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
The Kiss
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Your tongue is like poison
So swollen it fills up my mouth
Love me love me love me
You nail me to the floor
And push my guts all inside out
Get it out get it out get it out
Out of my head
I never wanted this
I never wanted any of this
I wish you were dead
I wish you were dead
I never wanted any of this
I wish you were dead
Dead
Dead
Dead
The lyrics to The Cure's song "The Kiss" express a complicated relationship, one that is both passionate and deeply destructive. The opening lines suggest a sense of desperation, as the singer begs for more of the kiss that is like poison to them. Despite the danger, the singer seems unable to resist the physical and emotional pull of the other person. However, the chorus reveals a darker side to the relationship. The other person is not just intoxicating but controlling, nailing the singer to the floor and pushing their guts out. The singer begs for release, asking for the other person's voice to be removed from their head.
The final lines of the song reveal the full extent of the singer's pain and desire for escape: "I never wanted this / I never wanted any of this / I wish you were dead." The love and passion that once seemed so strong has become a burden, something the singer wants to escape from entirely. The repeated refrain of "Dead" in the final lines reinforces the sense of hopelessness and despair that runs throughout the song.
Overall, "The Kiss" is a powerful reflection on the duality of love, as something that can both intoxicate and destroy. The chorus is particularly effective in conveying the sense of physical and emotional constraint that the singer is experiencing. The repeated refrain of "get it out" suggests a desperate need for release, not just from the relationship itself but from the grip it has on the singer's very being.
Line by Line Meaning
Kiss me kiss me kiss me
The singer wants the other person to express their affection through kisses.
Your tongue is like poison
The other person's words and actions are inflicting mental and emotional harm.
So swollen it fills up my mouth
The harmful words and actions are overwhelming and suffocating the singer.
Love me love me love me
Despite the pain caused by the other person, the singer desires their love and acceptance.
You nail me to the floor
The other person's actions and presence are keeping the singer trapped and unable to move on.
And push my guts all inside out
The other person's impact on the singer is so strong that it affects their physical being as well.
Get it out get it out get it out
The singer wants to rid themselves of the other person's influence.
Get your fucking voice
The singer is specifically referencing the other person's words and communication.
Out of my head
The singer wants to stop obsessing over the other person and move on.
I never wanted this
The singer never desired the pain and heartache caused by the other person's actions.
I never wanted any of this
The singer is reiterating that the current situation is not what they desired or intended.
I wish you were dead
The singer desires to be rid of the other person's presence and influence completely.
I wish you were dead
The singer repeats their desire to be free from the other person's impact.
Dead
The repetitive and emphatic repetition of 'dead' underscores the singer's intense need to be rid of the other person's influence.
Dead
The final word of the song is a strong and definitive statement of the singer's desires.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Peermusic Publishing
Written by: ROBERT JAMES SMITH, LAURENCE ANDREW TOLHURST, SIMON GALLUP, PORL THOMPSON, BORIS WILLIAMS
Lyrics Licensed & Provided by LyricFind
Skull Bones
Lyrics:
Kiss me, kiss me, kiss me
Your tongue is like poison
So swollen it fills up my mouth
Love me, love me, love me
You nail me to the floor
And push my guts all inside out
Get it out, get it out, get it out
Get your fucking voice
Out of my head
I never wanted this
I never wanted any of this
I wish you were dead
I wish you were dead
I never wanted any of this
I wish you were dead
Dead
Dead
Dead
catsadddd
LYRICS:
Kiss me kiss me kiss me
Your tongue is like poison
So swollen it fills up my mouth
Love me love me love me
You nail me to the floor
And push my guts all inside out
Get it out get it out get it out
Get your fucking voice
Out of my head
I never wanted this
I never…
Wagner Souza
I am 62 now...I may be 100 and every time I hear the sound of this guitar and the band I will know I am still alive. First heard this song in 1986. It blew my mind.
Joe Mesgleski
I’m with you but at 61😄
Rubén
87
Civil War Now
Amen brother
西村太郎
me too
hi
Me too
Lorenzo de Pacas
Man, the guitar in this sounds like it's actually talking, screaming, wailing, sonic agony. This is The Cure for me.
Andreas Varg
Oh Yeeahsss !!!
Carmine Cerza
Like for you, guy...
Richard Black
Any tips for other song like this by them?
Saw them live in 08, always looking for that psychedelia stuff outside of their radio hits