THE CURE - LULLABY

Publicació: 10 d'abril de 1989

Llistes: Regne Unit: #5   EUA: #74

"Lullaby", llançada el 1989 com a part de l'àlbum "Disintegration", es va convertir en el senzill més ben situat de The Cure al Regne Unit, arribant al número cinc a les llistes de singles. També va assolir èxit internacional, arribant al número tres a Alemanya Occidental i Irlanda, i convertint-se en un èxit dins del Top 10 en diversos països europeus i Nova Zelanda.

"Lullaby" pren inspiració d’una nit de malsons de la infància de Robert Smith, on era menjat per una aranya gegant, reflectint la seva por al son. A diferència de les típiques cançons de bressol que tranquil·litzen els nens per dormir, algunes llegendes, com la famosa "Rockabye Baby", acaben amb imatges catastròfiques com el bressol que cau. De manera similar, les cançons de bressol que el pare de Smith li cantava sovint contenien finals tràgics, com advertències de no despertar-se més. Aquest tema fosc impregna "Lullaby", dotant-la d'una atmosfera inquietant i pertorbadora. La secció de cordes és captivadora. Afegeix un tocsimfònic a la tornada, creant una atmosfera evocadora que complementa perfectament la veu apagada de Robert Smith.

El vídeo musical es va filmar en un escenari a Londres, amb Robert Smith al llit dins d'una seqüència de somni. Al llarg del vídeo, la banda apareix esporàdicament com soldats de llauna durant breus moments. Dirigit per Tim Pope i editat per Peter Goddard, el vídeo culmina amb Smith interpretant tant l'home-aranya caníbal dels versos com la seva víctima, acabant per ser consumit per una aranya gegant. Aquesta interpretació visualment impactant i surrealista va guanyar el premi al Millor Vídeo Britànic als Brit Awards de 1990.

THE CURE - LULLABY

Released: April 10, 1989

Charted:  UK: #5   US: #74 

"Lullaby" released in 1989 from their album “Disintegration”, became their highest-charting single in the UK, reaching number five on the UK Singles Chart. It also achieved success internationally, reaching number three in West Germany and Ireland, and becoming a top-10 hit in various European countries and New Zealand. 

"Lullaby" draws inspiration from Robert Smith's childhood nightmare where he was eaten by a giant spider, reflecting his fear of sleep. In contrast to typical lullabies that soothe children to sleep, some lullabies, including the famous "Rockabye Baby," end with catastrophic imagery like the cradle falling. Similarly, the lullabies Smith's father sang to him often contained tragic endings, such as warnings about not waking up. This dark theme pervades "Lullaby," infusing it with eerie and haunting undertones. The string section is strikingly captivating. It adds a symphonic sway to the chorus, creating a haunting atmosphere that perfectly complements Robert Smith's hushed vocals. 

The music video was filmed on a sound stage in London, featuring Robert Smith in bed within a dream sequence. Throughout the video, the band sporadically appears as tin soldiers for brief moments. Directed by Tim Pope and edited by Peter Goddard, the video culminates with Smith portraying both the cannibalistic "spiderman" from the lyrics and his victim, ultimately being consumed by a giant spider. This visually striking and surreal interpretation earned the video the British Video of the Year award at the 1990 Brit Awards.

THE CURE - LET’S GO TO BED

Estrenada: 23 de novembre de 1982

Llistes: Regne Unit: #44

"Let's Go to Bed", llançada com a senzill independent el novembre de 1982, va marcar un canvi respecte al to fosc del seu àlbum anterior "Pornography". Després d'una desintoxicació al Lake District, Robert Smith la va escriure com a antítesi de la imatge actual de la banda. Malgrat aconseguir només un èxit menor al Regne Unit, arribant al número 44, va ser un èxit en el Top 20 a Austràlia, arribant al número 15, i al número 17 a Nova Zelanda. La cançó posteriorment va aparèixer a l'àlbum de recopilació "Japanese Whispers", que incloïa els senzills i les cares B de la banda del 1982 al 1983.

Després d'una pausa per raons de salut mental després de l'època fosca de "Pornography", Smith va tornar amb una cançó que divergia significativament del so típic de The Cure, una desviació deliberada com a resposta a l'escepticisme de la seva discogràfica sobre la seva capacitat de crear un èxit. Els orígens de "Let's Go to Bed" es remunten a una maqueta anomenada "Temptation", creada inicialment per a l'àlbum "Pornography". Originalment era un instrumental enèrgic impulsat per la guitarra, però la cançó va prendre un rumb diferent l’agost de 1982 després que Simon Gallup deixés temporalment la banda. Robert Smith va desenvolupar una versió vocal de la pista anomenada "Temptation Two", que incloïa elements psicodèlics i un to més lleuger en comparació amb l'atmosfera fosca de l'àlbum "Pornography".

En una entrevista del 1983 amb el Rock 'n' Roll Alternative Show, Robert Smith va expressar reticència sobre el llançament de "Let's Go to Bed". Va descriure la cançó com una peça sarcàstica sobre la imatge sexual a la música pop que inicialment no volia que veiés la llum del dia. Smith va voler que la cançó fos intencionadament boba i pop, com una reacció contra la imatge i les fases musicals existents de The Cure. Després de gravar-la, va sentir dubtes sobre el camí que havia de fer i es va enfadar quan finalment es va llançar.

El vídeo musical va marcar la col·laboració inaugural de The Cure amb Tim Pope, que es convertiria en un director freqüent dels seus treballs posteriors. En el moment del rodatge, la banda només estava formada per Robert Smith i Lol Tolhurst, sent l'únic període de la seva història amb una formació oficial de dues persones. La direcció de Pope en el vídeo va mostrar el costat més divertit de la banda, un canvi vers els seus treballs anteriors. Segons el record de Tolhurst en el seu llibre, ell va ballar al vídeo com una silueta nua darrere d'una pantalla.

THE CURE - LET’S GO TO BED

Released: November 23, 1982

Charted:  UK: #44    

"Let's Go to Bed" released as a standalone single in November 1982, marked a departure from the dark tone of their previous album "Pornography". Robert Smith, after a detox in the Lake District, wrote the song as an antithesis to the band's current image. Despite only achieving minor success in the UK, peaking at No. 44, it became a Top 20 hit in Australia, reaching No. 15, and No. 17 in New Zealand. The song later appeared on the compilation album "Japanese Whispers", which included the band's singles and B-sides from 1982 to 1983.

After a hiatus due to mental health reasons following the dark Pornography era, Smith returned with a song that diverged significantly from the Cure's typical sound—a deliberate departure as a response to their record label's skepticism about his ability to create a hit. The origins of "Let's Go to Bed" trace back to a demo called "Temptation," initially created for the album Pornography. Originally an upbeat, guitar-driven instrumental, the song took a different turn in August 1982 after Simon Gallup left the band temporarily. Robert Smith developed a vocal version of the track titled "Temptation Two," which featured psychedelic elements and a lighter tone compared to the dark atmosphere of the Pornography album. 

In a 1983 interview with the Rock 'n' Roll Alternative Show, Robert Smith expressed reluctance about the release of "Let's Go to Bed". He described it as a sarcastic take on sexual imagery in pop music that he initially didn't want to see the light of day. Smith intended the song to be intentionally dumb and pop, as a reaction against The Cure's existing image and musical phases. After recording it, he felt unsure about its direction and was angered when it was eventually released. 

The music video marked the Cure's inaugural collaboration with Tim Pope, who would become a frequent director of their subsequent videos. At the time of filming, the band consisted solely of Robert Smith and Lol Tolhurst, marking the only period in their history with an official two-person lineup. Pope's direction in the video showcased the band's more playful and whimsical side, a departure from their earlier works. According to Tolhurst's recollection in his book, he danced in the video as a naked silhouette behind a screen.

THE CURE - ONE HUNDRED YEARS

Estrena: 4 de maig de 1982

Àlbum: Pornography

"It doesn’t matter if we all die.” Aquesta declaració inquietant obre "One Hundred Years", una pista clau de l'àlbum "Pornography" de The Cure. La banda estava immersa en la turbulència durant la seva gravació, amb disputes internes, ús de drogues i la imminent amenaça de la separació. Robert Smith va lluitar contra intensos dimonis personals, revelant més tard que escriure l'àlbum li va impedir contemplar el suïcidi. La cançó condensa la tristesa i la desesperació d'aquell període, reflectint la tumultuosa tempesta emocional i l'angoixa existencial de la banda a través de lletres viscerais i paisatges sonors atmosfèrics.

"One Hundred Years" s'enfonsa profundament en l'exploració introspectiva i emotiva de l'angoixa existencial i la desesperació de Robert Smith. La cançó serveix com a metàfora dels sentiments de monotonia i insatisfacció a la vida. La seva interpretació reflecteix una tensió i desesperació pronunciades, transmetent vívidament les frustracions i la sensació d'estar atrapat.

La repetició de frases com "Waiting for the death blow," "Just like the old days," "One after the other," i "A hundred years" (Esperant el cop de mort), (Com els vells temps), (Un darrere de l'altre) i (Cent anys) intensifiquen els temes de desesperança i futilitat. Aquestes frases subratllen el pas implacable del temps i la naturalesa cíclica del patiment i la desesperació. Particularment poètica és l’imatge de "The ribbon tightens round my throat" (La cinta s'apreta al voltant del meu coll), que captura la lluita de Smith amb els pensaments suïcides i el pes sufocant de les seves emocions.

"One Hundred Years" destaca com una profunda exploració de la desesperació dins de l'àlbum de The Cure "Pornography". La representació sense concessions de la desesperació i l'angoixa existencial va establir un precedent per a les obres posteriors de The Cure, especialment en àlbums com "Disintegration". Conegut pels seus temes introspectius i atmosfèrics, "Disintegration" va continuar explorant paisatges emocionals complexos, ampliant encara més els temes explorats inicialment a "Pornography". Malgrat la seva naturalesa fosca i aterradora, "Pornography" va ser addictiu i es va convertir en el primer àlbum en arribar al Top 10 de The Cure. Després del seu llançament, Smith va prendre unes vacances reconfortants a un càmping, mentre que els crítics, malgrat la seva satisfacció, van dansar metafòricament sobre la tomba de la banda, reconeixent l'impacte intens i la profunditat temàtica de l'àlbum.

THE CURE - ONE HUNDRED YEARS

Released: May 4, 1982

Album: Pornography

"It doesn’t matter if we all die.” This haunting declaration opens "One Hundred Years," a pivotal track from The Cure's album "Pornography." The band was engulfed in turmoil during its recording, with internal strife, drug use, and the looming threat of breakup. Robert Smith battled intense personal demons, revealing later that writing the album prevented him from contemplating suicide. The song condense the bleakness and desperation of that period, reflecting the band's emotional turmoil and existential dread through its visceral lyrics and atmospheric soundscapes.

"One Hundred Years" delves deep into Robert Smith's introspective and emotive exploration of existential angst and despair. The song serves as a metaphor for feelings of monotony and unfulfillment in life. His vocal performance reflects a pronounced strain and desperation, vividly conveying the frustrations and sense of being trapped.

The repetition of phrases like "Waiting for the death blow," "Just like the old days," "One after the other," and "A hundred years" intensifies the themes of hopelessness and futility. These lines underscore the relentless passage of time and the cyclical nature of suffering and despair. Particularly poignant is the imagery of "The ribbon tightens round my throat," which poetically captures Smith's grappling with suicidal thoughts and the suffocating weight of his emotions.

"One Hundred Years" stands out as a profound exploration of despair within The Cure's album "Pornography." The song's unflinching portrayal of despair and existential angst set a precedent for The Cure's subsequent work, particularly in albums like "Disintegration." Known for its introspective and atmospheric themes, "Disintegration" continued to delve into complex emotional landscapes, further expanding upon the themes initially explored in "Pornography." Despite its dark and terrifying nature, "Pornography" was wickedly addictive and became The Cure's first Top 10 record. After its release, Smith took a restorative camping holiday, while critics, despite their satisfaction, metaphorically danced on the band's grave, acknowledging the album's intense impact and thematic depth.

 

THE CURE - KILLING AN ARAB

Released: December 22, 1978

Album: Standing on a beach

"Killing an Arab" is The Cure's first single, recorded during the sessions for their debut album "Three Imaginary Boys" in 1979. Although it was not included on the original UK release of the album, it did appear on the band's first US compilation album titled "Boys Don't Cry." The song's lyrics are inspired by Albert Camus' existential novel "The Stranger," also known as "The Outsider." The narrative of the song reflects the protagonist of the novel, who shoots an Arab man on a beach and then reflects on the act and its consequences.

Despite its literary inspiration and intention to explore existential themes, "Killing an Arab" sparked controversy due to its title. Many misunderstood the song as being racially motivated or promoting violence against Arabs, which led to backlash and misinterpretation. It's important to note that The Cure and Robert Smith have clarified numerous times that the song is not racist but rather a reflection on existential themes inspired by literature. 

Initially recorded when they were signed to the German label Hansa, the song was met with disapproval from the label, which led to The Cure seeking their release and retaining the rights to their songs, including "Killing an Arab." Subsequently, the band distributed demo tapes containing their music, including the track to various labels. Chris Parry, then at Polydor but starting his own label, Fiction Records, expressed interest. The Cure signed with Fiction Records, and under Parry's guidance, they re-recorded "Killing an Arab" and other tracks like "10:15 Saturday Night."

This collaboration with Fiction Records was pivotal for The Cure's artistic development. Parry initially produced their early singles and debut album "Three Imaginary Boys." He soon allowed Robert Smith to take on more production responsibilities and creative control, which enabled the band to explore and innovate within the alternative rock genre.

During a show at Kingston Polytechnic in 1979, the student union initially objected to The Cure performing "Killing an Arab." Robert Smith managed to resolve the issue by explaining the literary origins of the song to the students, and it was eventually included in the set. At times, disaffected youth associated with groups like the National Front, often skinheads, attended Cure shows expecting something different,  but they found that The Cure's music was more aligned with introspective and sensitive punk rock rather than the themes they expected. Despite verbal abuse, there were no major incidents of violence associated with the song. 

The title of The Cure's singles collection "Standing on a Beach" (also known as "Staring at the Sea") is a reference to the passage in Albert Camus' book from which the song originated. Released in 1986, this compilation introduced American audiences to The Cure's earlier work and inadvertently revived the controversy surrounding "Killing an Arab."

The American-Arab Anti-Discrimination Committee raised concerns that the song could be misinterpreted and used to promote anti-Arab sentiment, particularly by certain DJs. They campaigned to pressure the record label to remove the track from the collection. Robert Smith refused to remove the song. Instead, he agreed to write a conciliatory message that was displayed on the album cover. 

In response to contemporary sensitivities and ongoing concerns about potential misinterpretations, The Cure made a notable adjustment to the song. During their performances at European festivals in 2005, amidst the context of the Persian Gulf War and following the September 11 attacks, the band altered the lyrics from "Killing an Arab" to "Kissing an Arab."