The Cure
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king_frog_V
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matriarcado
Forero del todo a cien
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king_frog_V rebuznó:
es curioso, la descarga trae la cancion "so what", que no venia en la cinta que yo tengo, y no trae sin embargo la cancion "Object"
parece que han sustituido una por otra. Siendo las dos muy punks, prefiero de aqui a roma "Object"
king_frog_V
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Realmente parece ser que el primer disco fue el "Three Imaginary Boys" pero creo que en los Estados Unidos sacaron el "Boys Don't Cry", que es practicamente como el primer disco pero con algunas canciones cambiadas.
Bueno, ahora dejo el "Pornography":
https://rapidshare.com/files/38166652/Cure_Pornography.rar
Bueno, ahora dejo el "Pornography":
https://rapidshare.com/files/38166652/Cure_Pornography.rar
Por si preferís el Pornography en MegaUpload...
https://suicidebystar.wordpress.com/2007/05/22/the-cure-pornography-1982/
https://suicidebystar.wordpress.com/2007/05/22/the-cure-pornography-1982/
Uncle Meat
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Coño, The Cure! 
Hacía tiempo que no me pasaba por acá y veo este hilo justo cuando estoy en plena fiebre revival de Cure. No es de coña. Me trae recuerdos de la hostia 
Mi favorita es How Beautiful You Are, una auténtica joya que no menciona ni dios, perteneciente a un infravaloradísimo disco, Kiss Me Kiss Me Kiss Me -coño, Kiss me-. Luego le seguirían casi todo el Boys Don't Cry -mucho mejor que el original británico, Three Imaginary Boys, todo hay que decirlo- y temas como Siamese Twins -tema con el que sufrí, en su día, una especie de trance psicótico-, Birdmad Girl, la maravilla pop A Night Like This, etc., etc. Por cierto, quiero resaltar del primer disco Fire In Cairo, la mejor del mismo -es que nadie la ha mencionado tampoco-.
Hacía tiempo que no me pasaba por acá y veo este hilo justo cuando estoy en plena fiebre revival de Cure. No es de coña. Me trae recuerdos de la hostia Mi favorita es How Beautiful You Are, una auténtica joya que no menciona ni dios, perteneciente a un infravaloradísimo disco, Kiss Me Kiss Me Kiss Me -coño, Kiss me-. Luego le seguirían casi todo el Boys Don't Cry -mucho mejor que el original británico, Three Imaginary Boys, todo hay que decirlo- y temas como Siamese Twins -tema con el que sufrí, en su día, una especie de trance psicótico-, Birdmad Girl, la maravilla pop A Night Like This, etc., etc. Por cierto, quiero resaltar del primer disco Fire In Cairo, la mejor del mismo -es que nadie la ha mencionado tampoco-.
LAMF
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Pero, cuando hablamos de The Cure... ¿a qué "the cure" nos referimos?
¿O vale con que salga el careto del Robert "pelas" Smith? :?
The Cure Story...
It all started in 1976 as 'Easy Cure', formed by Robert Smith (vocals, guitar) along with schoolmates Michael Dempsey (bass), Lol Tolhurst(drums) and local guitar hero Porl Thompson. They began writing and demoing their own songs almost immediately, playing throughout 1977 in Southern England to an ever growing army of fans. In 1978 the 'Easy' was dropped, along with Porl, and an eager trio now known simply as The Cure were quickly signed to Chris Parry's new Fiction label.
In May 1979 their debut album Three Imaginary Boys was released to great acclaim, and as the band toured extensively around the UK, the singles “Boys Don't Cry” and “Jumping Someone Else's Train” were released. Michael left the band at the end of the year, and Simon Gallup (bass) and Matthieu Hartley (keyboards) joined. In early 1980 the 4-piece Cure embarked on an exploration of the darker side of Robert's songwriting, and emerged with the minimalist classic Seventeen Seconds, along with their first bona-fide 'hit single' “A Forest.”
After an intense world tour Matthieu left the group, and in early 1981 the trio recorded an album of mournful atmospheric soundscapes entitled Faith, which included another successful single in “Primary.” The band then set out on a second global trek, named “The Picture Tour,” during which they released the non-album single “Charlotte Sometimes.” In 1982 The Cure went back into the studio, and their increasingly ugly fascination with despair and decay culminated in the unrelenting sonic attack of Pornography. An intensely volatile tour ensued, and the single “The Hanging Garden” was released just as Simon left the band.
After pushing the limits of excess, Robert felt he had to change things, and did so by 'going pop' again. Rejuvenated, the now 2-piece Cure released their first real dance single, the cheesy “Let's Go To Bed,” and during the making of the accompanying video forged a colorful and lasting relationship with director Tim Pope. The band continued into 1983 with the groovy electronic dance of “The Walk,” followed by the demented cartoon jazz of “The Lovecats.” In 1984 The Top was released, a strange hallucinogenic mix, which contained the infectiously psychedelic single “The Caterpillar.” The world ‘Top Tour’ saw the band expand to a 5-piece, with the addition of Andy Anderson (drums) and Phil Thornalley (bass), and the return of Porl Thompson (guitar).
The new Cure sound was captured live for the album Concert. Andy and Phil left soon after the end of the tour, and were replaced by Boris Williams (drums) and further returnee Simon Gallup (bass). This new incarnation started work on 1985's The Head On The Door with a very real sense of 'something happening'... The vibrant hit single “Inbetween Days” was followed up by “Close To Me,” and the ensuing world tour paved the way for the massive success of the singles collection Standing On A Beach in 1986. That summer saw the band headline the Glastonbury Festival for the first time, and a year of extensive gigs and festivals was crowned by Tim Pope's live concert film The Cure In Orange.
In 1987 The Cure brought out Kiss Me Kiss Me Kiss Me, an immense double album of extreme and extraordinary stylistic range, and with the arrival of Roger O'Donnell on keyboards the 6-piece Cure traveled the world with the 'Kissing Tour', enjoying 4 more hit singles along the way. The wonderfully atmospheric Disintegration was demoed in 1988 and released in 1989, and despite being a work of powerful brooding grandeur, it too gave rise to 4 hit singles. The awesome 'Prayer Tour' that followed, with the band back down to a 5-piece following the departure of Lol Tolhurst, included some of The Cure's best performances to date, and was captured live for the album Entreat.
In early 1990 Roger O'Donnell left the group, and was replaced by long-time band friend Perry Bamonte, just in time for a series of headlining European festival shows that included the band's second Glastonbury headline slot. The album Mixed Up was released, supported by the re-mixed singles “Never Enough,” “Close To Me” and “A Forest,” and in 1991 The Cure at last won some long overdue “home” recognition with a Brit Award for “Best British Group.”
In 1992 they recorded Wish, a richly diverse multi-faceted guitar driven album hailed by some as their best work to date. It spawned 3 fabulous hit singles, and the glorious ‘Wish Tour' that followed was a worldwide sell out. The sheer power of the shows inspired the release of two live works in 1993, Paris and Show. Immediately after the tour ended, guitarist Porl Thompson left the band again (this time with a smile!), and The Cure headlined the XFM 'Great Xpectations Show' in London's Finsbury Park as a 4-piece. The band also contributed '”urn” to the film “The Crow” and covered “Purple Haze” for the Hendrix tribute album 'Stone Free'.
In 1994 Boris Williams decided to move on, and in early 1995 Jason Cooper took up residency behind the drum kit, with Roger O'Donnell rejoining once more on keyboards. Work on the next album was interspersed with recording “Dredd Song” for the film “Judge Dredd,” a cover of Bowie's “Young Americans” for an XFM album, and headlining several major European festivals, including the 25th Glastonbury. Wild Mood Swings was released in 1996, and went straight into almost every top ten around the world. The Cure hit the road once more with 'The Swing Tour', their longest to date, and released 4 more singles.
Galore, the follow up singles and video compilation to Standing On A Beach, was released in 1997, after which work took place in 1998 on a variety of projects, including “More than This” for the “X Files” album, and a memorable appearance by Robert in “South Park!” In 1999 the band completed the recording and mixing of what many regard as their best studio album so far, the Grammy Nominated Bloodflowers. With it's release in 2000 the band set off on the massive world-wide 'Dreamtour' - playing to more than a million people in 9 months.
2001 saw the long awaited release of the Cure's “Greatest Hits” album, which featured all the band's biggest selling singles along with 2 new songs, the elegiac “Cut Here” and the ebullient “Just Say Yes,” a duet with Saffron. This year also saw the end of the group's relationship with Fiction Records, the label they had been instrumental in starting 23 years before.
In 2002 the band spent the summer headlining a number of European Festivals before going into rehearsals for two very special nights in November at the Tempodrom Berlin, where they performed all the tracks from Pornography, Disintegration and Bloodflowers plus encores! Both performances were shot in Hi-Def video on 12 cameras, and Trilogy DVD was released in 2003 as another chapter of The Cure story opened, the band signing a 3 album global deal with the Geffen label.
2004 saw the release of 'Join the Dots', a 4cd Boxset of all the B-sides and Rarities, followed by the widely acclaimed new album ‘The Cure’, and another hugely successful world tour. In 2005 Perry Bamonte and Roger O’Donnell left the band and Porl Thompson joined for a third time. The quartet’s debut show was headlining Live 8 Paris, followed by a number of other summer European Festivals. The first 4 Cure albums (Three Imaginary Boys, Seventeen Seconds, Faith and Pornography) were re-released, with Robert providing 'rarities' for Deluxe Edition extras CD's, as part of an ongoing campaign to remaster and re-issue all the Cure albums. Immediately after closing a week of Teenage Cancer Trust Shows at the Royal Albert Hall in April 2006, the band started recording their 13th studio album. In August the second set of re-releases (The Top, The Head On The Door, Kiss Me Kiss Me Kiss Me) was released, each album as a 2CD Deluxe Edition, along with 1983’s Glove album Blue Sunshine, while in the studio The Cure passed the 30 new songs mark… In November ‘Festival 2005’, a 155 minute 5.1 DVD comprising a 30 song selection of live performances captured the previous summer by a mix of fans, crew and ‘on-the-night-big-screen cameras’, was released.… to be continued…
(Tim Brothers)
https://www.thecure.com/bio/
¿O vale con que salga el careto del Robert "pelas" Smith? :?
The Cure Story...
It all started in 1976 as 'Easy Cure', formed by Robert Smith (vocals, guitar) along with schoolmates Michael Dempsey (bass), Lol Tolhurst(drums) and local guitar hero Porl Thompson. They began writing and demoing their own songs almost immediately, playing throughout 1977 in Southern England to an ever growing army of fans. In 1978 the 'Easy' was dropped, along with Porl, and an eager trio now known simply as The Cure were quickly signed to Chris Parry's new Fiction label.
In May 1979 their debut album Three Imaginary Boys was released to great acclaim, and as the band toured extensively around the UK, the singles “Boys Don't Cry” and “Jumping Someone Else's Train” were released. Michael left the band at the end of the year, and Simon Gallup (bass) and Matthieu Hartley (keyboards) joined. In early 1980 the 4-piece Cure embarked on an exploration of the darker side of Robert's songwriting, and emerged with the minimalist classic Seventeen Seconds, along with their first bona-fide 'hit single' “A Forest.”
After an intense world tour Matthieu left the group, and in early 1981 the trio recorded an album of mournful atmospheric soundscapes entitled Faith, which included another successful single in “Primary.” The band then set out on a second global trek, named “The Picture Tour,” during which they released the non-album single “Charlotte Sometimes.” In 1982 The Cure went back into the studio, and their increasingly ugly fascination with despair and decay culminated in the unrelenting sonic attack of Pornography. An intensely volatile tour ensued, and the single “The Hanging Garden” was released just as Simon left the band.
After pushing the limits of excess, Robert felt he had to change things, and did so by 'going pop' again. Rejuvenated, the now 2-piece Cure released their first real dance single, the cheesy “Let's Go To Bed,” and during the making of the accompanying video forged a colorful and lasting relationship with director Tim Pope. The band continued into 1983 with the groovy electronic dance of “The Walk,” followed by the demented cartoon jazz of “The Lovecats.” In 1984 The Top was released, a strange hallucinogenic mix, which contained the infectiously psychedelic single “The Caterpillar.” The world ‘Top Tour’ saw the band expand to a 5-piece, with the addition of Andy Anderson (drums) and Phil Thornalley (bass), and the return of Porl Thompson (guitar).
The new Cure sound was captured live for the album Concert. Andy and Phil left soon after the end of the tour, and were replaced by Boris Williams (drums) and further returnee Simon Gallup (bass). This new incarnation started work on 1985's The Head On The Door with a very real sense of 'something happening'... The vibrant hit single “Inbetween Days” was followed up by “Close To Me,” and the ensuing world tour paved the way for the massive success of the singles collection Standing On A Beach in 1986. That summer saw the band headline the Glastonbury Festival for the first time, and a year of extensive gigs and festivals was crowned by Tim Pope's live concert film The Cure In Orange.
In 1987 The Cure brought out Kiss Me Kiss Me Kiss Me, an immense double album of extreme and extraordinary stylistic range, and with the arrival of Roger O'Donnell on keyboards the 6-piece Cure traveled the world with the 'Kissing Tour', enjoying 4 more hit singles along the way. The wonderfully atmospheric Disintegration was demoed in 1988 and released in 1989, and despite being a work of powerful brooding grandeur, it too gave rise to 4 hit singles. The awesome 'Prayer Tour' that followed, with the band back down to a 5-piece following the departure of Lol Tolhurst, included some of The Cure's best performances to date, and was captured live for the album Entreat.
In early 1990 Roger O'Donnell left the group, and was replaced by long-time band friend Perry Bamonte, just in time for a series of headlining European festival shows that included the band's second Glastonbury headline slot. The album Mixed Up was released, supported by the re-mixed singles “Never Enough,” “Close To Me” and “A Forest,” and in 1991 The Cure at last won some long overdue “home” recognition with a Brit Award for “Best British Group.”
In 1992 they recorded Wish, a richly diverse multi-faceted guitar driven album hailed by some as their best work to date. It spawned 3 fabulous hit singles, and the glorious ‘Wish Tour' that followed was a worldwide sell out. The sheer power of the shows inspired the release of two live works in 1993, Paris and Show. Immediately after the tour ended, guitarist Porl Thompson left the band again (this time with a smile!), and The Cure headlined the XFM 'Great Xpectations Show' in London's Finsbury Park as a 4-piece. The band also contributed '”urn” to the film “The Crow” and covered “Purple Haze” for the Hendrix tribute album 'Stone Free'.
In 1994 Boris Williams decided to move on, and in early 1995 Jason Cooper took up residency behind the drum kit, with Roger O'Donnell rejoining once more on keyboards. Work on the next album was interspersed with recording “Dredd Song” for the film “Judge Dredd,” a cover of Bowie's “Young Americans” for an XFM album, and headlining several major European festivals, including the 25th Glastonbury. Wild Mood Swings was released in 1996, and went straight into almost every top ten around the world. The Cure hit the road once more with 'The Swing Tour', their longest to date, and released 4 more singles.
Galore, the follow up singles and video compilation to Standing On A Beach, was released in 1997, after which work took place in 1998 on a variety of projects, including “More than This” for the “X Files” album, and a memorable appearance by Robert in “South Park!” In 1999 the band completed the recording and mixing of what many regard as their best studio album so far, the Grammy Nominated Bloodflowers. With it's release in 2000 the band set off on the massive world-wide 'Dreamtour' - playing to more than a million people in 9 months.
2001 saw the long awaited release of the Cure's “Greatest Hits” album, which featured all the band's biggest selling singles along with 2 new songs, the elegiac “Cut Here” and the ebullient “Just Say Yes,” a duet with Saffron. This year also saw the end of the group's relationship with Fiction Records, the label they had been instrumental in starting 23 years before.
In 2002 the band spent the summer headlining a number of European Festivals before going into rehearsals for two very special nights in November at the Tempodrom Berlin, where they performed all the tracks from Pornography, Disintegration and Bloodflowers plus encores! Both performances were shot in Hi-Def video on 12 cameras, and Trilogy DVD was released in 2003 as another chapter of The Cure story opened, the band signing a 3 album global deal with the Geffen label.
2004 saw the release of 'Join the Dots', a 4cd Boxset of all the B-sides and Rarities, followed by the widely acclaimed new album ‘The Cure’, and another hugely successful world tour. In 2005 Perry Bamonte and Roger O’Donnell left the band and Porl Thompson joined for a third time. The quartet’s debut show was headlining Live 8 Paris, followed by a number of other summer European Festivals. The first 4 Cure albums (Three Imaginary Boys, Seventeen Seconds, Faith and Pornography) were re-released, with Robert providing 'rarities' for Deluxe Edition extras CD's, as part of an ongoing campaign to remaster and re-issue all the Cure albums. Immediately after closing a week of Teenage Cancer Trust Shows at the Royal Albert Hall in April 2006, the band started recording their 13th studio album. In August the second set of re-releases (The Top, The Head On The Door, Kiss Me Kiss Me Kiss Me) was released, each album as a 2CD Deluxe Edition, along with 1983’s Glove album Blue Sunshine, while in the studio The Cure passed the 30 new songs mark… In November ‘Festival 2005’, a 155 minute 5.1 DVD comprising a 30 song selection of live performances captured the previous summer by a mix of fans, crew and ‘on-the-night-big-screen cameras’, was released.… to be continued…
(Tim Brothers)
https://www.thecure.com/bio/
king_frog_V
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LAMF rebuznó:
Hombre la historia siempre es interesante pero podría haberla puesto en español. Aunque hay que reconocer que las fuentes del wikipedia en España son algo escasas. :?
Uncle Meat
Leyenda
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LAMF rebuznó:
A los anteriores al lamentable Mixup, o como coño sea, aquel de mezclas asquerosas y tal. Los cambios de rumbo fueron una constante en los 80's; por ejemplo, Simple Minds o U2 dieron más vueltas que un trompo hastra encontrar su sonido -después volvieron a dar vueltas y asín-.
LAMF
Freak
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king_frog_V rebuznó:
Opción
a) https://www.hispacure.com/
b) Mirando los créditos de todas las grabaciones editadas*.
*Hubo un tiempo en que se hacía así. Palabrita del niño Jesús.
Gregory_Peck
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Refloto esto. Adoro The Cure.
A ver fans (entre los que me encuentro, obviamente), ¿qué os parece el último disco? tengo que darle alguna escucha más que no tengo tiempo apenas para escuchar música, dita sea
Debo decir, con todo el dolor de mi corazón que el anterior (también llamado The Cure) me decepcionó un poco, y eso que Bloodflowers es un gran disco también.
Un saludo
A ver fans (entre los que me encuentro, obviamente), ¿qué os parece el último disco? tengo que darle alguna escucha más que no tengo tiempo apenas para escuchar música, dita sea
Debo decir, con todo el dolor de mi corazón que el anterior (también llamado The Cure) me decepcionó un poco, y eso que Bloodflowers es un gran disco también.
Un saludo
Capitán Hediondo
Posiblemente el PEOR Forero de la Historia
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Yo soy de los que compraba los vinilos de los Cure a medida que los iban editando aquí en España, aunque más de la mitad de lo que tengo son ediciones inglesas, que siempre traían alguna chuchería extra.
Mi canción muchimás favorita de todos los tiempos, pasados, presentes o futuros de los Cure
Endispués, siempre vendrá ésta:
Y para cerrar el trío, coincido con el Tito Carnes, How Beautiful you Are es divina:
[GOEAR]0e8910b[/GOEAR]
Hostia, me he puesto sentimental
Mi canción muchimás favorita de todos los tiempos, pasados, presentes o futuros de los Cure
Endispués, siempre vendrá ésta:
Y para cerrar el trío, coincido con el Tito Carnes, How Beautiful you Are es divina:
[GOEAR]0e8910b[/GOEAR]
Hostia, me he puesto sentimental
Gregory_Peck
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How Beatiful you are es la leche puta oigan. :121
Yo me pongo tierno con Lovesong
[GOEAR]f3eaedc[/GOEAR]
No sé si se ha mencionado The Figurehead me tiene sorbido el coco
[GOEAR]c6eccd2[/GOEAR]
Alucino también con a Night like this
[GOEAR]759e86c[/GOEAR]
Por cierto no os perdáis las caras B que tiene verdaderos temas AMOS
A foolish arrangement
[GOEAR]fe5999f[/GOEAR]
Un saludo
Yo me pongo tierno con Lovesong
[GOEAR]f3eaedc[/GOEAR]
No sé si se ha mencionado The Figurehead me tiene sorbido el coco
[GOEAR]c6eccd2[/GOEAR]
Alucino también con a Night like this
[GOEAR]759e86c[/GOEAR]
Por cierto no os perdáis las caras B que tiene verdaderos temas AMOS
A foolish arrangement
[GOEAR]fe5999f[/GOEAR]
Un saludo
cuellopavo
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Este hilo es caca. En cuanto pueda me encargo de hacer un hilo adecuado a este grupo. Mientras paso a comentar este disco:
Perfect as Cats es una indigestión con 33 bandas rindiendo homenaje a The Cure. La sensación que me sacude es la de estar escuchando arremetidas con esquema de confrontación, pues la mayoría de las bandas aquí no parecen disfrutar de la versión original e intentan, con éxito, extirpar las líneas imaginativas, de seducción pop, post-punk o indy que transpiran.
Hay versiones que parecen la broma de una tarde espesa en el estudio, hay versiones que más que un tributo parecen una retribución por revancha, hay versiones que hunden clásicos atemporales en los cenagales de la tentativa bufona con aires industriales o en la astracanada sin gracia, manos hiperactivas de excursión a los campos digitales del reino del plugin.
A pesar de todo, hay cosas merecedoras de mención. Caroline Weeks acariciando la guitarra acústica en 'The drowning man'; los Devastations rehaciendo la atmósfera de 'All cats are grey'; The Muslims haciendo lo propio en 'Grinding halt' (no entiendo la manía que tienen todaos los grupos en ralentizar piezas como 'Jumping someone else's train', devolvedle el pulso, por favor); Marie Sioux mudando a acústico 'Lovesong'; Jesu apropiándose, con lógica aplastante de 'The funeral party'; Lewis and Clarke desnudando 'Disintegration'; y por último, Bat For Lashes mostrando en 'A forest' que 'tributo' es una hermosa palabra.
El resto, en fin, hay que estar muy puesto para soportar delirios como los perpetrados contra 'Let's go to bed' o 'Why can't i be you'. Y de la portada mejor no decir nada.
Perfect as Cats es una indigestión con 33 bandas rindiendo homenaje a The Cure. La sensación que me sacude es la de estar escuchando arremetidas con esquema de confrontación, pues la mayoría de las bandas aquí no parecen disfrutar de la versión original e intentan, con éxito, extirpar las líneas imaginativas, de seducción pop, post-punk o indy que transpiran.
Hay versiones que parecen la broma de una tarde espesa en el estudio, hay versiones que más que un tributo parecen una retribución por revancha, hay versiones que hunden clásicos atemporales en los cenagales de la tentativa bufona con aires industriales o en la astracanada sin gracia, manos hiperactivas de excursión a los campos digitales del reino del plugin.
A pesar de todo, hay cosas merecedoras de mención. Caroline Weeks acariciando la guitarra acústica en 'The drowning man'; los Devastations rehaciendo la atmósfera de 'All cats are grey'; The Muslims haciendo lo propio en 'Grinding halt' (no entiendo la manía que tienen todaos los grupos en ralentizar piezas como 'Jumping someone else's train', devolvedle el pulso, por favor); Marie Sioux mudando a acústico 'Lovesong'; Jesu apropiándose, con lógica aplastante de 'The funeral party'; Lewis and Clarke desnudando 'Disintegration'; y por último, Bat For Lashes mostrando en 'A forest' que 'tributo' es una hermosa palabra.
El resto, en fin, hay que estar muy puesto para soportar delirios como los perpetrados contra 'Let's go to bed' o 'Why can't i be you'. Y de la portada mejor no decir nada.
jean
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¿Pero lo recomiendas? o solo se pueden aprovechar unas pocas canciones?Este hilo es caca. En cuanto pueda me encargo de hacer un hilo adecuado a este grupo. Mientras paso a comentar este disco:
Perfect as Cats es una indigestión con 33 bandas rindiendo homenaje a The Cure. La sensación que me sacude es la de estar escuchando arremetidas con esquema de confrontación, pues la mayoría de las bandas aquí no parecen disfrutar de la versión original e intentan, con éxito, extirpar las líneas imaginativas, de seducción pop, post-punk o indy que transpiran.
Hay versiones que parecen la broma de una tarde espesa en el estudio, hay versiones que más que un tributo parecen una retribución por revancha, hay versiones que hunden clásicos atemporales en los cenagales de la tentativa bufona con aires industriales o en la astracanada sin gracia, manos hiperactivas de excursión a los campos digitales del reino del plugin.
A pesar de todo, hay cosas merecedoras de mención. Caroline Weeks acariciando la guitarra acústica en 'The drowning man'; los Devastations rehaciendo la atmósfera de 'All cats are grey'; The Muslims haciendo lo propio en 'Grinding halt' (no entiendo la manía que tienen todaos los grupos en ralentizar piezas como 'Jumping someone else's train', devolvedle el pulso, por favor); Marie Sioux mudando a acústico 'Lovesong'; Jesu apropiándose, con lógica aplastante de 'The funeral party'; Lewis and Clarke desnudando 'Disintegration'; y por último, Bat For Lashes mostrando en 'A forest' que 'tributo' es una hermosa palabra.
El resto, en fin, hay que estar muy puesto para soportar delirios como los perpetrados contra 'Let's go to bed' o 'Why can't i be you'. Y de la portada mejor no decir nada.
cuellopavo
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Coño macho, creo que dejé bien claro que solo me gustan 7 versiones de un total de 33, así que tú mismo puedes hacerte una idea. Como tributo, recomendaría más bien el
Just Like Heaven
.
Como todo disco comunero, tiene altos y bajos. A saber, rechinan un poco Kitty Karlyle punkarrando 'In between days', y 'Jumping someone else's train' es ralentizada con poca gracia por Luff; por lo demás, versiones animosas y agradables que dibujan una sonrisa en los labios: Joy Zipper en 'Just like heaven', The Brunettes condensando 'Lovesong', o Cassettes Won't Listen venerando 'Let's go to bed'.
Pero hay algunas versiones sorprendentes: Tanya Donelly & Dylan In The Movies acariciando 'Lovecats', las apropiaciones de bandas con la suficiente personalidad para hacer suyas 'Close to me' –Elk City-, 'The walk' -The Rosebuds, una de las selecciones lógicas-, y 'High' -unos Wedding Present a toda leche en plenas facultades-.
Y aún más, una hermosa interpretación de 'Catch' a cargo de los Devics y otros proyectos para indagar: una oscura Julie Peel con 'A night like this'; The Poems cambiando las coordenadas de '10:15 saturday night' y la reencarnación de Black Francis junto a Violet Clark bajo el nombre de Grand Duchy, acometiendo una de las menos previsibles, 'A strange day'.
Eso sí, el track list para en Wish, no hay ningún tema posterior a la última gran obra de The Cure. Como homenajeado tendría en qué pensar.
web: https://www.alr-music.com/
myspace: https://www.myspace.com/atributetothecure
ElGordoMazapanes
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Enormes, aunque mucha gente se me suele mosquear con éste tema dado que considerándome post-punkie new waver (
) de pura cepa no los considero los mejores ni de coña, no obstante marcaron un antes y un después, está claro, los aprecio, me encantan pero bajo mi punto de vista no son los mejores. (Y no es poco el material original que tengo de ellos)
Ya no es por trillar con Joy Division de nuevo así que omitiré comentarios acerca de la grandeza del Curtis, pero donde se ponga una Siouxsie Sioux que se quite el Roberto.
) de pura cepa no los considero los mejores ni de coña, no obstante marcaron un antes y un después, está claro, los aprecio, me encantan pero bajo mi punto de vista no son los mejores. (Y no es poco el material original que tengo de ellos)Ya no es por trillar con Joy Division de nuevo así que omitiré comentarios acerca de la grandeza del Curtis, pero donde se ponga una Siouxsie Sioux que se quite el Roberto.
Hola compañeros,
Comparto una web interesante sobre los maestros, es de lo mejor que he visitado.
The Cure : Impression of Sounds, a fan site
Comparto una web interesante sobre los maestros, es de lo mejor que he visitado.
The Cure : Impression of Sounds, a fan site
La canción de The Cure que me enganchó...
fue la de Why Can't I Be You?
Hay que recordar que el que diga que los conocía en los 70 u 80 debía vivir fuera de ESP, porque creo que el primer disco editado en nuestro país fue The Head on The Door y a raíz de ahí los reeditaron todos.
Si me tengo que quedar con una canción de cada disco, la lista sería:
1.- Three Imaginary Boys - Object
2.- Seventeen Seconds - Secrets
3.- Faith - Other Voices
4.- Pornography - A Short Term Effect
5.- The Top - Wailing Wall
6.- The Head on the Door - A Nigh Like This
7.- Kiss Me, Kiss Me, Kiss Me - Why Can't I Be You?
8.- Disintegration - Pictures of You
9.- Wish - A Letter To Elise
10.- Wild Mood Swings - Treasure (disco flojo en general)
11.- Bloodflowers - Out of This World
12.- The Cure - alt.end (disco flojo en general)
13.- 4 : 13 Dream - The Scream (disco flojo en general)
Mis 3 discos más escuchados, me paro en Wish, que a partir de ahí (salvo Bloodflowers caen demasiado):
Disintegration
Wish
Kiss me 3
fue la de Why Can't I Be You?
Hay que recordar que el que diga que los conocía en los 70 u 80 debía vivir fuera de ESP, porque creo que el primer disco editado en nuestro país fue The Head on The Door y a raíz de ahí los reeditaron todos.
Si me tengo que quedar con una canción de cada disco, la lista sería:
1.- Three Imaginary Boys - Object
2.- Seventeen Seconds - Secrets
3.- Faith - Other Voices
4.- Pornography - A Short Term Effect
5.- The Top - Wailing Wall
6.- The Head on the Door - A Nigh Like This
7.- Kiss Me, Kiss Me, Kiss Me - Why Can't I Be You?
8.- Disintegration - Pictures of You
9.- Wish - A Letter To Elise
10.- Wild Mood Swings - Treasure (disco flojo en general)
11.- Bloodflowers - Out of This World
12.- The Cure - alt.end (disco flojo en general)
13.- 4 : 13 Dream - The Scream (disco flojo en general)
Mis 3 discos más escuchados, me paro en Wish, que a partir de ahí (salvo Bloodflowers caen demasiado):
Disintegration
Wish
Kiss me 3
- Estado