January 2004 - Rolling Stone (France) (Translation below)
Interview, JTD Review & JTD Advert
The Cure: In Between Days
The release of a 4CD box set,
'Join The Dots - B-sides and Rarities - 1978-2001 - The Fiction Years', a kind
of review by the band of the career of The Cure, gives us the opportunity to
look into the latter with Robert Smith, singer, main author-composer, soul and
person in charge of haircuts of the group. With a follow-up equally surprising
and long awaited.
Those who were present at the Paris press conference given by Mr. Robert about
two years ago, with the occasion of the release of the 'Greatest Hits' of The
Cure, remember very well certain pronouncements of his. There was talk that this
best-of would put a definitive end to the career of The Cure as a group and that
Robert would from then on work under his own label. Having met him before the
summer with the occasion of the release of the 'Trilogy' DVD, he had changed
tracks:
RS: "It's true that I did talk about it. But that was happening at a particular
time. The contract that tied us to Polydor in Europe had just finished after a
good twenty years. Which means, in fact, that between the ages of 20 and 40, my
life and The Cure had been completely inseparable. The end of the contract sort
of justified the best-of. In fact, we were certain that, with or without our
permission, the disc was going to come out, so I decided to do things the right
way, with some real promotion, interviews and even a small concert that we did
exclusively in France. Because even if I haven't talked more than three times in
ten years with the people at Polydor UK, The Cure has always had a privileged
relationship with the people from the French record company."
Complicated relationships with a long-term employer or not, The Cure will
definitely be everywhere this year.
Reality surpasses fiction
Indeed, after the box set - which wasn't yet expected at the time of the
interview -, there is on the horizon a full
remastering
of the group's fourteen albums. One of Robert's ideas?
RS: "No. It comes from them, even though we agreed on how it was basically going
to happen. The deal is that Fiction, Chris Parry's label, on which we had been
since our first single, 'Killing An Arab', in 1979 (n.ed.:
which, let's recall, had been initially released on the
indie
label Small Wonder, and whose B-side, '10:15' is the first track on 'Join The
Dots'), sold our back catalog to Universal (n.ed.:
owner of Polydor), and without telling me in advance. In fact, Chris sold his
label. We had worked together for twenty-five years, and I never felt the need
to codify things, to write them down on paper. He made money with The Cure, and
I think he wanted even more money, at my expense. I've always wanted to work
with independents because you can keep a lot more control over things. The
Cure's music was never used in commercials, and we've been on compilations only
rarely. There is a kind of integrity that, after some people, is important only
in my eyes. That's not true, I know that it is also important for the fans of
The Cure. But well... You have to learn to live with it. These days, record
companies are run by lawyers. And their goal is going to be making as much money
as they can with the back catalog of The Cure."
So until now, Robert has resisted, and this takes the form of this beautiful box
set which only contains B-sides - "even when I was young and I was buying a new
single, the first thing I did was to listen to the B-side", he told the press
recently -, and rare tracks, covering the entire career of the group, for a
total of seventy-one titles. As to the famous
remasters,
we'll have to wait a little longer, since they will be spread over the next
eighteen months.
Alone with Robinson?
On the other hand, we know more about Robert's desiderata, a future already
planned and rather radiant:
RS: "I signed a three-album contract with
IAM,
Ross Robinson's label (n.ed.:
producer of the first Korn and
Deftones records, as well as
Sepultura's
'Roots'), which is also independent. My 'solo' record, that I had worked on
without knowing if the group would still exist, is already in the box, but Ross,
who is one of the most enthusiastic and intense people I've ever met, prefers
putting on his resume an album of The Cure rather than a solo record by Robert
Smith! It was he who contacted me after having seen us play live a few times,
and he has very clear and precise ideas on how things should be done. Which
doesn't mean that we're going to make a heavy metal record! (laughs) But it
should be really interesting."
-- Manuel Rabasse
Translated by Aria Thelmann @
Music For Dreams
---
Robert Smith goes
searching for things past, taking unbeaten paths that forget the hits. A box set
for rarities collectors.
The Cure: Join The Dots: B-sides and Rarities, 1979/2001 - The Fiction Years
(3 stars 1/2)
Separated from his historical label, Robert Smith balances out his books with
Fiction Records by supervising the upcoming
remastering
of his back catalog with multiple bonuses. While waiting, he is placating the
fans with a little box of rarities, four CDs and 71 tracks, a big booklet that
goes well with it and tutti
quanti,
and which puts together - in theory - the complete B-sides, 45rpm's and maxi
singles of The Cure. Add to that a good number of titles previously released
only on compilations, soundtracks, flexi discs, and a reasonable number of
previously unheard tracks. 'Join The Dots' confirms that the musical spectrum
covered by The Cure is relatively large within the bounds defined by
unchangeable parameters: Robert's plaintive voice, a certain melancholy, and an
incomparable sense of melody and pop hooks.
Having said that, one could argue that if 'Join The Dots' covers twenty-three
years of activity, the group had practically said all during the first seven -
from the first single, "Killing An Arab" in 1979, to the album 'The Head On The
Door' in 1985, a period entirely covered by the first CD. One could also say
that, the maxi 45rpm format having helped, a number of the tracks are too long.
But we discover here some singularly interesting things. To pick a few at
random, "A Foolish Arrangement", B-side of "A Letter to Elise", or "Doing the
Unstuck", a remix from 'Wish'. Obviously an indispensable item for fans, and a
very pleasant walk through the
universe of a group just as
remarkable as it is often too quickly relegated to the 80s shelf of music
history.
-- Manuel Rabasse
Translated by Aria
Thelmann @ Music For Dreams
(thanks Angie & Fred for getting me this magazine)