Here are our picks for the 40 best songs from TheCure
If The Cure's induction into the Rock and Roll Hall of Fame does absolutely nothing else for their musical legacy, hopefully it will at least mark the end of anyone thinking that they're solely the province of goth-rock mopers and those otherwise obsessed with things that go bump in the night.
It's already been clear for most of the band's history, which kicked off in earnest on record 40 years ago with the release of theirdebut LP in 1979. Since then, they've evolved from post-punk misfits to new wave superstars and alt-rock elder statesmen, while scoring massive crossover hits, becoming one of rock's biggest and most reliable touring attractions, and seeing their influence trickle down to all corners of popular music. There's probably no The 1975 without The Cure's lush synth grandstanding, sure -- but there's also probably no Billie Eilish without their creepy-crawly sonic and visual aesthetic, and no Juice WRLD without their heart-bleeding bedroom confessionals, either. And if you don't buy any of that, you can be quite sure of this: Niche bands with entirely subterranean fanbases don't get into the Rock and Roll Hall of Fame. It's hard enough to get the institution to acknowledge even the most massive and obvious alt-rock success stories -- from U.K. peers like Kate Bush, The Smiths and Depeche Mode to next-generation artists like Smashing Pumpkins, Hole and Nine Inch Nails . But now, The Cure are inside, and it shows that they haven't been true outsiders for some time now. Of course, this should've been most obvious from the music itself. The Cure may have existed in extremes -- their 1996 albumboasted one of the more on-the-nose LP titles in recent memory -- but even though their enduring image is one of grey, bleak depression, they were equally adept at vivid, brighter-than-the-sun joyfulness. More importantly, the majority of their best songs mixed those primary colors into new shades that were totally their own, recognizing that happiness and sadness are far from discrete, independent emotions, nor is anything in between. The Cure were basicallyBut the pull quotes could be deceiving. Take two of drama queen frontman Robert Smith's most iconic opening lines:"It doesn't matter if we all die" and"Yesterday, I got so old, I felt like I could die." On their face, the lyrics feel similarly gloomy, despairing, nihilistic. But the songs they kick off couldn't be more different: The former is the kind of apocalyptic death-disco throwdown you might expect from such a lede, but the latter is a jangly endorphin rush of a pop-rock singalong. Neither song feels any more authentic to its opening than the other; both just feel quintessentially like The Cure. You'll find both of those songs below in our list of the top 40 songs The Cure ever did -- a list spanning 13 albums and even more lineup changes, as well as dozens of singles , and so many great B-sides they eventually had to release a friggin'. It's one of the richest catalogs in rock history, one of thundering drums, shimmering synths and refracting guitars, galloping bass lines -- many played by a guy literally named Simon Gallup! -- and of course, lyrics and vocals so expressive that the singer eventually had to sport the genre's over-the-top clothes, hair and lipstick to match. Read on below, and let's never misjudge their limits or take them for granted again.The most sensual song ever written about being eaten by a spider,"Lullaby" mixes tender guitars with spindly strings and lush synths for one of their greatest nocturnal pop fantasias. Despite its stage-whispered vocals and lack of a traditional chorus,"Lullaby" became their biggest hit in The Cure's home country, peaking at No. 5 in 1989 -- an appropriately inappropriate signature smash for the group.In case you thought"In Between Days" wasn't enough of a blood-pumper, its B-side goes even harder with its acoustic strumming and stomping -- pity the poor wrists of guitarist Porl Thompson. More importantly, though, the song's emotional surge is nearly as profound through its infectious melody and urgent lyrics, as Robert Smith squeals over squawking saxes,"Tell yourself, it couldn't happen/ Not this way....
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