The Cure's full lineup history is as follows: Robert Smith (vocals, guitar 1976-present), Lol Tolhurst (drums, keyboards 1976-1989), Michael Dempsey (bass 1976-1979), Porl Thompson (guitar, keyboards 1976-1978, 1983-1992, 2005 -2010), Simon Gallup (bass, keyboards 1979-1982, 1985-present), Matthieu Hartley (keyboards 1979 -1980), Andy Anderson (drums 1983-1984), Phil Thornalley (bass 1983-1984), Boris Williams (drums 1984-1994), Roger O'Donnell (keyboards 1987 -1990, 1995-2005, 2011-present), Perry Bamonte (guitar, keyboards 1990-2005), Jason Cooper drums 1995-present) and Reeves Gabrels (guitar 2012-present)
Just as the group's lineup has changed, the band's sound has evolved throughout the years, starting off as a post-punk band similar to Wire and Gang of Four before morphing into a gothic rock band in the early 80's, to a synthpop group in the mid-80's and a power-pop-alternative band in the early 90's. The Cure has always been an alternative and very independent band which was evident from the early days. Shunning the anarchistic tendencies of many punk bands after their formation in 1976 , The Cure's first release was Killing an Arab, based on material from French writer Albert Camus' "L'Etranger" (translated into English as The Stranger or The Outsider). This track courted controversy because of its theme (misinterpreted as racist, it was in fact, about the futility of killing any ethnicity), but it started to secure a small following, which grew following the release of debut album Three Imaginary Boys and non-LP single Boys Don't Cry in 1979, the latter of which would become one of The Cure's most famous songs. At that time, The Cure embarked on tour as the support for Siouxsie & the Banshees' Join Hands Tour. After the sudden departure of guitarist John McKay, Robert was recruited as guitarist for the Banshees as the band 'felt he was the only person capable of taking on the task.' As a result, Robert completed the tour playing two sets a night with The Cure and Siouxsie and the Banshees.
Following this, The Cure moved from their punk leanings into the portentous post-punk territory, releasing three albums of doom-laden rock in three years, Seventeen Seconds, Faith and Pornography, the latter of which charted inside the UK top 10, though the band were repeatedly dogged by the "Second-class Joy Division" tag. Following their third set of line-up changes, the group released Japanese Whispers, a compilation of three singles and their b-sides. Through their desire to escape the Joy Division description, the singles were a poppier effort, featuring danceable tracks like Let's Go To Bed alongside pop songs like Love Cats. Following the commercial disappointment of follow-up album The Top in 1984, The Cure returned to form with 1985's The Head On The Door. Featuring the singles In Between Days and Close To Me, The Head on the Door was distant from the band's punk roots, having more in common with successful alternative bands like The Smiths and Echo & The Bunnymen than their gloomier roots.
Two years later, the eighth studio album Kiss Me, Kiss Me, Kiss Me was a more stadium-sized effort, though featuring audacious pop songs like Why Can't I Be You, it was seemingly caught between two styles. However, it was the band's ninth effort (following the departure of last surviving founder member other than Robert Smith, Lol Tolhurst), Disintegration, that would be their greatest success, both critically and commercially. Disintegration spawned hit singles like Lullaby (no.5 in the UK), Love Song (an impressive no. 2 in the USA), Pictures of You, and Fascination Street. The album itself was a culmination of The Cure's directions through the eighties, featuring the poppier side combined with the more tender aspects, as well as the gloomier facets.
Following this, a remix compilation named Mixed Up was released in 1990, featuring one new track, Never Enough, and two years later tenth studio album Wish surfaced, which was a hit mainly from the momentum gained by Disintegration, though it also featured their most famous pop song, Friday I'm In Love (no.6 in the UK and no.18 in the US). During the years following this, the band became distracted and discouraged by the lawsuit launched by former member Lol Tolhurst, who felt he had been deprived of royalties. As a result, the 1996 album Wild Mood Swings felt unfocused, and was a critical and commercial failure, though the single Mint Car was a moderate hit.
In 1997, The Cure released the compilation Galore, featuring new song Wrong Number. Three years later, at the release of original album Bloodflowers, Robert Smith announced it would be the last album for the band, the album itself being a return to the gloomier rock of Pornography and Faith. Resultantly, another hits compilation was released in 2001. However, in 2004, the band surprised all by returning with a self-titled album, their twelfth studio album, which was a surprise hit, reaching the US Top 10, its lead single - The End of the World - becoming a modest hit on Modern Rock radio, and receiving a relatively warm reception from the press.
In May 2005, Smith fired Roger O'Donnell and Perry Bamonte from the band, along with Bamonte's brother Daryl, who had been The Cure's tour manager for many years. The remaining members of the band (Robert Smith, longtime bassist Simon Gallup and Jason Cooper) made a few appearances as a trio before it was announced that founding member Porl Thompson would be returning to The Cure.
In early 2007 the band toured Asia and Oceania, but a planned North American tour in Autumn 2007 was delayed until Spring 2008 so the band could continue recording their next album.
The band released their thirteenth album 4:13 Dream on 27 October 2008. Four singles and a remix EP called "Hypnagogic States" were releases on the 13th of each month preceding the album's release.
In 2009, Robert Smith won the Godlike Genius award at the NME Awards. On April 19, 2009, the band performed at the Coachella Festival in California.
During 2010, Robert Smith contributed songs to the soundtrack of the Tim Burton film "Alice in Wonderland" and provided guest vocals on the songs "Not in Love" by Crystal Castles and "Come to Me" by 65daysofstatic.
Between 31 May 2011 and 1 June 2011, the band performed three concerts at the Sydney Opera House performing the entirety of one of their first three albums on each night. Porl Thompson did not perform with the band at any of the concerts, but Roger O'Donnell performed with the band for the "Seventeen Seconds" and "Faith" concerts, and co-founding member Lol Tulhurst performed with the band for the first time since 1988 for the "Faith" concert. As of 2011, O'Donnell has returned to the lineup officially. In 2012, the band added former Tin Machine guitarist Reeves Gabrels to the lineup.
In 2013 The Cure started The Great Circle Tour, headlining festivals in Japan, South Korea and North America. In 2014 Robert Smith announced the upcoming release of a new album, to be called 4:14 Scream, featuring 14 songs recorded during the 4:13 Dream sessions and also an accompanying double album 4:26 Dream containing all the tracks from those sessions.
The Cure official website: www.thecure.com
The Cure official Myspace: http://www.myspace.com/thecure
The Cure on Facebook: http://www.facebook.com/home.php?#/thecure?ref=ts
The Cure - Disintegration Microsite: http://www.thecuredisintegration.com/bin/thecure
Friday I'm in Love
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tuesday's grey and Wednesday too
Thursday, I don't care about you
It's Friday, I'm in love
Monday you can fall apart
Tuesday, Wednesday break my heart
Oh, Thursday doesn't even start
It's Friday, I'm in love
Saturday, wait
And Sunday always comes too late
But Friday, never hesitate
I don't care if Monday's black
Tuesday, Wednesday, heart attack
Thursday, never looking back
It's Friday, I'm in love
Monday you can hold your head
Tuesday, Wednesday, stay in bed
Or Thursday watch the walls instead
It's Friday, I'm in love
Saturday, wait
And Sunday always comes too late
But Friday, never hesitate
Dressed up to the eyes
It's a wonderful surprise
To see your shoes and your spirits rise
Throw out your frown
And just smile at the sound
Sleek as a shriek, spinning 'round and 'round
Always take a big bite
It's such a gorgeous sight
To see you eat in the middle of the night
You can never get enough
Enough of this stuff
It's Friday, I'm in love
I don't care if Monday's blue
Tuesday's grey and Wednesday too
Thursday, I don't care about you
It's Friday, I'm in love
Monday you can fall apart
Tuesday, Wednesday, break my heart
Thursday doesn't even start
It's Friday, I'm in love
(Oh)
Do-do, do-do, do-do, do
Do-do, do-do, do-do, do
(Oh, oh, whoa, whoa)
The Cure's song "Friday I'm in Love" is a celebratory tune about the joy of Fridays and the excitement of being in love. The lyrics reject the monotony of weekdays and prioritize the weekend, but more importantly, it highlights the power of love in bringing happiness and inspiring spontaneity. The song repeats the phrase "It's Friday, I'm in love," as Robert Smith sings about the ability of love to lift the spirits and make the world a brighter place. The song is not only a declaration of love towards a person but also love for life and the simple pleasures that come with it.
The lyrics of the song also allude to the rejection of societal norms and the rat race of corporate life. The lines, "Monday you can fall apart, Tuesday, Wednesday, break my heart, oh Thursday doesn't even start" show how the days of the week can take a toll on people's mental health. Friday is the day to escape from the daily grind and live in the moment. The lyrics also mention dressing up and going out, exploring the world around us, and enjoying little moments like eating in the middle of the night. This song serves as a reminder to look for joy in the small pleasures in life, and that love is something to be celebrated and cherished.
Line by Line Meaning
I don't care if Monday's blue
The singer is indifferent towards the events of Monday.
Tuesday's grey and Wednesday too
The singer is uninterested and uninspired by Tuesday and Wednesday's happenings.
Thursday, I don't care about you
The singer doesn't care about Thursday and regards it as insignificant.
It's Friday, I'm in love
The artist is content and happy because it is Friday.
Monday you can fall apart
The artist acknowledges that Monday can be a rough day.
Tuesday, Wednesday break my heart
The singer is disappointed and affected by Tuesday and Wednesday.
Oh, Thursday doesn't even start
The singer doesn't find anything particularly meaningful or valuable in regards to Thursday.
Saturday, wait
The artist is looking forward to Saturday.
And Sunday always comes too late
The artist is frustrated that Sunday comes too late.
But Friday, never hesitate
The artist is excited for Friday and doesn't want it to take too long to come around again.
Dressed up to the eyes
The singer is dressed to impress.
It's a wonderful surprise
The artist is excited about the positive turn of events.
To see your shoes and your spirits rise
The singer is happy to see that the person they are referring to is in good spirits.
Throw out your frown
The singer advises someone to stop being unhappy or upset.
And just smile at the sound
The singer suggests that the person they are speaking to should smile, possibly due to the positive events that are happening.
Sleek as a shriek, spinning 'round and 'round
The artist is describing something as very stylish and fun, possibly referring to a dance or a fun activity.
Always take a big bite
The artist suggests that one should take big opportunities when they come their way.
It's such a gorgeous sight
The singer is pleased with what is happening.
To see you eat in the middle of the night
The singer is likely referring to a fun and spontaneous night with a loved one or friend.
You can never get enough
The artist is enjoying the moment and wants to keep experiencing it over and over again.
Enough of this stuff
The artist is content with what happened and doesn't need anything else at the moment.
Do-do, do-do, do-do, do
Repetition of a fun, lively tune.
Do-do, do-do, do-do, do
Continued repetition of a fun, lively tune.
(Oh, oh, whoa, whoa)
Exclamatory outburst signaling the excitement and pleasure of the artist.
Lyrics © Universal Music Publishing Group
Written by: Boris Williams, Porl Thompson, Perry Bamonte, Robert James Smith, Simon Johnathon Gallup
Lyrics Licensed & Provided by LyricFind