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4.6 out of 5 stars
4.6 out of 5 stars

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on 2 March 2017
I bought this after losing my original many years ago. I have to admit I was concerned that the passage of so many years and rose coloured tinted memories, that the tracks would not hold the same captivation as previously. I was wrong..... this album is better the second time round! Each track is well crafted and easily could be viewed as stand alone singles (as in "Staring At The Sea"), but the depth a variety of the styles piques and recedes, and provides an all-round spine tingling, hair standing, eye-liner rubbing experience. To (what feels like) an old Goth - this was a very welcome excursion back to my formative years!
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on 22 May 2017
Brilliant gift for my grandmother who is a massive fan of the cure! Excellent condition too!
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on 2 July 2002
This album caused quite a stir within the music media when it was released (1987). Just two years earlier The Cure had finally broken through as a major commercial act, following six years of trying their best not to, and the prospect of a double album (as was the form it's original vinyl release took) from these unexpected megastars got more than a few people quite excited.
All their expectations were fulfilled, the album containing 4 bona fide hit singles and 13 other classics, many of which could have been suitable choices for singles.
The album kicks off with The Kiss, a heavy wah-wah driven track - the full 6:17 of wild guitar (with few repeating phrases) being performed in one take by vocalist Robert Smith rather than guitarist Porl Thompson, which surprised many given Porl's reputation as the "solo" guitarist out of what was a 2-guitar line up (Smith and Thompson). After this, we move into Catch, a mediterranean style piece of pop which is acknowledged by most Cure fans as being one of their greatest singles.
The opening two tracks set the pace for the rest of the album really. The 17 songs pretty much go from rock/sort-of psychedelic to pop back to rock/sort-of psychedelic back to pop, and so on throughout the album.
This is a concept that the band employed years later for Wild Mood Swings (1996), however on that particular album it doesn't really work simply because most of the songs just aren't strong enough to carry it off.
On Kiss Me Kiss Me Kiss Me it works brilliantly though.
Like I said, most of the songs could have been singles, and of the songs that couldn't (i.e. the rockier or sort-of psychedelic stuff) are all absolute classics as well, so there aren't any problems with mixing and matching styles. I think the main reason it works so well is because it was unexpected that they would do this, whereas with Wild Mood Swings they made quite a contrite effort to actively do the same thing, even suggesting in interviews that this was their goal.
A quick run through of the songs reveals rocky stuff such as The Kiss, Torture, All I Want, Shiver And Shake and Fight (heavily inspired by Led Zeppelin's Kashmir - blame Porl Thompson who went on to play with Page and Plant !!), the pure guitar pop of Catch, Why Can't I Be You, How Beautiful You Are, Just Like Heaven, Hot Hot Hot, The Perfect Girl, and psychedelic trancey stuff like One More Time, A Thousand Hours, The Snakepit, and the middle-eastern flavoured If Only Tonight We Could Sleep (very Kula Shaker - except about 10 years before they did it!!)
This is the album where Smith's lyrics really started to become extremely sharp and polished, and his lyrics have been some of the best in the world from this point onwards (although he sings way too much about relationships for my tastes - his subject matter is ocassionally a bit limited). His voice really started to take on a maturity in that his singing here is the best it had ever been up to this point, although he still manages to put on the weirdest interpretation of a soul singer on Hot Hot Hot (don't worry, it actually works - it's not as bad as it sounds, in fact it's quite good !)
This is an absolute classic album and at 17 songs in length (72 minutes running time) is a great value purchase that any self-respecting guitar music fan (of the indie/alternative variety of course) must have in his or her collection.
I cannot recommend this album any higher.
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on 15 August 2006
By 1987 The Cure were in their stride, combining mainstream success with critic success, thanks mainly to the 36 minute "Head on The Door" album.

"Kiss Me (x3)", an 18 song extravaganza (well over an hour in length) is an amazing collection of dark and dour, but with those killer Cure hooks.

The singles were firm and bubbly ("Just Like Heaven" may just be the greatest Cure single of all time), but digging futher tracks like "Torture" and "One More Time" are just so excellent it makes the hairs on your body stand up.

The second disc is full of the compulsory demos and "live bootleg" tracks cuz most of the other material has found it's way out on various boxsets over the years. It's still amazing to hear the germination of the final product though.

This album is highly recommended!
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#1 HALL OF FAMEon 5 August 2006
1985's 'The Head on the Door' & the following year's 'Standing on a Beach/Staring at the Sea'-compilation began to put The Cure on the path to stadium appeal. The Smith-Tolhurst-Gallup-Thompson-Williams line-up one of the key versions of The Cure (even if Tolhurst was a poor keyboard player!) featuring four prinicpal members who would be in the band up to the best-selling 'Wish' in 1992 (following which Thompson & Williams would bow out - the former has since rejoined, which is as well as he's the best guitarist the band ever had!). Following a headlining slot at Glastonbury and the 'Cure in Orange' concert, the band relocated to the South of France to record this double album. I'm sure Smith was picturing it as The Cure's 'Electric Ladyland' or 'White Album', while Thompson nodded to 'Physical Graffiti.' Essentially 'Kiss Me Kiss Me Kiss Me', released in Spring 1987, was an expanded take on the eclectic directions of 'The Head on the Door', an album that seemed to sum up the different ways Smith went...

As with many double albums, it suffers by having some so-so material - though fans of box-set 'Join the Dots' will note some fine songs were banished to b-sides, e.g. 'Chain of Flowers', 'A Japanese Dream.' The album would be a lot sharper without 'Icing Sugar', the 'Night Like This'-retread 'All I Want', the obvious b-side 'Hey You!!!' (which wasn't on the prior cd version), or the irritating initial single 'Why Can't I Be You???' Smith had become more democratic with the songwriting, letting other members contribute whereas Cure albums from 'Seventeen Seconds' on had been very much his vision. Then again, hard to gripe when the results of this collaboration fuelled by masses of wine created such joys as the psychedelic wonder 'If Only Tonight We Could Sleep', the otherworldly 'Like Cockatoos' (a return to the territory of 'The Top'), or the single that should have been, 'How Beautiful You Are' - a song up there with such rococo Prince-joys as 'Raspberry Beret' & 'Starfish & Coffee' (1987 to me was one centred around double albums, 'Kiss Me...' and Prince's 'Sign'O'the Times', as well as the 'Substance 1987' compilation by New Order - perhaps this accounts for my eclectic taste?). Three of the four singles here were fantastic, 'Catch' as perfect a popsong as can be, 'Hot Hot Hot!!!' a blend of Chic & Talking Heads, & 'Just Like Heaven' a sequel to 'In Between Days' that nods to Rilkean angels and would be covered by Dinosaur Jr. and Katie Melua (...fortunately not at the same time!!!).

There are a few songs that suffer by having synths of the time, notably 'Fight' and 'Torture', which make you think of such average records from 1987 such as 'Midnight to Midnight' & 'Outland.' Smith & co still managed to emit classic dream pop songs, as well as the sublime 'Catch' there is the lovely 'The Perfect Girl', while the dreamy wonder of 'Disintegration' would be predicted by 'One More Time' and 'A Thousand Hours.' To cover all bases, Smith & co nod back to the darker, earlier work of The Cure - songs like 'The Kiss', the spiteful Tolhurst-gripe 'Shiver & Shake' and the epic dirge 'The Snakepit' could have been on 1982's bleak bilefest 'Pornography.'

This album signified The Cure meant business, several peers' recent releases (The Banshees' 'Tinderbox', The Furs' 'Midnight to Midnight', The Bunnymen's eponymous letdown, New Order's 'Brotherhood', The Mary Chain's 'Darklands', PIL's 'Happy?' & The Damned's 'Anything') paled against this, only The Smiths, who would shortly split up, seemed able to keep up. To be fair, New Order returned a year or so later with the best album of their career 'Technique', but not many could hold their own with this globally conquering version of The Cure. Next stop, 1989's bleak masterpiece 'Disintegration'!!!
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on 6 March 2017
It's an album, if you like the Cure you should already own this.
If you don't, what can I say to convince you? Try growing your fringe and staring at your feet awkwardly around girls while swaying about on the feet.
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on 12 August 2016
Classic must have
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on 16 March 2017
super vinyl
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on 9 November 2000
This cure album is probably the best, at showing that the cure can write songs that range from the warmth and happiness of "just like heaven, to the darkness and despair of "All I Want". This proves that the Cure, unlike what most square headed "goths" think of them, offer a large pallete of sounds and feelings.
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on 22 February 2005
It can be hard to tell what the main theme is to this album. Love or death. On a lighter note, Robert Smith provides us with some superb, pop rock songs like "Just Like Heaven" and provides us with catchy dance beats to songs like "Hot Hot Hot!!!" displaying muscial genius along the way. On a darker side, Smith portrays the darker side of love with epic and truelly gothic tracks like "the kiss" and "the snakepit". The album plays out like a balanced argument displaying the joy and happiness of love and the pain and torture of rejection when i can not be found. This album is fantastic to buy because it suits two main moods; happiness and depresion. The only downside to the album is perhaps the quality of Robert Smith's vocals on certain songs where he is clearly lacking the quality heard in 1985's "The Head On The Door". Nevertheless, this album is perfect for anyone into pop/alternative rock or someone who wants to see what The Cure have to offer.
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