Readers of Spirit of Cecilia, we have a special treat for you: not a dialogue, but a full-fledged, three-way symposium! The topic: Is the Cure a prog band or not? Join Editor-in-Chief Brad Birzer, Tad Wert, and the brilliant Kevin McCormick to learn what they concluded.
Brad: Tad and Kevin, I’m in the mood to talk about The Cure! Granted, in the middle of the COVID crisis, “The Cure” could mean a lot of things, not all of them pleasant. But, I mean specifically the English rock band, led by everyone’s favorite mischievous trickster, Robert Smith. That guy with huge teased hair, smeared lipstick, and boot-like tennis shoes.
Though identified and remembered mostly as a Goth and a post-punk New Wave group, The Cure always employed progressive rock elements rather effectively in many of their songs and, sometimes, throughout the entirety of some of their albums. Some of this prog influence, of course, came from the band’s love of minimalism, drone/wall of sound, and Eric Satie.
Admittedly, because of my prog obsession, I want The Cure to be proggish! So, I might be reaching here. But, it’s really hard for me to listen to album such as their 1989 masterpiece, Disintegration, and not think prog.
If pushed, I would happily rank that album in my top 10 albums of all time, sitting near Spirit of Eden, Laughing Stock, Moving Pictures, Songs from the Big Chair, Skylarking, Selling England By the Pound, and Close To the Edge. Every song on Disintegration fits perfectly with every other song on the album, and it makes for a wildly effective album in its consistency, art, and beauty.
In hindsight, Smith has claimed Disintegration to be the middle of a trilogy, beginning with 1982’s Pornography and ending with 2000’s Bloodflowers. If a trilogy isn’t proggy, nothing is!
Of course, much of The Cure is really clever pop as well. In fact, despite having a distinctive sound, The Cure are about as diverse–when it comes to style–as any band over the past fifty years.
Tad: Okay, Brad, I’ll tentatively accept your assertion that The Cure are prog, even though it never occurred to me until you and I made each other’s acquaintance! Even though I was a huge British music fan in the ‘80s, I was a little late to the Cure party. I think it was because my first exposure to them was hearing “The Lovecats” on the radio and I took an immediate dislike to that song (I still think it is too cute for its own good). However, while working in a record store in 1985, a coworker was a Cure nut and he played The Head On The Door instore repeatedly. I liked that album, and they earned my grudging respect.
That said, THOTD was the only Cure album in my collection for many years until I heard “Why Can’t I Be You?” on the radio, and I realized there was a gaping hole in my musical knowledge. So I embarked on an exploration of Cure music via some shady file-sharing software (this was in the ‘00s, before streaming!) and discovered how terrific Seventeen Seconds, Faith, Disintegration, and Wish were.
When most people think “prog”, they think of extraordinary technical proficiency on musical instruments, shifting and odd time signatures, long song lengths, and lyrics that deal with deep subjects. While The Cure fail to check the boxes on the first three criteria, they often hit the jackpot on the fourth. And I would argue even their early work – Seventeen Seconds and Faith – have a proggy sensibility to them. Both of those albums (particularly the latter) set up and carefully maintain a consistent atmosphere throughout their entire length. They aren’t mere collections of unrelated songs, but song suites whose impact is far greater than the sum of their parts. As far as later works, I think “From The Edge Of The Deep Green Sea” off of Wish is about as proggy as you can get. I’m holding off on sharing my thoughts on Disintegration until we hear from Mr. McCormick!
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Continue reading A Symposium on The Cure: Prog or Something Else?
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