#standingonabeach

#thecure #standingonabeach #thesingles #elektrarecords 1986 VG $25 #newwave #postpunk (at Siren Records) https://www.instagram.com/p/CZUuT6uJI0R/?utm_medium=tumblr

Happy 35th anniversary to The Cure’s compilation album ‘Standing on a Beach/Staring at the Sea : The Singles’. Released this week in 1986. #thecure #standingonabeachstaringatthesea #standingonabeach #robertsmith https://www.instagram.com/p/COiFzc7gEA4/?igshid=1vqxz82vqa1qv

I was too young when The Cure were in their ‘first ten years’ heyday, though I remember hearing Close To Me on the radio when I was a young teenager. But they’re one of those bands whose fame and popularity has remained solid if not increased as time’s gone on. And they’re one of the few from that era (I can think of) that are still together, still touring (occasionally) and releasing albums (sporadically). Robert Smith even had his own curation slot of the Southbank’s annual musical jamboree, Meltdown, in 2018. I recall very clearly when I first ‘got’ The Cure, it was hearing the track 10.15 Saturday Night (from their debut album) on a magazine compilation tape. It remains, possibly, my favourite Cure song to this day. It’s sparseness, yet cinematic range, is fantastic. It conjures up so many bedsit rooms, lonely nights, and black holey jumpers stretched into oblivion. This album is effectively the sound of early 80s alternative music, with classics such as Boys Don’t Cry with its unmistakable three chord opening, the brilliantly evocative A Forest, the Siouxsiesque The Hanging Garden, Smith’s antithetical Cure pop song Let’s Go To Bed, the wonderfully flicka flicka flicka The Caterpillar, the smash hit Close To Me, a song for which remixes were invented for, and The Love Cats, which for some reason was always played as one of the closing songs to the monthly University gay disco I used to attend: Rapture. A song about a suicide pact between two lovers, bizarrely inspired by Disney’s Aristocrats film (according to Smith) may seem like a strange choice of swansong at the end of a night of queer student debauchery, but I can assure you that it’s as perfect as Smith’s smeared red lipstick and backcombed hair. #thecure @thecure #robertsmith #standingonabeach #boysdontcry #lovecats #closetome #thecaterpillar #vinyl #recordcollection #nowplaying #randomrecordreview https://www.instagram.com/p/CEuwPRLpqoD/?igshid=f65vb04rt6vw

I was too young when The Cure were in their ‘first ten years’ heyday, though I remember hearing Close To Me on the radio when I was a young teenager. But they’re one of those bands whose fame and popularity has remained solid if not increased as time’s gone on. And they’re one of the few from that era (I can think of) that are still together, still touring (occasionally) and releasing albums (sporadically). Robert Smith even had his own curation slot of the Southbank’s annual musical jamboree, Meltdown, in 2018. The Cure have never comfortably fitted into the goth rock category, but are (unsurprisingly given Robert Smith moonlighted as their guitarist for a while) not dissimilar to Siouxsie and the Banshees’ mix of post-punk new wave alt-goth rock, with a side order of twisted peculiarly English surrealism. I recall very clearly when I first ‘got’ The Cure, it was hearing the track 10.15 Saturday Night (from their debut album) on a magazine compilation tape. It remains, possibly, my favourite Cure song to this day. It’s sparseness, yet cinematic range, is fantastic. It conjures up so many bedsit rooms, lonely nights, and black holey jumpers stretched into oblivion. This album is effectively the sound of early 80s alternative music, with classics such as Boys Don’t Cry with its unmistakable three chord opening, the brilliantly evocative A Forest, the Siouxsiesque The Hanging Garden, Smith’s antithetical Cure pop song Let’s Go To Bed, the wonderfully flicka flicka flicka The Caterpillar, the smash hit Close To Me, a song for which remixes were invented for, and The Love Cats, which for some reason was always played as one of the closing songs to the monthly University gay disco I used to attend: Rapture. A song about a suicide pact between two lovers, bizarrely inspired by Disney’s Aristocrats film (according to Smith) may seem like a strange choice of swansong at the end of a night of queer student debauchery, but I can assure you that it’s as perfect as Smith’s smeared red lipstick and backcombed hair. #thecure @thecure #robertsmith #standingonabeach #boysdontcry #closetome #thelovecats #thecaterpillar #vinyl #recordcollection #nowplaying #randomrecordreview https://www.instagram.com/p/CEuvnippjYX/?igshid=is0tsqnnh8g4

Happy anniversary to The Cure’s compilation album ‘Standing on a Beach/Staring at the Sea : The Singles’. Released this week in 1986. #thecure #standingonabeachstaringatthesea #standingonabeach #robertsmith https://www.instagram.com/p/B_2OGdyg97B/?igshid=1dh34v73j1c9w

Originalmente gravado em 1979, 10:15 Saturday Night mostra os integrantes originais do The Cure. Lawrence Tolhurst na bateria, Robert Smith de cabelo tigelinha e Michael Dempsey, que saiu da banda após o 1º álbum. #TheCure #StandingOnABeach #staringatthesea🌊 https://www.instagram.com/p/BxplDaIlkOU/?igshid=1ig9n7vt8eo8v

Jumping Someone Else's Train é o 3º vídeo gravado para a coletânea Staring At The Sea, em 1986 (embora, assim como Boys Don't Cry e Killing An Arab, fora lançada originalmente em 1979). Mostra uma viagem de trem até Brighton. #TheCure #StandingOnABeach #staringatthesea🌊 https://www.instagram.com/p/Bxpk4AAlzos/?igshid=12a07bvg3e00o