Search results
Results from the WOW.Com Content Network
In the United States, "Just Like Heaven" became the Cure's first top 40 hit when it reached number 40 on the Billboard Hot 100 for one week in December 1987. [10] Stephen Thomas Erlewine of AllMusic said "the stately 'Just Like Heaven' [...] is remarkable and helps make the album [Kiss Me, Kiss Me, Kiss Me] one of the group's very best". [11]
The Cure spent much of 1994 on hiatus, as Smith was involved in a legal dispute with former bandmate Tolhurst. [10] By the time they returned to the studio later in the year, Williams had left. [16] In spring 1995, the Cure commenced recording for their next album with new drummer Jason Cooper and returning keyboardist O'Donnell. [16]
On 6 September 1989, the Cure performed "Just Like Heaven" at the 1989 MTV Video Music Awards at the Universal Amphitheatre in Los Angeles. [70] In May 1990, O'Donnell quit and was replaced by Perry Bamonte , who played both keyboards and guitar and had been a member of the band's road crew since 1984. [ 71 ]
The Cure's original line-up consisted of guitarist/vocalist Robert Smith, drummer Laurence "Lol" Tolhurst and bassist Michael Dempsey. The band has continued through various line-ups; Smith is the group's only remaining original member.
[11] He told Smash Hits that, from about 1966 when he turned seven years old, his older brother Richard taught him "a few basic chords" on guitar. [12] Smith began taking classical guitar lessons from the age of nine with a student of guitarist John Williams, whom he called a "really excellent guitarist". He said, "I learned a lot, but got to ...
Reeves Gabrels (born June 4, 1956) is an American guitarist, songwriter and producer. Currently a member of The Cure since 2012, Gabrels is also known for his work with David Bowie and Tin Machine from 1988 to 1999.
"The Detroiters" finally hits streaming and a stop-motion anniversary short round out our picks for the weekend of Nov. 8.
The authors note: "Like the album's cover art, which is little more than an abstract blur, the bleak, minimalist sound of Seventeen Seconds-era Cure is subtly suggestive." Attention is drawn to the "beguiling bleakness, both in its brief instrumentals and the more pop-oriented tracks (such as the sharp, hook-laden 'Play for Today') that hark ...