The song that “totally liberated” The Cure
Debuting in the late 1970s, The Cure rapidly ascended to prominence as one of the most influential bands in music history, playing a pivotal role in the evolution of various genres, such as post-punk and gothic rock. Their inaugural album, Three Imaginary Boys, released in 1979, garnered critical acclaim, and The Cure swiftly secured a spot as the opening act for Siouxsie and the Banshees during their tour.
The beauty of The Cure is that they create music solely for their own satisfaction, and they consider any external creative or commercial considerations inconsequential during their studio sessions. They have consistently refrained from adjusting their sound to conform to contemporary musical trends, preferring to adhere to their unique artistic path rather than following the crowd.
This is precisely what led them to become the ultimate innovators and inventors of an entire genre — gothic and dark wave has become the most profoundly visceral musical sound to come out of post-punk, and The Cure spearheaded the movement along with other luminaries like Siouxsie and the Banshees, Bauhaus, The Mission, and Joy Division.
By the time Pornography came around in 1982, the band had instated their signature atmospheric and darker tones, presenting a tumultuous period. However, a dispute between lead vocalist Robert Smith and bassist Simon Gallup resulted in cancelled shows and missed rehearsals, pushing the group to the brink.
From this juncture, Smith himself was taken aback by the band’s ability to forge ahead into the 1980s. Following Gallup’s departure, Smith and drummer Lol Tolhurst hesitantly decided to move forward and began working on new material that eventually comprised their 1983 compilation album, Japanese Whispers. This album marked the band’s initial shift toward pop music, featuring catchy hits like ‘The Lovecats’ and ‘Let’s Go To Bed’.
The success of these singles provided the band with inspiration to remain united and further refine this approach, preserving their signature gothic undertones while expanding their musical reach with more infectious rhythms and lyric structures. “Suddenly, ‘Let’s Go To Bed’ was turning into a big hit, on the West Coast particularly, and we had a young, predominately female, teenage audience,” Smith told Rolling Stone in 2004. “It went from intense, menacing, psychotic goths to people with perfect white teeth. It was a very weird transition, but I enjoyed it. I thought it was really funny.”
Smith pinpoints the release of ‘The Lovecats’ as the moment that the band felt able to explore other soundscapes and build upon those that they’d already mastered. “We followed it up with ‘The Walk’ and ‘Love Cats’, and I just felt totally liberated,” he continued. “With ‘The Lovecats’, I suggested that we were going to do something that’s kind of like a Disney take on jazz, based around the Aristocats. And suddenly everything we did started to sell.”
