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 Snake Pit
The Cure Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I'm thinking that it's Christmas
And I'm kissing you hard
Like I've got very important business
And no-one knows
And no-one sees us
Because they're drinking themselves senseless
And I'm writhing
And I'm writhing in the snakepit
Well I'm out in a car
And it's just full of stupid girls
And I've forgotten how to speak
And I just can't remember a word
And my eyes feel like they're bursting
And they're splitting like plums
And I'm writhing
And I'm writhing
And I'm writhing in the snakepit
The lyrics to The Cure’s song “Snakepit” may seem confusing at first glance, but they actually have a deeper meaning. The first verse talks about being a mile underground and feeling like it’s Christmas. This imagery adds to the feeling of being trapped, and possibly feeling claustrophobic. The reference to Christmas may also suggest a feeling of loneliness, as Christmas is often associated with being with loved ones. The second line, “And I’m kissing you hard like I’ve got very important business” is interesting, as it seemingly contrasts with the feelings of loneliness and being trapped. However, this line could be interpreted as a distraction from the reality of the situation, or possibly even an attempt to escape from it. The next two lines suggest that the couple is hidden from view, as others are “drinking themselves senseless.” This adds to the feeling of isolation and secrecy.
The second verse of the song describes a different scenario altogether. The singer is now sitting in a car full of “stupid girls.” He appears to be struggling to communicate, possibly due to feeling overwhelmed or anxious. The line “my eyes feel like they’re bursting and they’re splitting like plums” adds to the feeling of being trapped, as the singer is unable to escape the overwhelming sensations he’s experiencing. The repetition of “And I’m writhing” throughout the song emphasizes this feeling of being trapped and struggling to escape.
Overall, “Snakepit” portrays a sense of feeling trapped and overwhelmed, while trying to distract oneself from the reality of the situation. The lyrics are somewhat ambiguous, but the imagery and repetition create a feeling of claustrophobia and isolation.
Line by Line Meaning
Well we're a mile under the ground
We're in a dark and hidden place, away from the rest of the world.
And I'm thinking that it's Christmas
Despite the darkness and the distance, I am filled with warmth and joy, as if it were a time of celebration.
And I'm kissing you hard
I am so entranced with the person I am with that I am expressing my passion through a deep and forceful kiss.
Like I've got very important business
My affection is so intense that I feel as though I am conducting some vital transaction in the act of kissing.
And no-one knows
We are completely hidden, and nobody is aware of our presence or our actions.
And no-one sees us
We are so well-hidden that even if someone were to come close, they would be unable to detect us.
Because they're drinking themselves senseless
Those around us are occupied with other activities and are too inebriated to notice us.
And I'm writhing
My passion and desire are so great that I cannot keep still or contain my energy.
And I'm writhing
I am so consumed by the experience that I cannot help but squirm and writhe in ecstasy.
And I'm writhing in the snakepit
The world around us is filled with danger and temptation, and we are lost in it all.
Well I'm out in a car
I am in a vehicle, separate from the rest of the world, but still caught up in its chaos.
And it's just full of stupid girls
The car is filled with people who are vapid and shallow, and I feel out of place among them.
And I've forgotten how to speak
The experience has overwhelmed me to the point that I am unable to communicate verbally.
And I just can't remember a word
The intensity of the moment has made me so intellectually overwhelmed that I cannot recall a single thing to say.
And my eyes feel like they're bursting
The physical sensations of the moment are so intense that my senses are overloaded and my eyes feel as though they might explode.
And they're splitting like plums
The intensity of the moment is affecting me physically in ways that are both pleasurable and painful, such as splitting open like a fruit.
And I'm writhing
My passion and sense of urgency are so great that I cannot help but writhe and move.
And I'm writhing
The physical sensations of the experience are so consuming that I am in a constant state of movement and excitement.
And I'm writhing in the snakepit
This moment is both exhilarating and terrifying, like being consumed by the unknown and dangerous world of a pit full of snakes.
Lyrics © Universal Music Publishing Group
Written by: BORIS WILLIAMS, LAURENCE ANDREW TOLHURST, PORL THOMPSON, ROBERT JAMES SMITH, SIMON GALLUP
Lyrics Licensed & Provided by LyricFind