Greatest Hits

Performer: The Cure
Producer: Robert Smith; Nye; Mark Plati; Allen; Perry Bamonte; Steve Lyon
Distributor: WEA (Distributor)

Notes: Disc 1 is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Disc 2 is a bonus "unplugged" CD. The Cure includes: Robert Smith (vocals, guitar, keyboards, bass); Lol Tolhurst (various instruments); Porl Thompson (guitar); Simon Gallup (keyboards, bass); Roger O'Donnell (keyboards); Boris Williams (drums). This is a Hyper CD which contains regular audio tracks and provides a link to the artist's website with the help of an internet browser. Personnel: Robert Smith (vocals, guitar, keyboards, bass); Laurence Tolhurst (various instruments, keyboards, drums); Porl Thompson, Perry Bamonte (guitar, keyboards); Mathieu Hartley, Roger O'Donnell (keyboards); Michael Dempsey, Simon Gallup, Phil Thornalley (bass); Steve Goulding, Andy Anderson, Boris Williams, Jason Cooper (drums); Saffron (background vocals). Producers include: Robert Smith, David M. Allen, Steve Lyon, Mark Saunders, Mark Plati. This is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser. Personnel: Robert Smith (vocals, guitar, keyboards, 6-string bass); Saffron (vocals); Perry Bamonte, Porl Thompson (guitar, keyboards); Reeves Gabrels (guitar); Mathieu Hartley, Roger O'Donnell (keyboards); Goulding, Jason Cooper, Laurence Tolhurst, Boris Williams (drums). Audio Mixers: Robert Smith ; Nye; Alan Moulder; Mark Plati; Mark Saunders; Allen; Paul Corkett; Perry Bamonte; Bob Clearmountain. Photographer: Stylorouge. Unknown Contributor Role: Laurence Tolhurst. The Cure were never afraid of artistically defining themselves. They had their own sound, an eerie glamour surrounding a dark whimsicality, yet fans flocked to them throughout the '80s and '90s. Commercial or cult favorites, they're impressive as being one of the '80s' seminal bands who culled more than 30 critical singles. Compilations like 1986's Staring at the Sea: The Singles and 1997's Galore showcased the Cure's accessibility; therefore, having a solid greatest-hits collection might be a bit nonessential. Then again, releasing an album like this at the tip of the new millennium calls for a celebration, and that's what the Cure did. They collected 16 amazing cuts which spanned 23 years and recall what once was. From the saucy synth strut of "The Walk" and the cabaret stylings of "The Lovecats" to the lilting swan songs of "Lovesong" and "Just Like Heaven," the Cure's ever-changing moods were switched up for something desirable and blissful. They are selectively classic, leaving this package to be its own storybook of sorts. The Cure did treat the fans with two new songs: "Cut Here" rises with early sounds of Madchester, but the glitzy swirls of "Just Say Yes" mark the Cure's return to form. Republica's Saffron joins Robert Smith for something campy and carefree. Greatest Hits is basically for the fans who have to have everything, but also a decent collection for those who never fully enraptured themselves with the Cure. ~ MacKenzie Wilson By way of distinguishing GREATEST HITS from the other Cure collections on the market, let's first note that most of the doom and gloom for which the band is often derided is largely absent here due to the disinclusion of most of their early material. The bulk of this disc is devoted to mid-period cure classics such as the simultaneously innocent and randy "Let's Go to Bed," the breathless, horn-driven "Close to Me," and the bouncy, jazz-tinged "The Lovecats." To prove that the Cure didn't peter out after the Reagan era, GH reminds us that the transcendently effervescent pop gem "Friday I'm in Love" and the hard-driving rocker "Never Enough" stand as tall as the group's earlier efforts. A couple of attractive new tunes are tacked on for the benefit of those who've already got everything else here. By way of distinguishing GREATEST HITS from the other Cure collections on the market, let's first note that most of the doom and gloom for which the band is often derided is largely absent here due to the disinclusion of most of their early material. The bulk of this disc is devoted to mid-period cure classics such as the simultaneously innocent and randy "Let's Go to Bed," the breathless, horn-driven "Close to Me," and the bouncy, jazz-tinged "The Lovecats." To prove that the Cure didn't peter out after the Reagan era, GH reminds us that the transcendently effervescent pop gem "Friday I'm in Love" and the hard-driving rocker "Never Enough" stand as tall as the group's earlier efforts. A couple of attractive new tunes are tacked on for the benefit of those who've already got everything else here.

Q (12/01, p.154) - 4 stars out of 5 - "...Everything here attests to their consistency, invention and singularity....the real buying incentive is a limited-edition bonus CD featuring the hits in spartan, acoustic guise..." Q (12/01, p.154) - 4 stars out of 5 - "...Everything here attests to their consistency, invention and singularity....the real buying incentive is a limited-edition bonus CD featuring the hits in spartan, acoustic guise..." Alternative Press (01/02, p.76) - 9 out of 10 - "...A reminder that the Cure doesn't simply make great records. They write great songs as well..."

Led by depressive pop prince Robert Smith, the Cure have taken their legions of fans on a journey from post-punk to gothic to new wave to art rock, stopping only for refills of hairspray along the way. An amazing band both live and in the studio, the Cure may have shifted its lineup numerous times, but Smith has remained a consistently fascinating rock icon throughout the changes. The group's most popular work (DISINTEGRATION, THE HEAD ON THE DOOR) was recorded in the 1980s, but it has held up incredibly well, leading to continued tours and albums despite exaggerated rumors of their demise.

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