Shop now Shop now Shop now See more Shop all Amazon Fashion Cloud Drive Photos Shop now Learn More Shop now Shop now Shop Fire Shop now Shop now

Customer Reviews

4.5 out of 5 stars
215
4.5 out of 5 stars
Format: MP3 Download|Change
Price:£8.99
Your rating(Clear)Rate this item


There was a problem filtering reviews right now. Please try again later.

on 21 July 2007
While some of The Cure faithful may feel aggrieved by the absence - 'A Forest' notwithstanding - of tracks from their gloomiest period (Faith, Seventeen Seconds, Pornography), the more casual listener will find much to enjoy here. Having had a big Cure phase in my teens, I might quibble that the Boys Don't Cry/Three Imaginary Boys era is under-represented. 'Jumping Someone Else's Train' and 'Killing An Arab', for instance, would have been preferable to some of the relatively non-descript material post-'Friday I'm In Love'. It seems odd also given how fashionable angular post-punk has been in the 00s to skimp on this early period, but ultimately you can't fault this as an introduction to the band.

What is great about this colllection is that The Cure had a habit of reinventing themselves and releasing their most resonant and accessible material as singles. This is not to say that they were a singles band - far from it, your next purchase ought to be 'Disintegration' if you don't own it already - but that this captures the band at their most varied, eccentric best. Whereas some Best-Ofs can seem fairly by-the-numbers, soulless experiences, 'Greatest Hits' is a joy for its vivid eclecticism.

Despite their reputation (not always unfounded) for bleak introspection, 'Greatest Hits' reveals Robert Smith to be one of the best pop songwriters of his generation. 'In Between Days', 'Close To Me', 'Just Like Heaven' are pop perfection, while 'A Forest' and 'Lullaby' harnesses the band's predilection for acid-spiked paranoia in a universably accessible form. Meanwhile the deranged, off-kilter pop of 'The Lovecats' and 'The Caterpillar' straddles the unlikely territory somewhere between these two poles: too saccharine to be goth, too bonkers by most pop tastes. Then you have the raw energy of 'Boy's Don't Cry' and the comparatively lush and expansive pop sensibility of 'Lovesong' and 'Pictures of You'. Thankfully, the collection is also chronological, so you get (almost) the whole Cure story - and a fantastic journey it is.
11 comment| 38 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 24 October 2004
Every rock fan will be able to pick this album up and find at least a couple of songs that appeal to them. Ever a versatile band, Robert Smith's voice and the underlying bass guitar riffs are the only real constants throughout this greatest hits package. 'Never Enough' is pure guitar stomp, 'Lovecats' the grooviest of white jazz, and 'Love Song' the most poignant example of Smith's lyric-writing.
What more can I say that hasn't already been said in previous reviews? Even for established Cure fans, this is a very handy condensed package which I would genuinely recommend to anyone around.
0Comment| 13 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 14 July 2016
What is great about this colllection is that The Cure had a habit of reinventing themselves and releasing their most resonant and accessible material as singles. This is not to say that they were a singles band - far from it, your next purchase ought to be 'Disintegration' if you don't own it already - but that this captures the band at their most varied, eccentric best. Whereas some Best-Ofs can seem fairly by-the-numbers, soulless experiences, 'Greatest Hits' is a joy for its vivid eclecticism.

Despite their sometimes dark reputation, 'Greatest Hits' reveals Robert Smith to be one of the best pop songwriters of his generation. 'In Between Days', 'Close To Me', 'Just Like Heaven' are pop perfection, while 'A Forest' and 'Lullaby' harnesses the band's predilection for acid-spiked paranoia in a universably accessible form. Meanwhile the deranged, off-kilter pop of 'The Lovecats' and 'The Caterpillar' straddles the unlikely territory somewhere between these two poles: too saccharine to be goth, too bonkers by most pop tastes. Then you have the raw energy of 'Boy's Don't Cry' and the comparatively lush and expansive pop sensibility of 'Lovesong' and 'Pictures of You'. Thankfully, the collection is also chronological, so you get (almost) the whole Cure story.
Once you have been through this do yourself a favour and go through the albums.
0Comment|Was this review helpful to you?YesNoReport abuse
on 27 October 2013
It's funny how musical tastes change over the years. When I was at school, The Cure seemed to be a little left-of-field, and their fans had a demeanour that wasn't me. Looking back, I was into other things at the time which excluded me from fitting in with them. But not necessarily fitting in is what The Cure were about I have subsequently learnt.

"Boys Don't Cry, A Forest, The Lovecats, The Caterpillar, Inbetween Days, Close To Me, Why Can't I Be You?, Lullaby, Pictures of You" and "Friday I'm In Love", are exceptionally beautiful songs, and some still evoke the thoughts and feelings that I had as a teenager.

Belatedly, some 30 odd years later, I feel that I am only now entering the 'left-
of-field' world that I mentioned earlier - just wish I had been part of it in the 80's. Where did all that time go? Anyway, enough of reminiscing about the long and distant past...
11 comment| 12 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 13 November 2001
This compilation offers excellent coverage of the Cure's 23 year career and illustrates that although there are only a few genuine 'hits', there has been ample enduring quality in the bands history to make this a worthwhile venture. The standout tracks are easily apparent, ranging from the quirky alt-pop brilliance of 'Close To Me' to their biggest hit, the anthemic 'Friday I'm In Love' which sounds just as good today as it ever did. Aside from the true 'hits' we can still find real gems in the shape of the melancholic yet heartfelt lo-fi confessions of 'Love Song' and 'Pictures of You' as well as the relatively more upbeat 'Never Enough' (including Robert Smith's trademark squealing). Overall the LP strikes a good balance between the more accessible, yet utterly brilliant pop songs ('High', 'Friday I'm in Love') and the more angst driven tracks off of the less commercial LP's. This is an ideal compilation for new fans of the band and devotees alike, though those who have followed the band for a while may feel these 'Greatest Hits' represent the glossier side of an often darker overall sound.
0Comment| 21 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 1 July 2002
As with the majority of bands, if you are new to them and they've got a greatest hits album that's usually the best place to start, and with the myriad of styles displayed here this is certainly true of The Cure.
The album kicks off with The Buzzcocks-esque Boy's Don't Cry (1979), a song which seems to be gaining in popularity again due to being continually namechecked by bands such as The Strokes and The Hives. A Forest (1980) comes next and is arguably the song that created the goth movement, although The Cure would not thank you for saying so. It has easily the most memorable bassline of any song ever, one which has been stolen by quite a few bands such as Fields Of The Nephilim, and is an appropriately spooky tale of being "lost in a forest all alone...".
That A Forest should be quite a scary affair makes the following song, Let's Go To Bed (1982) all the more peverse. Basically think Master And Servant by Depeche Mode, think Mad World by Tears For Fears (sped up a bit) and you have Let's Go To Bed. It's pure pop for the next 6 songs, through The Lovecats (1983) a fantastic jazz singalong which REALLY should be picked up by Disney someday if they ever make another Aristocats-type movie, The Caterpillar (1984) which is a Marc Bolan-esque accoustic ditty without the cheesy glam edge, Inbetween Days (1985) which is 100% pure New Order (not them again!!!) although for a couple of years it was hard to tell who was ripping off who, Close To Me (1985) which to me is a bit of a pop parody of a sped-up Green Onions (Booker T and the MG's) !!!! which features Robert's craziest singing yet, Why Can't I Be You (1987) is another mad slice of pop with crazy trumpets and funky guitars and they even stole the drumbeat from "I'm Walking On Sunshine" (or whatever it's called), Just Like Heaven (1987) is another return to the New Order sound (not them again!!!!) although this time it was actually The Cure who were ripped off when the guitar riff from this track was used on a 1989 New Order song.
Lullaby (1990) is a return to the early goth sound with it's plain spooky orchestral sounding keyboards and lyrics about being eaten by a giant spider ! Lovesong (1990) is driven by a catchy organ riff and a complicated bassline (Lovesong shot to number 2 in the US singles chart, kept off number 1 only by Janet Jackson which was quite an acheivement considering her popularity at the time, and it won an award for being the most played song on US radio in 1990), Pictures Of You (1990) is an edited version of the album track and brings a bit of extra energy and urgency to the song although it's at the expense of the much longer album versions emotion. It still gives you a good idea of the bands ability to sound quite poppy and breezy even when tackling serious subject matter and the three singles of Lullaby, Lovesong and Pictures Of You should be enough to convince you to immediately purchase Disintegration, the album they are taken from (and described by one of the South Park characters as "the greatest album ever made" !!!).
Never Enough (1990) was at the time of it's release the heaviest track the band had released. It's got a very similar feel to Jimi Hendrix's Purple Haze, the whole song is loose and funky with some well cool wah-wah guitars.
High (1992) took the band back to the jangly pop of the Kiss Me Kiss Me Kiss Me album and was neatly followed up by Friday I'm In Love (1992) a Beatles-esque piece of great songcraft which became their highest charting single (to date at the time of writing this). Mint Car (1996) does not follow on very well after Friday I'm In Love as it is essentially the same song with different lyrics and not quite as good ! If you have never heard Friday then you'd probably like this song a lot, but it really should have been left off as Friday serves it's own purpose quite well enough, plus Mint Car wasn't a "hit" anyway......
Keeping up that theme, after Friday I'm In Love there aren't anymore "hits" on this album.
Wrong Number (1997) was a stab at what Americans like to call "electronica", which features some quite tough guitar by special guest Reeves Gabrels (ex-David Bowie band). Unfortunately it has been subsequently revealed (in the sleeve notes) that Robert Smith (vocals) and Jason Cooper (drums) are the only Cure members to play on this song. It was okay on it's release but it already sounds really dated. It's alright as a bit of a different style on here but it's easily one of The Cure's weakest songs. My advice to them would be to erase all of the drum machines and sequenced bass on this song and play some real instruments on it, then we'd be in business.
The last 2 songs Cut Here (2001) and Just Say Yes (never released - which again means it doesn't qualify as a "hit"....) are another attempt at returning to their classic pop days and while Cut Here is very good, both are a bit worn and Just Say Yes sounds like a Black Grape tribute band !!!
Anyway, start your Cure collection here !!!!!
0Comment| 20 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 11 June 2015
You forget how many hits they had from the 80's when (like me) you actually lived through the time as a teenager-20-something. Great collection, not everything is a hit, but it's all good stuff. If like me you only remember the hits and are not completely into the band it's without doubt the best collection at the moment and worth the price if only for the biggest hits that are on here.
11 comment|Was this review helpful to you?YesNoReport abuse
Excellent best of compilation from The Cure. Covering the greater part of their career, and showing just what they were capable of from the breezy catchiness of Lovecats through the full gamut of experimentalism and pop through to the moody A Forest. A great place for beginners (such as myself) to start with their music, though it has left me wanting more fo their actual album releases. To be honest, at this price it's worth getting just for the classic that is Lovecats.

Mastering and production are good, with a decent sound and good liner notes. An excellent release, 5 stars.
11 comment| 5 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 30 March 2015
I bought this simply because it had the track "Friday I'm In Love" on it which is brilliant but there are many more excellent tracks and if you get it used for a decent price it is well worth adding to your collection
0Comment|Was this review helpful to you?YesNoReport abuse
The Cure: Greatest Hits. One of the least appreciated bands by mainstream, The Cure’s curious brand of perky/moribund pop wasn’t blissful enough to match the pop-by-numbers of Madonna or Bananarama, and not lyrically complex enough to enthuse fans of The Smiths. The Cure were a band that plowed their own furrow; unfortunately, this furrow found the wrong field and they were restricted to limited commercial success. Even flooding of the market with record after record (an astonishing eleven albums in ten years) failed to attract mass appeal, despite a succession of timeless pop singles. The Cure were so out of touch with the concurrent market that, during the acid house revolution of 1989, they were busy creating an concept album of near-prog soporific tunes of hopeless romanticism and doom. Such a ‘band out of time’ label has benefited The Cure greatly, as they have resurfaced as a cult act, especially in the U.S., where they were largely ignored first time around.
As you would expect with such a large output, The Cure’s gems were thinly spread, and thus The Greatest Hitsis a wise starting point for prospective fans. The collection begins with the title track from their 1979 debut, ‘Boys Don’t Cry’. The Cure began as a new wave band in the midst of Blondie and The Police, yet marked their quirky style in this record with a wistful tale of gender repression and separation. Their more purely pop tendencies can be seen elsewhere in ‘The Lovecats’ and later in ‘High’ and ‘Friday I’m In Love’ (both from 1992’s ultra-commercial Wish), but The Cure’s enduring beauty lies surely in their less accessible tracks, such as the chirpy yet despressive ‘Inbetween Days’ and the comic pastiche ‘Let’s Go To Bed’.
Lead singer Robert Smith has one of the most distinctive voices in music history: alternatively breathless and forthright, Smith’s wistful delivery strikes a yearning, aching bone. This is most clearly seen in the trio of singles taken from 1989’s Disintegration, a collection that South Park’s characters have termed the ‘best album ever’(!) In spite of this dubious recommendation, ‘Lovesong’ (the most played song on US radio in 1989) and ‘Pictures of You’ represent the pinnacle of Smith’s emotive outpourings. The deceptively-titled ‘Lullaby’, also from Disintegration, is a doom-laden tale of fear and impending demise, for ‘Spiderman is having me for dinner tonight.’ All semblance of comedy is lost in Smith’s melancholy whispers, gently laid against a wall of haunting strings and keyboard. Greatest Hits’ selections post-‘Friday I’m In Love’ leave much to be desired: the band’s appeal seems to disappear amongst slicker, modern production of ‘Wrong Number’ and ‘Just Say Yes’. From track one to fifteen, however, is timeless pop eclecticism at its highest, from the disturbing goth-initiating ‘A Forest’ to the gawky jazzy ‘Why Can’t I Be You?’ to the rockier impulses of ‘Never Enough’. One of the most intriguing bands of the last two decades, The Cure deserve their belated cult success. (8)
0Comment| 7 people found this helpful. Was this review helpful to you?YesNoReport abuse

Sponsored Links

  (What is this?)