Additionally an electro techno project is called "The Glove".
It all started at the YMCA....
Robert Smith of The Cure first encountered Steven Severin of Siouxsie and the Banshees when they both pitched up at the bar of the YMCA in London's Tottenham Court Road during a Throbbing Gristle gig on August 3, 1979. "I was wearing sunglasses and a very distinctive green check suit" remembers Robert. "I thought I looked pretty hip and happening. Severin came over to me and whispered in my ear "Charlie Caroli I presume?" That made me laugh! We got to talking, and by the end of the night had agreed The Cure should play with the Banshees on their forthcoming UK tour" During the course of this tour, which included Robert's stint as emergency Banshee's guitarist, the pair discovered mutual interests in music, literature, cinema and more, and so began an enduring friendship that led in the spring of 1983 to work on their new infamous joint project The Glove. "We had first talked seriously about doing something together in late 1980 when Robert was working on Faith," Remembers Steven. At that time Robert was completely in The Cure and I was of course in The Banshees, so a collaboration couldn't really have worked, we had to wait....when it finally happened it seemed to the outside world like 'the other half' of The Banshees side project, even though we'd planned it all long before The Creatures stuff!" Named after the evil animated glove in the Beatles film Yellow Submarine, Robert and Steve's psychedelic project was originally conceived as a few weird singles to be aimed at the Japanese market with hopes of bigger things to follow. Having booked Britannia Row Studios in London, in part because of its historic connections with Pink Floyd. Steven and Robert suddenly had their rainbow-hued feathers ruffled by Chris Parry, head of The Cure's label Fiction Records, who reminded the pair that Fictions contract with Robert specifically precluded him from singing on anything except Cure records. Parry's concern was that Robert had been taking too much time out from The Cure. He had already toured twice as the Banshees guitarist and reasoned Parry, if he enjoyed doing The Glove, he might abandon The Cure altogether. Parry's fears were far from unfounded because Robert had been somewhat dissatisfied with The Cure ever since the acrimonious departure of bassist Simon Gallup nine months earlier. Robert and Chris Parry now locked horns. "It was a real struggle" explains Robert, "as I was insisting on my right to sing on something other than The Cure. The irony of it of course, was that I didn't have a clue as to what I was actually going to record as we didn't have any songs!" At the eleventh hour a deal was thrashed out green-lighting Robert to sing on two tracks of The Glove project, which had now assumed the dimensions of a full-blown album. "So now we needed a vocalist for the rest of the album" points out Robert, "and after a few very truppy auditions we decided on Jeanette Landray, girlfriend of The Banshees drummer Budgie." A member of ZOO. The top of the pops dance troupe Landray had never sung before. Severin remembers the sessions as, "pretty insane" There was an ongoing 'happening' in Britannia Row...Marc Almond of Soft Cell would be there, The Associats, John McGeoch,...it was like a mainline train station. We recorded from 6pm to 6am, then Robert would go back to my flat and watch video nasties!" but even after the video nasties, Bad Timing, Videorome, The Evil Dead, etc formed part of the Glove's master plan. The idea was that by drowning themselves in acid and junk culture the pair would produce the kind of mental disorientation essential to the creation of genuinely psychedelic music. Another technique involved the use of exotic instruments. "We thought that if we stuck to the instruments we had always played we would end up sounding like a cross The Cure and The Banshees." explains Steven. "instead we experimented and came up with new ways of working. Landray meanwhile was realizing that as The Glove was very much Robert And Steven's project, her contributions were going to be limited. "I had a strange role involved, but not with any say in the way things turned out..almost like a session musician really." Readily acknowledging that Jeanette had been thrust into an awkward position Robert admits that he found it disconcerting to hear somone else singing songs he had demo'd with himself in mind. "I remember Jeanette being a bit unsure as to how to sing certain songs...but she was very determined and very patient which she had to be as I'm pretty sure that my advice was at best cryptic!"
Members of "The Glove" ~~~
Robert Smith - guitar, vocals on original recording of "Mr. Alphabet Says", "Perfect Murder", and Disc 2 of Deluxe Edition
Steve Severin - bass
Martin McCarrick - keyboards, real strings (later joined Siouxsie and the Banshees)
Jeanette Landray - vocals on majority of tracks on original album
Andy Anderson - real drums (later joined The Cure)
Ginny Heyes - real strings
Anne Stephenson - real strings
Porl Thompson- Special Guest in The Glove's Videos (From The Cure)
Like An Animal (12" Club what
The Glove Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Her body looks so thin and pink and small
Dropping eggs from nervous shaking hands
And swallowing her fingers as they fall
Two people dance on the edge
Three of us push them away
There's nowhere to go we're all in this
Fight her all you want you'll never win
Couldn't we just once leave her in bed
Let the dry air cut her happy throat
Hide her heart and lose her happy head
First I was a murderer then I was a saint
Now I live on stolen time twist and run like paint
Like an animal
Tuesday in the sun nothing could be worse
Not now not ever not anymore....
The Glove's song Like An Animal (12" Club) is a dark and mysterious song that is filled with symbolism and metaphors. The first two lines describe a woman who lives "one mile in the air", representing her detachment from reality and the world around her. Her physical appearance is described as "thin and pink and small", emphasizing her fragility and vulnerability. The image of her "dropping eggs from nervous shaking hands and swallowing her fingers as they fall" suggests a fear of responsibility and a feeling of being overwhelmed.
The third and fourth lines introduce more characters and their actions, as two people dance on the edge and three others push them away. This can be interpreted as a metaphor for the struggle between life and death, where some are drawn to the edge and others try to keep them away. The chorus then repeats the phrase "like an animal", suggesting a loss of control and primal instincts that take over.
The second verse switches to the perspective of the singer, who describes their own journey from being a murderer to a saint and finally to living on stolen time, twisting and running like paint. This further emphasizes the sense of chaos and turmoil that surrounds the song. The final line "Tuesday in the sun nothing could be worse, not now not ever not anymore" suggests a sense of despair and hopelessness.
Overall, the lyrics of Like An Animal are open to interpretation and invite the listener to delve into the deeper meaning behind the words. The use of metaphors, symbolism and vivid imagery create a sense of mystery and intrigue that leaves a lasting impression.
Line by Line Meaning
One mile in the air that's where she lives
She lives her life in an elevated state, above the mundane and the ordinary.
Her body looks so thin and pink and small
Her physical form appears frail and delicate, almost like a small, delicate flower.
Dropping eggs from nervous shaking hands
Her anxiety causes her hands to tremble so much that she can't even hold onto a fragile object like an egg without dropping it.
And swallowing her fingers as they fall
Her fear is so intense that she has a physical reaction, as she literally bites down on her own fingers.
Two people dance on the edge
A couple is engaged in a risky behavior, pushing the limits of what is safe or acceptable.
Three of us push them away
A group of people tries to intervene and discourage the risky behavior.
There's nowhere to go we're all in this
Everyone is stuck in a situation together, with no easy way out.
But nothing can hurt us at all
Despite the danger or risk involved, there is a sense of invincibility or immunity.
Fight her all you want you'll never win
She is a formidable opponent, and no amount of resistance will lead to a victory.
Couldn't we just once leave her in bed
Perhaps it would be better if she just stayed in a safe, comfortable place, to protect her from harm.
Let the dry air cut her happy throat
In some strange way, experiencing discomfort can bring her happiness or pleasure.
Hide her heart and lose her happy head
Perhaps by hiding her true feelings, she can avoid being hurt and just focus on the superficial.
First I was a murderer then I was a saint
The singer has experienced many different personas or phases in life, from dark and violent to pure and holy.
Now I live on stolen time twist and run like paint
The singer is now living on borrowed time, propelled forward by an unpredictable, erratic energy.
Like an animal
The singer is driven by primal instincts and desires, like a wild animal.
Tuesday in the sun nothing could be worse
Despite the idyllic setting, there is a sense of unease or dissatisfaction, that things are not as good as they seem.
Not now not ever not anymore....
The feeling of discontent is persistent and unending, with no hope for a happy resolution.
Lyrics Β© Universal Music Publishing Group
Written by: ROBERT JAMES SMITH, STEVEN SEVERIN
Lyrics Licensed & Provided by LyricFind
@carnivalimusic
Severin playing bass like Peter Hook. Awesome. β€
@waz3128
That bass is more cure than the actual Cure
@stevepettit2064
i have this album still i bought it when it came out was only young then blue sunshine is a wonderful album they is so much to like on it very over looked.
@stevepettit2064
@Jeff Baker yeah you are right not the same kids that bought wham records for sure.
@PlazaMoon
Absolutely stunning song. Exhilarating. Reminds me of smoke filled bedrooms in 80's UK (my youth)
@HughKAyers
Oh, the alcoholic afternoons, when we sat in your room; they meant more to me than any living thing on Earth~
@zindi1138
same as my room in BC Canada..lol
@katiekatie5405
Meow
@04opocin
Released as a single in the UK in August 1983.
@ClassicTVMan1981X
I just wish Robert Smith and Steve Severin would go ahead and unlock the demos that had Smith (his vocals the way they were in '83) singing on this song and others.