1981
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- “Just Like Heaven” (Kiss Me, Kiss Me, Kiss Me, 1987) Despite Robert Smith being the only consistent member over the band’s 40 years, The Cure were always at their best when at their most musically democratic, with every member performing as if they were the lead instrument.
- “Disintegration” (Disintegration, 1989) The action-packed climax and title cut to The Cure’s best album, “Disintegration” begins with the sound of breaking glass and only shatters further and further the longer it goes.
- “In Between Days” (The Head on the Door, 1985) A drum intro that sounds like The Cure falling out of bed, and “In Between Days” is off to the races, the band’s glorious first stab at truly buoyant pop music.
- “Boys Don’t Cry” (Non-album single, 1979) Perhaps the most surprising-in-retrospect part of The Cure’s Billboard chart history is that “Boys Don’t Cry” never even charted on the Hot 100 — and only even hit the U.K.
Feb 25, 2024 · Paste's music editors pick the best tracks by the West Sussex goth heroes, from their debut single to their 2008 album. See the list of the Cure's 40 greatest songs, ranked by quality and impact.
- A Forest. (Fiction single, 1980) A ghost story from the brothers grim – one to envelope them all. “It’s always the same” is such an archetypal Cure sentiment that before it appeared in A Forest it featured in 10:15 Saturday Night.
- In Between Days. (The Head On The Door, 1985) Caterpillar become butterfly. In Between Days was The Cure’s fourth consecutive Top 20 hit in the UK, but if its predecessor, The Caterpillar, felt like hothouse exotics, all cats, bugs and eccentric embellishments, In Between Days felt less fretful about subverting the hit-writing process.
- Boys Don’t Cry. (Fiction single, 1979) Stiff-upper-lip England debunked. Featured on the demo that secured The Cure’s deal with Fiction, and later resonant enough to command its own episode of BBC Radio 4’s Soul Music, Boys Don’t Cry loosed the emotional repression of late ‘70s Crawley, and helped lads everywhere feel feelings.
- Just Like Heaven. (from Kiss Me, Kiss Me, Kiss Me, 1987) So good that Dinosaur Jr got out of bed to cover it. Enough happens in the instrumental prelude to affirm Just Like Heaven’s greatness: the auspicious Gallup-Williams rhythm intro, yearning synth and giddy descendant lead guitar create an entire plotline in 49 seconds, whereupon Robert Smith’s vocal simply rides the euphoric wave to an eternal blue horizon: “Why are you so far away?”
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