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
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The Cure Lyrics
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All dry and English slow
And you look at me and I understand
Yeah it's a look I used to know
"Three long years and your favorite man
Is that any way to say hello?"
And you hold me like you'll never let me go
Sit down and talk a while..."
"Oh I wish I could and I will!
But now I just don't have the time"
And over my shoulder as I walk away
I see you give that look goodbye
I still see that look in your eye
So dizzy Mr Busy, too much rush to talk to Billy
All the silly frilly things have to first get done
In a minute sometime soon, maybe next time, make it June
Until later doesn't always come
It's so hard to think "It ends sometime
And this could be the last
I should really hear you sing again
And I should really watch you dance"
Because it's hard to think
"I'll never get another chance
To hold you to hold you"
But chilly Mr Dilly, too much rush to talk to Billy
All the tizzy fizzy idiot things must get done
In a second, just hang on, all in good time, won't be long
Until later
I should've stopped to think, I should've made the time
I could've had that drink, I could've talked a while
I would've done it right, I would've moved us on
But I didn't, now it's all too late
It's over, over
And you're gone
I miss you, I miss you, I miss you
I miss you, I miss you, I miss you so much
But how how many times can I walk away and wish "If only"
But how many times can I talk this way and wish "If only"
Keep on making the same mistake
Keep on aching the same heartbreak
I wish "If only"
But "If only"
Is a wish too late
The lyrics of The Cure's "Cut Here" tell the story of a missed opportunity. It begins with a meeting after three years apart where the singer shakes the hand of someone he used to know. While the other person tries to take him for a drink, the singer declines, saying he just doesn't have the time. As he walks away, he sees a look in the other person's eye and feels regret for not taking the chance to catch up. The singer is then overwhelmed with the thought that this may be their last meeting, that they may never get to connect again. He reflects on missed opportunities and the pain of wishing for a different outcome. The repeated phrase "I miss you" is a desperate plea for the return of lost chances and connections.
The song is a commentary on the fragility of life and relationships, encouraging the listener to seize their opportunities and cherish those in their lives. The use of the repeated phrase "If only" emphasizes this message of regret and missed opportunities.
Line by Line Meaning
"So we meet again!" and I offer my hand
I offer my hand to shake as a greeting.
All dry and English slow
My handshake is stiff and formal, as befits my English heritage.
And you look at me and I understand
I can tell by your expression that you know me well.
Yeah it's a look I used to know
I recognize the knowing look you're giving me.
"Three long years and your favorite man / Is that any way to say hello?"
I express surprise that we haven't seen each other for three years and you're not more enthusiastic in greeting me.
And you hold me like you'll never let me go
You embrace me tightly and it feels like you never want to let me leave again.
"Oh c'mon and and have a drink with me / Sit down and talk a while..."
I invite you to have a drink and catch up with me for a while.
"Oh I wish I could and I will! / But now I just don't have the time"
You express interest in catching up with me, but claim to be too busy to do so right away.
And over my shoulder as I walk away / I see you give that look goodbye / I still see that look in your eye
As I depart, I notice the look in your eyes that seems to say goodbye, and I can't forget that expression.
So dizzy Mr Busy, too much rush to talk to Billy / All the silly frilly things have to first get done / In a minute sometime soon, maybe next time, make it June / Until later doesn't always come
Life is often too busy to take time to catch up with friends, with so many small and unimportant things demanding attention first. We always put off seeing each other until it may be too late.
It's so hard to think "It ends sometime / And this could be the last / I should really hear you sing again / And I should really watch you dance" / Because it's hard to think / "I'll never get another chance / To hold you to hold you"
It's difficult to realize that our time on Earth is limited, and that this could be the last occasion we have to enjoy each other's company. We regret all the things we haven't done, such as hearing each other sing or dance, and hold each other.
But chilly Mr Dilly, too much rush to talk to Billy / All the tizzy fizzy idiot things must get done / In a second, just hang on, all in good time, won't be long / Until later
Life's demands and distractions often leave us with no time to slow down and catch up with old friends like Billy. We always put it off until later, but later never comes.
I should've stopped to think, I should've made the time / I could've had that drink, I could've talked a while / I would've done it right, I would've moved us on / But I didn't, now it's all too late / It's over, over / And you're gone
Looking back, I realize I should have made the time to catch up with you, enjoy a drink and a chat, and reconnect with you in the right way, rather than let it get away from me. But now it's too late and you're gone, and there's no going back.
I miss you, I miss you, I miss you / I miss you, I miss you, I miss you so much
I feel a deep sense of loss and longing for you and regret the missed chance to be with you again.
But how how many times can I walk away and wish "If only" / But how many times can I talk this way and wish "If only" / Keep on making the same mistake / Keep on aching the same heartbreak / I wish "If only"
I keep making the same mistake of letting life get in the way of spending time with you, and each time I wish I had made a different choice. I keep going through the same heartbreak of missing you and wishing I had acted differently.
But "If only" / Is a wish too late
Wishing for something after it's already gone is futile and unfulfilling. I can only live with the regret of not acting sooner.
Lyrics © Universal Music Publishing Group
Written by: Robert James Smith, Roger O'Donnell, Perry Bamonte, Jason Toop Cooper, Simon Johnathon Gallup
Lyrics Licensed & Provided by LyricFind