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Pornography [Deluxe Edition] Box set

4.9 out of 5 stars 30 customer reviews

Price: £12.99 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
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Frequently Bought Together

  • Pornography [Deluxe Edition]
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  • Seventeen Seconds-Deluxe-
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  • The Head On The Door
Total price: £31.01
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Product details

  • Audio CD (2 May 2005)
  • Number of Discs: 2
  • Format: Box set
  • Label: Commercial Marketing
  • ASIN: B0007OC7BO
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (30 customer reviews)
  • Amazon Bestsellers Rank: 94,495 in Music (See Top 100 in Music)
  • Sample this album Artist (Sample)
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Disc 2
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Product Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the ‘80s, and ultimately one of modern rock’s most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure’s signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band’s early catalog-newly remastered and expanded with a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity.

Customer Reviews

4.9 out of 5 stars
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Top Customer Reviews

Format: Audio CD
Though the recent 'Trilogy'-DVD has it that 'Pornography' (1982) is part of a trilogy with 'Disintegration' (1989) & 'Bloodflowers' (2000), I'm more of the persuasion that 'Pornography' is the end of a trilogy of albums with 'Seventeen Seconds' (1980) & 'Faith' (1981); all of which have been reissued in this expanded-remastered two-disc form.
Following the departure of Michael Dempsey to Associates, Robert Smith with then drummer Laurence Tolhurst changed the Cure's poppier sound for something bleaker - bassist Simon Gallup and keyboard-player Matthieu Hartley with producer Mike Hedges formed part of this change. Hartley exited after 'Seventeen Seconds', leaving the three-piece Cure to make their bleakest record 'Faith'- easily one of the bleakest albums recorded (see 'Movement', 'Music for a New Society', & 'Berlin'). 'Pornography' was the end of the line, Smith rumoured to have composed most of it under the influence of LSD in his parents home. Smith became obssessed with the dark stuff- the cover nodding to what Marilyn Monroe might have looked like if her body had been left to decay on the bed on which she died (while the tour saw the band put lipstick under their eyes- so when they sweated it looked like blood was running from them!). Smith was enamoured with the drum-sound of The Psychedelic Furs (think 'Sister Europe'), while Mike Hedges exited to be replaced by co-producer Phil Thornally (who would later join The Cure, work on Duran's 'Seven & the Ragged Tiger' & compose 'Torn' the Natalia Imbruglia song!). 'Pornography' is an angry-record- a gothic-rage that feels as bloody as Smith's then disintegrating relationship with Gallup was (Gallup would exit afterwards- though would return for 1985's 'The Head on the Door').
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Format: Audio CD
For a long time I have been very curious about The Cure, but listening to there greatest hits I could never really tell what there actual sound was, some songs are fun (lovecats), some songs are dark (charlotte sometimes), so... rather than doing the conventional thing of buying the greatest hits, I decided to buy a random album, and I chose Pornography... on the first listen I was confused, because the album flows with a similar sound all the way through (pounding drums, more bass than actual guitar), One Hundred Years became my favourite cure song ever on the first listen, with the opening lyrics "It doesn't matter if we all die" and for some reason my favourite line ever "waiting for the deathblow".

It's only after about 15 listens when I realised how dark this album actually is, and how great the songs are, and this made me like it even more. I found "The Hanging Garden" a bit of an odd song to pick as a single, but after about 10 listens it becomes addictive, especially with the lyrics "cover my face as the animals die". I definitely think that they should have put "charlotte sometimes" on this album, not only because it's one of my favourite cure songs, but it was released a few before this album and remained albumless until recently (placed at the end of the 2nd disc of Faith).

This album obviously says something about Robert Smiths mentality at the time of this album, possibly suicidal.

I love this album so much, but I'm too scared to check out the rest of The Cures albums because I love this dark, brooding sound, and from what I've heard this is the last album which is in this style (apart from disintergration and the 3rd of the trilogy). Oh well, if every album was the same then they wouldn't be interesting.

I recommend this album to any one who has an open mind, and is willing to give this album a chance, by listening to it a few times, because the more you listen to it the more you like it, and the more meaning it gains.
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Format: Vinyl
This album is really unbelievable, for a start the lyrics are superb- Smith paints an amazing picture of futility, the drums are storming and original (particularly tracks like 'the figurehead' and 'one hundred years'), the bass lines and keyboard parts still send a chill down my spine on the warmest of nights, and the guitar is cutting with some great flange. If this album can't 'cure' you, then you're really in trouble
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Format: Audio CD
Bought this 'delux' edition after having the original on tape from the late eighties. Haven't listened to it for years even though it's always been my favourite Cure album (though 17 seconds & Faith vie for that position too). Had second thoughts walking back from the shop - will I still like it after all these years ?
Within 17 seconds of 100 years I knew I'd made the right choice. Great album.
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Format: Audio CD
As someone else once noted, the cover art of this record gives us a pretty good idea as to the darkness of the music lurking within. This is certainly the darkest Cure album that I've ever head, advancing on the already tortured sound of Faith and Seventeen Seconds, with Smith, Gallup and Tolhurst moving into a dark and claustrophobic place, where murder, suicide, fame, drug dependency and depression seem to be the only escape from the real horrors of the everyday world.
I'm not going to delve into the same amount of detail as some reviewers - discussing Smith's state of mind during the writing and recording process, etc - though it's clear from pretty much the first minute that this isn't the work of a band particularly captivated by the so-called joys of modern life. Some have drawn comparisons with Joy Division, though I feel that this album is much more troubling than either of their albums, and yet... you can still hear a few similarities, particularly in the heavy reliance on the drums and bass, whilst there's that same suffocating feeling of dread and death conjured up by the production, which does have a touch of the Martin Hannett about it. But Pornography has none of the elegance or, indeed, restraint, so prevalent in Joy Division's work, with Smith and Co. choosing instead to create a angular cacophony of noise, with layer upon layer of keyboards, drums, bass and electric guitar being merged into one thick sludge of musical noise that cannot easily be put into words.
The template for the album is established with the first song, One Hundred Years, which builds around a monotonous bass-line, a thrash of percussion and some eerie keyboard work, before Smith intones the very first line of the entire album ("it doesn't matter if we all die").
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