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
Never
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's never enough
However much I push it around
It's never enough
However much I make it out
It's never enough
Never enough
However much I do
However big I ever feel
It's never enough
Whatever I do to make it real
It's never enough
In any way I try to speak
Never enough
Never enough
However much I try to speak
It's never enough
However much I'm falling down
It's never enough
However much I'm falling out
It's never enough
Whatever smile I smile the most
Never enough
Never enough
However I smile I smile the most
So let me hold it up just one more go
Holding it over just once more
One more time to fill it up
One more time to kill
Whatever I do it's never enough
It's never enough
However much I push it down
It's never enough
However much I push it around
It's never enough
However much I make it out
It's never enough
However much I do
Never
Never enough
However much I'm falling down
Never enough
However much I'm falling out
Never, never enough
Whatever smile I smile the most
Never enough
However I smile I smile the most
So let me hold it up just one more go
Holding it over just once more
One more time to fill it up
One more time to kill
Whatever I do it's never enough
Never enough
So let me hold it up just one more go
Holding it over just once more
One more time to fill it up
One more time to kill
Whatever I do it's never enough
It's never enough
It's never enough
It's never enough
It's never enough
It's never, it's never enough
The lyrics to The Cure's song Never Enough convey a sense of frustration and hopelessness that is reflected in the repeated phrase "never enough." The singer of the song is grappling with a feeling of inadequacy, no matter what they do. The lyrics suggest that the singer has tried to push the feeling down, make it out to be less than it is, speak about it, smile through it, but none of these efforts have been enough to make the feeling go away.
The repeated phrase "one more time to fill it up, one more time to kill" implies that the singer is attempting to fill a void, perhaps with drugs or alcohol, but no matter how much they consume, it is never enough to escape the feeling of emptiness. The final repetition of "it's never enough" reinforces the idea that there is no escape from this feeling of inadequacy.
Overall, the song expresses a sense of despair and hopelessness that many people can relate to. The repeated phrase "never enough" is a powerful mantra that captures the feeling of being trapped in a cycle of dissatisfaction.
Line by Line Meaning
However much I push it down
No matter how much I try to suppress or ignore my problems, they still exist
It's never enough
My attempts to deal with my problems are never satisfactory
However much I push it around
No matter how much I try to move, change or manipulate my problems, they still exist
However much I make it out
No matter how much I pretend, deny or mask my problems, they still exist
Never enough
My efforts to fix my problems always fall short
However much I do
No matter how much action I take to address my problems, the results are always insufficient
However big I ever feel
No matter how successful or accomplished I may seem, it's never enough to fill the void left by my problems
Whatever I do to make it real
No matter how much effort I put into making my dreams or aspirations a reality, it still feels unfulfilling
In any way I try to speak
No matter how much I try to articulate my thoughts or feelings about my problems, I can't fully convey their depth or impact
However much I try to speak
My attempts to communicate my problems are always inadequate
However much I'm falling down
No matter how much I struggle or fail, it's not enough to overcome my problems
However much I'm falling out
No matter how much I distance myself or withdraw from my problems, they still affect me
Whatever smile I smile the most
No matter how much I try to appear happy or content, it's not enough to offset the impact of my problems
So let me hold it up just one more go
Despite repeated failures, I'm still determined to try to overcome my problems
Holding it over just once more
I'm holding onto hope that maybe this time, things will be different
One more time to fill it up
One more attempt to find a solution that will satisfy me
One more time to kill
One more attempt to defeat my problems and put them to rest
Whatever I do it's never enough
No matter what approach I take, nothing seems to fully resolve my problems
Never enough
No matter what I do, the efforts are never sufficient to fully address my issues
It's never enough
The struggles that I face always seem insurmountable no matter what I do, and this thought is haunting me constantly.
It's never, it's never enough
It is repeated to emphasize that no matter what it is, it's always lacking in fixing the problem that the singer constantly faces.
Lyrics © Universal Music Publishing Group
Written by: R. SMITH, SIMON GALLUP, BORIS WILLIAMS, P. Thompson
Lyrics Licensed & Provided by LyricFind