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
Object
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Eyes so white and legs so long
But don't try to talk to me
I won't listen to your lies
You're just an object in my eyes
You're just an object in my eyes
Sophisticated smile
But don't try to fool me
'cause I can see through your disguise
You're just an object in my eyes
You're just an object in my eyes
But I don't mind
I just don't care
I've got no objection
To you touching me there
Object object
Object object
Object object
Object object
You know just what to do
Lick your lips
And I want you
But don't try to hold me
'cause I don't want any ties
You're just an object in my eyes
You're just an object in my eyes
But I don't mind
I just don't care
I've got no objections
To you touching me there
You're just an object object
Object object
You're just an object
The Cure's song "Object" is a representation of the objectification of women. In the song, the singer describes a woman who turns him on with her physical features, but he refuses to listen to her lies and confronts her use of her sexuality to manipulate and deceive people. He views her only as an object of desire and not as a person. This is indicated by the recurring phrase "You're just an object in my eyes."
The second verse emphasizes the woman's sophistication and seductive style but warns her about her deceitful attempts to make him fall for her. The bridge of the song juxtaposes the singer's apparent disregard for the woman's emotions with his willingness to engage in sexual acts with her, demonstrating the song's purpose of calling out the objectification of women in a society that views them as mere objects of desire.
In conclusion, the song is a critique of the double standards and inequalities women face in society that reduce them to mere objects of desire, rather than human beings deserving of respect and understanding.
Line by Line Meaning
You know you turn me on
The subject finds the person very attractive.
Eyes so white and legs so long
The person's physical attributes are particularly desirable.
But don't try to talk to me
Despite being attracted to the person, the subject has no interest in talking to them.
I won't listen to your lies
The subject assumes that the person is going to lie to them.
You're just an object in my eyes
The subject views the person as an object of desire and nothing more.
Sophisticated smile
The person has a charming and appealing smile.
You seduce in such fine style
The person has a particular way of seducing others that the subject finds alluring.
But don't try to fool me
The subject is aware that the person is trying to deceive them.
'cause I can see through your disguise
The subject is not fooled by the person's act.
But I don't mind
The subject is not bothered by their own view of the person as an object.
I just don't care
The subject does not have any emotional attachment to the person.
I've got no objection
The subject has no issue with physical contact with the person.
To you touching me there
The subject is willing to engage in physical contact with the person in certain areas.
Object object
The person is viewed as an object of desire.
You know just what to do
The subject appreciates the person's ability to seduce them.
Lick your lips
The subject finds it particularly arousing.
And I want you
The subject desires the person.
But don't try to hold me
The subject is not interested in being tied down or committed to the person.
'cause I don't want any ties
The subject wants to maintain distance from the person.
You're just an object object
The subject reiterates that the person is viewed solely as an object of desire.
Lyrics © Universal Music Publishing Group, Songtrust Ave
Written by: LAURENCE ANDREW TOLHURST, MICHAEL STEPHEN DEMPSEY, ROBERT JAMES SMITH
Lyrics Licensed & Provided by LyricFind