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 Lovecats
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We couldn't get closer than this
The way we walk
The way we talk
The way we stalk
The way we kiss
We slip through the streets
While everyone sleeps
And wider and brighter
We bite and scratch and scream all night
Let's go and throw
All the songs we know
Into the sea
You and me
All these years and no one heard
I'll show you in spring
It's a treacherous thing
We missed you hissed the lovecats
We missed you hissed the lovecats
We're so wonderfully wonderfully wonderfully
Wonderfully pretty!
Oh you know that I'd do anything for you
We should have each other to tea huh?
We should have each other with cream
Then curl up by the fire
And sleep for awhile
It's the grooviest thing
It's the perfect dream
Into the sea
You and me
All these years and no one heard
I'll show you in spring
It's a treacherous thing
We missed you hissed the lovecats
We missed you hissed the lovecats
We missed you hissed the lovecats
We missed you hissed the lovecats
We're so wonderfully wonderfully wonderfully
Wonderfully pretty!
You know that I'd do anything for you
We should have each other to dinner
We should have each other with cream
Then curl up in the fire
Get up for awhile
It's the grooviest thing
It's the perfect dream
Hand in hand
Is the only way to land
And always the right way round
Not broken in pieces
Like hated little meeces
How could we miss
Someone as dumb as this?
I love you, let's go
Oh, solid gone
How could we miss
Someone as dumb as this?
The Lovecats by The Cure is a celebration of the freedom and wild love that the two lead characters experience. They move like "cagey tigers" and their physical movements are described in a precise manner in the first verse- "the way we walk, the way we talk, the way we stalk, the way we kiss". The second line of the first verse ("we couldn't get closer than this") hints that they are so close that they are inseparable or in a highly intimate relationship. The song then goes on to describe their playful nightly activities as they "slip through the streets while everyone sleeps" and become "bigger, sleeker, wider, and brighter" in their pursuit of desire. They bite, scratch, and scream all night, and seemingly lose themselves completely in this love.
The second verse describes the happiness of the two characters, expressing how wonderful and pretty they are, and how they should always be together, curled up by the fire, having tea or dinner with cream. They are so in love that everything they experience together is perfect, whether it's going to see the underside of the moon on a clear night or merely sitting together in silence. The song finishes with the repetition of a defining line: "How could we miss someone as dumb as this?", perhaps a reference to an existential crisis of the singer or the characters' realization of how they allowed for the love that they once missed.
Line by Line Meaning
We move like cagey tigers
We are graceful and sly creatures
We couldn't get closer than this
We are already as close as we can be
The way we walk
Our body language is unique
The way we talk
Our words are playful and charming
The way we stalk
We pursue each other passionately
The way we kiss
Our affection is intense and seductive
We slip through the streets
We are elusive and mysterious
While everyone sleeps
We are active and alive
Getting bigger and sleeker
Our love is growing and improving
And wider and brighter
Our love is expanding and shining
We bite and scratch and scream all night
We express our passion and desire fully
Let's go and throw all the songs we know
Let's enjoy ourselves and be carefree
Into the sea
Let's immerse ourselves in our love
You and me
We are together in this
All these years and no one heard
Our love was hidden from the world
I'll show you in spring
I'll prove my love to you when the time is right
It's a treacherous thing
Love can be risky and dangerous
We missed you hissed the lovecats
We longed for each other passionately
We're so wonderfully wonderfully wonderfully wonderfully pretty!
We are beautiful and attractive
Oh you know that I'd do anything for you
I am devoted to you and will do anything to make you happy
We should have each other to tea huh?
We should spend time together, just the two of us
We should have each other with cream
We should indulge in our pleasures
Then curl up by the fire
We should relax and enjoy each other's company
And sleep for awhile
We should rest and rejuvenate
Hand in hand
We are connected and supportive
Is the only way to land
It's the best way to approach love
And always the right way round
We fit perfectly together
Not broken in pieces
We are whole, not fragmented
Like hated little meeces
We are not insignificant or despised
How could we miss someone as dumb as this?
How could we not appreciate such a wonderful thing?
I love you, let's go
I am crazy about you, let's do this
Oh, solid gone
We are totally swept away by love
Lyrics Β© Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Robert James Smith
Lyrics Licensed & Provided by LyricFind
@littlefinger307
We move like cagey tigers
We couldn't get closer than this
The way we walk
The way we talk
The way we stalk
The way we kiss
We slip through the streets
While everyone sleeps
Getting bigger and sleeker
And wider and brighter
We bite and scratch and scream all night
Let's go and throw
All the songs we know
Into the sea
You and me
All these years and no one heard
I'll show you in spring
It's a treacherous thing
We missed you hissed the lovecats
We missed you hissed the lovecats
We're so wonderfully wonderfully wonderfully
Wonderfully pretty!
Oh you know that I'd do anything for you
We should have each other to tea huh?
We should have each other with cream
Then curl up by the fire
And sleep for awhile
It's the grooviest thing
It's the perfect dream
Into the sea
You and me
All these years and no one heard
I'll show you in spring
It's a treacherous thing
We missed you hissed the lovecats
We missed you hissed the lovecats
We missed you hissed the lovecats
We missed you hissed the lovecats
We're so wonderfully wonderfully wonderfully
Wonderfully pretty!
You know that I'd do anything for you
We should have each other to dinner
We should have each other with cream
Then curl up in the fire
Get up for awhile
It's the grooviest thing
It's the perfect dream
Hand in hand
Is the only way to land
And always the right way round
Not broken in pieces
Like hated little meeces
How could we miss
Someone as dumb as this?
I love you, let's go
Oh, solid gone
How could we miss
@eds2971
We move like cagey tigers
We couldn't get closer than this
The way we walk
The way we talk
The way we stalk
The way we kiss
We slip through the streets
While everyone sleeps
Getting bigger and sleeker
And wider and brighter
We bite and scratch and scream all night
Let's go and
Throw all the songs we know
Into the sea
You and me
All these years and no one heard
I'll show you in spring
It's a treacherous thing
We missed you hissed the lovecats
We're so wonderfully wonderfully wonderfully
Wonderfully pretty
Oh you know that I'd do anything for you
We should have each other to tea huh?
We should have each other with cream
Then curl up by the fire
And sleep for awhile
It's the grooviest thing
It's the perfect dream
Hand in hand
Is the only way to land
And always the right way round
Not broken in pieces
Like hated little meeces
How could we miss
Someone as dumb as this
I love you ... let's go
Oh ... solid gone ...
How could we miss someone as dumb
As this?
@petrinurmi8307
Smith has said that this song was meant as a joke. He wrote it drunk, promoted it drunk and shot the video drunk.
@zimis2240
@@inigoa.c8380 lol
@corinnae.7877
Imagine being that talented writing such a masterpiece while being drunk. Legend, I could never.
@corinnae.7877
@@inigoa.c8380 I know about his problems. I'm straight edge, I already get angry when I only drink a glass. I don't do drugs, my body can't handle it and that's like the only information I have from myself. And no, I'm not real, are you? And no, I don't mean that as an insult. I seriously can't believe my dumbass exists.
@acac7399
My kind of idle.
@corinnae.7877
@@inigoa.c8380 I am a girl lol.
@sp3ct4cu1ar
man wrote a whole bop while being drunk, what a legend
@alexandria2479
You can see it in his eyes he was drunk
@goldenhog
you can see the stages of drunkennes that he was in. he was pretty buzzed in the beginning, then in the scenes where he's on the floor he's... different
@goldenhog
the polka dot shirt is the first phase