Rare 1991 French-only 12-CD set, comprising all their albums from Three Imaginary Boys to Disintegration in individual card wallet picture sleeves, plus 68-page deluxe illustrated booklet [all text in French], housed in a picture box with pull-out tray and die-cut band logo section with rotating wheel insert!

1982 was a stellar year in pop music. We have already included more than 150 tracks on the CDs of the 1982 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year.Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1982 wouldn’t be complete without shining a light on some of that year’s singles that have been compiled much less frequently over the past 40 years.

It's ironic that the Cure, a band whose albums have always seemed like definitive artistic statements, were at their best as a singles band. On the group's singles, Robert Smith's ideas reached their full potential, since they captured not only the group's off-kilter pop sense, but also the haunting melancholy and wacky humor that interlaced Smith's songs. Galore rounds up the singles from the second part of the Cure's career, beginning with "Why Can't I Be You?" from 1987's Kiss Me, Kiss Me, Kiss Me and ending with "Gone!" from 1996's Wild Mood Swings. Between those two are 15 more songs, nearly every one of which is a gem. The Cure were never a repetitive singles band, and there's a dizzying array of styles here, from infectious jangle pop ("Friday I'm in Love," "Mint Car") and monolithic, chilly goth rock ("Fascination Street," "Pictures of You," "Just Like Heaven") to jaunty, clever dance-club pop (the remix of "Close to Me"), eerie crawls ("Lullaby")…

Expanding the latent arena rock sensibilities that peppered Kiss Me, Kiss Me, Kiss Me by slowing them down and stretching them to the breaking point, the Cure reached the peak of their popularity with the crawling, darkly seductive Disintegration. It's a hypnotic, mesmerizing record, comprised almost entirely of epics like the soaring, icy "Pictures of You." The handful of pop songs, like the concise and utterly charming "Love Song," don't alleviate the doom-laden atmosphere. The Cure's gloomy soundscapes have rarely sounded so alluring, however, and the songs - from the pulsating, ominous "Fascination Street" to the eerie, string-laced "Lullaby" - have rarely been so well-constructed and memorable. It's fitting that Disintegration was their commercial breakthrough, since, in many ways, the album is the culmination of all the musical directions the Cure were pursuing over the course of the '80s.

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound. By the end of the '80s, the band had crossed over into the mainstream not only in their native England, but also in the United States and in various parts of Europe. After embracing melody and synth pop on 1985's The Head on the Door, the band hit an artistic high-water mark with their stunningly pained and beautiful 1989 epic Disintegration, and scored their first number one album on the U.K. charts with 1992's Wish. New studio output slowed somewhat as the band soldiered on, but the Cure remained a popular concert draw into the 2000s and beyond, and their influence could be heard clearly on scores of new bands in the new millennium, including many that had little to do with goth.

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound. By the end of the '80s, the band had crossed over into the mainstream not only in their native England, but also in the United States and in various parts of Europe.

This is a 40th anniversary live celebration from The Cure that brings together two performances from 2018: 1) CURÆTION-25: From There To Here | From Here To There.

‘THE CURE: THE SHOW OF A LOST WORLD’ – A RECUT, REMIXED AND REMASTERED FILM OF THAT NIGHT’S FULL 31-SONG SHOW, DIRECTED BY GRAMMY-NOMINATED NICK WICKHAM, WITH NEW SURROUND SOUND BY ROBERT SMITH – WILL BE OUT IN DECEMBER.

Includes a 12-page picture booklet. The pictures used in it are from the "Disintegration" 1989/90 era : Roger O'Donnell appears but doesn't play here.Some back sleeve credits are wrong or missing, the booklet credits come from the Wish album, track 2-11 duration is incorrectly listed as 19:54.All corrected above.An incomplete version of this show is also available on the 2CD "At The Edge Of The Deep Green Sea".

Vienna/Libro Hall/April, 11th, 2000

‘Boys Don’t Cry’, one of The Cure’s signature tracks, is being reissued on CD and vinyl to mark the fact that it’s become the band’s first song to chalk up over a billion streams on Spotify. Initially released as a standalone single in the summer of 1979, ‘Boys Don’t Cry’ became the title track of the US edition of the band’s debut album, Three Imaginary Boys and then a remix, with a new vocal from Robert Smith (subtitled, logically enough, ‘New Voice – New Mix’) was issued in 1986 to promote the ‘best of’ collection Staring At The Sea – The Singles.

1982 was a stellar year in pop music. We have already included more than 150 tracks on the CDs of the 1982 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year. Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however that’s not the whole singles story of the year, and our celebration of 1982 wouldn’t be complete without shining a light on some of that year’s singles that have been compiled much less frequently over the past 40 years.

4:13 Dream is the 13th studio album by English rock band The Cure. It was released on 27 October 2008, through record labels Suretone and Geffen. At least twenty-six additional songs were recorded for the album that did not make the final cut. Smith originally intended the 2008 album to be a double album but due to various problems only thirteen songs were released, on a single disc. The album debuted at No. 16 on the Billboard 200. 4:13 Dream a score of 69 out of 100 from Metacritic based on "generally favorable reviews". While most critics have praised the album as a quintessential Cure record, others have criticised the album's production and its overly comfortable and lightweight songwriting.

Festival 2005 is a live DVD by English rock band The Cure released in late 2006. It was shot during the band's headlining shows at 9 European music festivals in the summer of 2005. The video features a variety of angles "captured by a mix of fans, crew and 'on-the-night-big-screen cameras'." It was the first physical (non-digital download) release by the band since guitarist Porl Thompson returned to the line-up. An extended play containing three of the tracks from the DVD was also made available.

Live at Concert Hall, Sydney Opera House, Sydney, May 30, 2019. Soundboard recording.