"Why Can't I Be You?" és una cançó llançada com a senzill principal del doble àlbum "Kiss Me, Kiss Me, Kiss Me" l’abril de 1987. Al Regne Unit, va arribar al número 21 a la llista de senzills el 14 d'abril de 1987. Als Estats Units, la cançó va assolir el número 54 a la llista Billboard Hot 100 el mateix any. A més, una remescla va tenir èxit a les llistes de música dance, arribant al número 8 a la Hot Dance Music/Maxi-Singles Sales i al número 27 a la Dance Music/Club Play Singles.
En una entrevista del 1987, Robert Smith va explicar que el títol "Why Can't I Be You?" va sorgir d'una situació específica que va viure. Va descriure estar enmig d'una discussió tensa on tothom al voltant de la taula esperava revelacions profundes d'ell. Sentint-se aclaparat, Smith va expressar el desig de ser algú altre en aquell moment, algú més relaxat, potser recolzat en una barra, en lloc de ser ell mateix.
El videoclip es va gravar a principis de 1987 als Ardmore Studios a Bray, comtat de Wicklow, Irlanda, durant els assajos de la primera gira sud-americana de The Cure. Dirigit per Tim Pope, conegut pel seu treball amb el grup, el vídeo va mostrar els cinc membres amb diversos vestuaris. Robert Smith va aparèixer com un ós i una escolar, Simon Gallup va interpretar un corb i un ballador, Porl Thompson es va vestir com un escocès i també va fer de travesti, Boris Williams va interpretar rols com una escolar i un vampir, i Lol Tolhurst va portar blackface i després un disfressa d'abella. Posteriorment, Pope va expressar penediment sobre la representació de Tolhurst amb blackface, reconeixent-ho com una elecció inapropiada i una cosa que vista en retrospectiva no li agrada. Malgrat aquest aspecte controvertit, va referir-se al vídeo com "el vídeo que sempre havia volgut fer".
THE CURE - WHY CAN’T I BE YOU?
Released: April 6, 1987
Charted: UK: #21 US: #54
"Why Can't I Be You?" is a song released as the lead single from the double album “Kiss Me, Kiss Me, Kiss Me” on April 1987. In the United Kingdom, it peaked at number 21 on the UK Singles Chart on April 14, 1987. In the United States, the song reached number 54 on the Billboard Hot 100 chart the same year. Additionally, a remix of the track performed well on dance charts, reaching number 8 on the Hot Dance Music/Maxi-Singles Sales chart and number 27 on the Dance Music/Club Play Singles chart.
In a 1987 interview Robert Smith explained that the title "Why Can't I Be You?" stemmed from a specific situation he experienced. He described being in the midst of a tense discussion where everyone around the table was anticipating profound revelations from him. Feeling overwhelmed, Smith expressed a desire to be someone else in that moment, someone more relaxed, perhaps leaning against a bar, rather than himself.
The music video was filmed in early 1987 at Ardmore Studios in Bray, County Wicklow, Ireland, during rehearsals for the Cure's first South American tour. Directed by Tim Pope, known for his work with the band, the video featured all five members in various costumes. Robert Smith appeared as a bear and a schoolgirl, Simon Gallup portrayed a crow and a Morris dancer, Porl Thompson dressed as a Scotsman and also cross-dressed, Boris Williams played roles as a schoolgirl and a vampire, and Lol Tolhurst wore blackface and later a bumblebee costume. Pope later expressed regret about Tolhurst appearing in blackface, acknowledging it as an inappropriate choice and something he didn't feel good about in hindsight. He referred to the video as "the video I've always wanted to make," despite this controversial aspect.
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THE CURE - 10:15 SATURDAY NIGHT
Released: June 1979
Album: Three imaginary boys
"10:15 Saturday Night" is a track that served as the B-side to the single "Killing an Arab" released in December 1978. It also appears as the opening track on the debut album, “Three Imaginary Boys”. Initially released in France as a single with "Accuracy" as the B-side, the song has been a staple in their live performances since its release.
Early in their career, The Cure were actively seeking a record deal, and according to interviews in the booklet for the Deluxe Edition of "Three Imaginary Boys," it was the demo of this song that captured the attention of Chris Parry in 1978. This pivotal moment led Parry to sign the band to his newly established record company, Fiction Records.
"10:15 Saturday Night" captures Robert Smith's poignant reflection on loneliness and desolation. Written at the tender age of 16, Smith wrote the song one melancholic evening while seated at his kitchen table, engulfed in solitude. The lyrics evoke a scene where he listens to the haunting sound of a leaky faucet, yearning for the phone to break the silence.
In a demo version featured in the deluxe edition of The Cure's debut album, Robert Smith slows down the tempo and plays it on his sister Janet's Hammond organ, showcasing his admiration for David Bowie, particularly echoing the guitar part from Bowie's "Be My Wife." The album's original version maintains a metronomic pace that captures suburban isolation themes. Curiously, the album was recorded in haste under covert circumstances, sneaking into the studio at night while The Jam were working on their album "All Mod Cons."
The performance clip for "10:15 Saturday Night" marked The Cure's debut music video. Directed by Piers Bedford, this video provided viewers with their initial glimpse of a relatively clean-cut Robert Smith, a stark contrast to the iconic and spooky style he later became known for.
THE CURE - IN BETWEEN DAYS
Estrena: 19 de juliol de 1985
Llistes: Regne Unit: #15 EUA: #99
"In Between Days," llançada el juliol de 1985, és una cançó de l'àlbum "The Head on the Door". Va assolir èxit internacional, convertint-se en el primer single del grup que va entrar a la llista Billboard Hot 100, arribant al número 99. Al Regne Unit, va ser el seu novè senzill en llista i el quart Top 20 consecutiu.
"In Between Days" és una barreja d'excentricitat i sensibilitat pop, caracteritzada per una música vibrant i colorista que contrasta amb la seva lletra introspectiva. La lletra de Robert Smith, instigant algú a "simplement marxar" però "tornar amb mi", evoca una barreja complexa d'emocions: amor, odi, melangia i sensibilitat pop, tot en un. És una cançó que travessa l'espectre de les emocions humanes, encarnant l'essència d'alguna cosa intermèdia, no totalment feliç ni completament trista, sinó que existeix en un espai on les emocions conflictives coexisteixen harmoniosament. Aquesta cançó va marcar un moment definidor per a The Cure, mostrant el seu estil caracterīstic.
En una entrevista amb Rolling Stone el 2004, Smith va revelar que l'adquisició d'una guitarra acústica de metall de sis cordes de qualitat va impulsar la creació de "In Between Days". Va admitir que abans de tenir aquesta guitarra, no havia explorat tocar-ne una intensament per manca d'un instrument adequat. Un cop va començar a experimentar amb ella, els acords i les melodies de "In Between Days" van fluir sense esforç.
El vídeo dirigit per Tim Pope i filmat als estudis de Fulham a Londres el 18 de juny de 1985, captura The Cure d'una manera peculiar. Tim Pope, conegut pel seu enfocament creatiu i poc convencional, va utilitzar plans de 360 graus i va posar èmfasi en mitges de colors al vídeo. Robert Smith i Porl Thompson van tenir càmeres fixades en ells, permetent-los apartar-les i agafar-les a voluntat, millorant la dinàmica i la sensació espontània de les imatges.
Tim Pope va descriure Robert Smith com un autèntic excèntric anglès, descrivint-lo com algú que podia tornar-se una mica boig, cosa que va influir en la direcció del vídeo. Smith mateix va expressar satisfacció amb la feina feta, manifestant que el vídeo capturava autènticament l'essència de la cançó. Va destacar el desig de retractar el grup tal com eren realment, sense glamurització ni pretensió, contrastant amb el tòpic habitual dels vídeos musicals on els artistes passegen i posen.
THE CURE - IN BETWEEN DAYS
Released: July 19, 1985
Charted: UK: #15 US: #99
"In Between Days," released on July 1985, is a song from the album "The Head on the Door." It achieved international success, becoming the band's first single to enter the Billboard Hot 100, where it peaked at number 99. In the UK, it marked their ninth chart single and fourth consecutive Top 20 hit.
"In Between Days" is a distinctive blend of eccentricity and pop sensibility, characterized by buoyant and colorful music that contrasts with its introspective lyrics. Robert Smith's lyrics, urging someone to "just walk away" yet "come back to me," evoke a complex blend of emotions—love, hate, melancholy, and pop sensibility all rolled into one. It's a song that traverses the spectrum of human emotions, embodying the essence of something in between—neither fully happy nor completely sad, but existing in a nuanced space where conflicting feelings coexist harmoniously. This track marked a defining moment for The Cure, showcasing their signature style.
In an interview with Rolling Stone in 2004, Smith revealed that the acquisition of a high-quality metal six-string acoustic guitar sparked the creation of "In Between Days." He admitted that prior to owning this guitar, he hadn't explored playing one extensively due to the lack of a suitable instrument. Once he began experimenting with it, the chords and melodies for "In Between Days" effortlessly flowed out.
The music video directed by Tim Pope and filmed at Fulham Studios in London on June 18, 1985, captures The Cure in a distinct and quirky manner. Tim Pope, known for his creative and unconventional approach, utilized 360-degree shots and emphasized colorful socks in the video. Robert Smith and Porl Thompson had cameras fixed on them, allowing them to push away and hold the cameras at will, enhancing the dynamic and spontaneous feel of the visuals.
Tim Pope characterized Robert Smith as a true English eccentric, describing him as someone who could go a bit mad, which influenced the video's direction. Smith himself expressed satisfaction with the video, believing it authentically captured the essence of the song. He emphasized a desire to portray the band as they truly were, without glamorization or pretense, contrasting with the typical music video trope of artists strutting and posing.
THE CURE - FASCINATION STREET
Estrenada: 18 d'abril de 1989
Llistes: EUA: #46
"Fascination Street", inclosa a l'àlbum de 1989 "Disintegration", es va llançar com a single exclusivament a Amèrica del Nord. Inicialment, la banda tenia la intenció de llançar "Lullaby" com a primer senzill, però el seu segell discogràfic nord-americà va optar per "Fascination Street". Aquesta decisió va ser encertada, ja que la cançó es va convertir en el primer número u dels Cure a la nova llista de Modern Rock Tracks dels Estats Units, mantenint-se al capdavant durant set setmanes consecutives.
En una entrevista Robert Smith va compartir les seves reflexions sobre la inspiració darrere de la cançó. Va revelar que "Fascination Street" va néixer dels seus pensaments sobre Bourbon Street a Nova Orleans. Es preparava per visitar aquest lloc i es qüestionava què esperava trobar-hi. La cançó reflecteix la seva incredulitat per continuar buscant un moment perfecte malgrat les seves experiències. Bourbon Street, coneguda històricament pels seus restaurants populars i pel seu paper en l'escena del jazz d’inicis del segle XX, ha evolucionat cap a un districte conegut pel seu vibrant ambient nocturn, amb bars i locals d’striptease.
"Fascination Street" destaca per la seva estructura poc convencional dins de la discografia del grup. Inclou llargues seccions instrumentals interrompudes per un únic vers i dos estrofes. L'introducció instrumental és notablement llarga, amb la versió estàndard tenint una intro de 1 minut i 20 segons, mentre que una versió remixada l'allarga fins a 4 minuts. Produït per Robert Smith, Chris Parry i Mark Saunders, aquest remix es va llançar com a pista principal en maxi-single de vinil i maxi-CD. Una edició més curta per a ràdio del remix es va utilitzar per als llançaments de single en vinil i cassette. El remix es va incloure més tard a l'àlbum de remixos de The Cure de 1990, "Mixed Up". Per la seva part, el remix curt s'ha inclòs en la recopilació "Galore (The Singles 1987-1997)" de 1997.
Lol Tolhurst, membre fundador de The Cure, va ser acreditat a "Fascination Street" (i a tot l'àlbum) per tocar "altres instruments". No obstant això, durant la sessió d'enregistrament, Tolhurst lluitava amb problemes greus d'alcohol i, malgrat el crèdit, no va contribuir realment a l'àlbum. Aquesta discrepància va portar tensions dins del grup, amb els companys de banda de Tolhurst finalment donant a Robert Smith un ultimàtum: o bé acomiadaven Tolhurst o bé tot el grup marxava. Conseqüentment, Tolhurst va ser acomiadat de The Cure el 1989. Més tard, es va reconciliar amb el grup i es va reincorporar el 2011.
El videoclip dirigit per Tim Pope i emès a MTV va tenir un paper important en la promoció del senzill. Robert Smith va expressar la seva insatisfacció amb el vídeo, considerant que no va arribar a transmetre tot el seu potencial. Inicialment concebut com un vídeo amb temàtica de Doctor Who amb una cabina telefònica, un rellotge i habitacions dins d’habitacions, Smith va percebre que l'execució va ser insuficient a causa de les limitacions de pressupost. El vídeo, finançat principalment per Elektra Records per al mercat nord-americà, no va transmetre completament el concepte fantasiós que Smith havia imaginat, cosa que el va portar a qualificar-lo com a "horrible".
A finals dels anys 80, al cap de gairebé una dècada de carrera, The Cure es van veure impulsats a l'estrellatge, tocant en grans concerts d’estadis i aconseguint una difusió més àmplia a la ràdio. Robert Smith va reflexionar sobre aquest període en una entrevista del 2004 amb Rolling Stone, admetent que, malgrat les seves intencions, la banda s'havia convertit en tot el que no volia que fossin: una banda de rock d'estadi. Va descriure com aquest nou èxit va tensar les relacions tant dins com fora del grup. L'àlbum que va definir aquesta època es va dir "Disintegration" amb un toc d'ironia, i Smith va sentir que gairebé provocava el destí, que creia que eventualment es va tornar en contra seva.
THE CURE - FASCINATION STREET
Released: April 18, 1989
Charted: US: #46
"Fascination Street" featured on the 1989 album "Disintegration," was released as a single exclusively in North America. Initially, the band intended to release "Lullaby" as the lead single, but their American record label opted for "Fascination Street" instead. This decision paid off, as the song became the Cure's first number-one single on the newly established Modern Rock Tracks chart in the US, holding the top spot for seven consecutive weeks.
In an interview with Select magazine, Robert Smith shared insights into the inspiration behind the song. He revealed that "Fascination Street" was born from his thoughts about Bourbon Street in New Orleans. He was preparing to visit there and questioned himself about what he expected to discover. The song reflects his incredulity at still being drawn into seeking a perfect moment despite his experiences. Bourbon Street, historically renowned for its popular restaurants and role in the jazz scene of the early 20th century, has evolved into a district known for its vibrant nightlife, including bars and strip clubs.
"Fascination Street" stands out for its unusual structure within their discography. It features long instrumental sections interrupted by a single verse and two choruses. The song's instrumental introduction is notably lengthy, with the standard version having a 1:20 intro, while an extended mix extends this to 4 minutes. Produced by Robert Smith, Chris Parry, and Mark Saunders, this extended mix was released as the lead track on the 12-inch vinyl and maxi-CD singles. A shorter radio edit of the remix was used for the 7-inch vinyl and cassette single releases. The extended mix later found its way onto The Cure's 1990 remix album "Mixed Up”. Conversely, the shorter remix has been included in global releases such as 1997's "Galore (The Singles 1987-1997)."
Lol Tolhurst, a founding member of The Cure, was credited on "Fascination Street" (and the entire album) for playing "other instruments." However, during the recording session, Tolhurst was struggling with severe alcohol problems, and despite the credit, he did not actually contribute to the album at all. This discrepancy led to tensions within the band, with Tolhurst's bandmates eventually giving Robert Smith an ultimatum: either fire Tolhurst or face the rest of the band quitting. Consequently, Tolhurst was dismissed from The Cure in 1989. He later reconciled with the band and rejoined in 2011.
The music video directed by Tim Pope and aired on MTV, played a significant role in boosting interest in the single. Robert Smith expressed dissatisfaction with the video, believing it fell short of its potential. Originally envisioned as a Doctor Who-themed video featuring a phone box, a clock, and rooms within rooms, Smith felt the execution was lacking due to budget constraints. The video, primarily funded by Elektra Records for the American market, didn't fully realize the fantasy concept Smith had envisioned, leading to his critique that it turned out "awful."
In the late 1980s, around a decade into their career, The Cure found themselves propelled into stardom, playing massive arena concerts and achieving widespread radio play. Robert Smith reflected on this period in a 2004 interview with Rolling Stone, admitting that despite his intentions, the band had become everything he had not wanted them to be—a stadium rock band. He described how this newfound success strained relationships both within and outside the band. The album that epitomized this era, "Disintegration," was named with a touch of irony, and Smith felt it was almost tempting fate, which he believed eventually struck back.
