Post by steve on Aug 14, 2014 10:34:16 GMT 1
It's finally in the shops after a short delay
Looks like it's just a summary of the early years at a glance. Here's the snippet from the Record Collector's site
recordcollectormag.com/articles/cure-ail-ail-rocknroll-alt-pops-aid-relief
Looks like it's just a summary of the early years at a glance. Here's the snippet from the Record Collector's site
Dark, dissonant, disturbing – how did The Cure become huge? Tim Peacock delves into the first few years of the band that became a legend to discover what shaped them
Searching For The Cure
The Cure are recognised as one of the most significant bands to have emerged over the past four decades. Usually associated with frontman Robert Smith’s trademark big hair and smeared lipstick, they have long been the alt-pop colossus it’s OK to like; wowing fans and critics alike with multi-million selling LPs such as 1989’s Disintegration and spawning countless imitators along the way.
Back in their earliest incarnation in the late 70s, however, The Cure were just one of thousands of naive young bands to spring up in the wake of punk. Yet from the start, guitarist/vocalist Robert Smith, bassist Michael Dempsey and drummer Laurence ‘Lol’ Tolhurst knew they were going to embrace the ongoing DIY revolution on their own terms.
“We could acknowledge the irritant capacity of The Clash and Sex Pistols, but we didn’t particularly want to sound like them,” says Michael Dempsey. “For me, the early Cure sound was pure nihilism. We belligerently stripped away everything we loathed in music and found we weren’t left with much: minimal bass and drums, economical guitar and, for our age, reasonably oblique lyrics.”
The Cure’s first phase began in earnest after they signed to Polydor offshoot Fiction in the autumn of 1978. They quickly issued classic debut 45 Killing An Arab and their flawed …
Searching For The Cure
The Cure are recognised as one of the most significant bands to have emerged over the past four decades. Usually associated with frontman Robert Smith’s trademark big hair and smeared lipstick, they have long been the alt-pop colossus it’s OK to like; wowing fans and critics alike with multi-million selling LPs such as 1989’s Disintegration and spawning countless imitators along the way.
Back in their earliest incarnation in the late 70s, however, The Cure were just one of thousands of naive young bands to spring up in the wake of punk. Yet from the start, guitarist/vocalist Robert Smith, bassist Michael Dempsey and drummer Laurence ‘Lol’ Tolhurst knew they were going to embrace the ongoing DIY revolution on their own terms.
“We could acknowledge the irritant capacity of The Clash and Sex Pistols, but we didn’t particularly want to sound like them,” says Michael Dempsey. “For me, the early Cure sound was pure nihilism. We belligerently stripped away everything we loathed in music and found we weren’t left with much: minimal bass and drums, economical guitar and, for our age, reasonably oblique lyrics.”
The Cure’s first phase began in earnest after they signed to Polydor offshoot Fiction in the autumn of 1978. They quickly issued classic debut 45 Killing An Arab and their flawed …
