was no mistaking the group's commercial intentions.

The original "Close to Me" was among the most exhilarating singles The Cure - Hit Collection 2000 (CD) The Cure's first decade, a sashaying pop song with a gleefully rubbery bass line, a brain-burrowing call-and-response synth hook and an incredible dueling brass breakdown. But as jazzercise-friendly as that original version was, the song's wish-I-stayed-asleep-today lyric feels even more at home over the song's mid-tempo "Closer Mix" -- also released as a single off the group's Mixed Up set a The Cure - Hit Collection 2000 (CD) later -- which carries over most of the best parts of the original, but also feels, well, yeah, closer.

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