The Cure's "Just Like Heaven"

♪ The woman makes me scream she's there ♪ ♪ The woman makes me laugh she's sing ♪ ♪ So I'm the moment ♪ ♪ Is your heart in your country ♪ ♪ Yes, in your know you didn't know ♪

♪ I was in my opinion ♪

“♪ You didn't believe in the life of the night ♪”

♪ Even life of the true love ♪ ♪ 'Cause I'm like a bird ♪ ♪ Not only fly away ♪ ♪ I don't know where my soul is ♪ ♪ I don't know where my home is ♪

♪ Somebody once told me the world is gonna roll me ♪ ♪ I ain't this sharpest tool in the show ♪ ♪ You must not know about me ♪ ♪ You must not know about me ♪

♪ I can never know of you in a minute ♪

♪ Man I think you'll be here in a minute ♪ ♪ Check it out ♪ ♪ I know who I want to take me home ♪ ♪ I know who I want to take me just like heaven ♪ (laughing) - So luxury today, we're talking about a song

from one of the biggest and most prolific bands ever. They've been around for 50 years, and they've influenced everyone from Olivia Rodrigo to Interpol to the smashing pumpkin. - That's right, Diallo.

It's a day song. It's the one that broke them into the American mainstream. It's pure euphoria, chiming guitar is driving drums, a built so satisfying you almost don't realize how meticulously it is constructed.

- And hot tank, we're going to ask the question, is this band, the seminal goth band, or not a goth band at all? We're talking one song and that song is just like heaven by the cure.

(upbeat rock music) ♪ Show me show me how you do that ♪ (upbeat rock music) - Hey, one song listeners.

“If you love our show, you should check out”

Trapital, the podcast where technology meets culture. - Each episode, Trapital hosts and founder Dan Rensee digs into the strategy behind the media and technology that drives our attention. You'll hear Trapital explore topics like

YouTube's growing influence in music and entertainment.

The never ending saga about TikTok's future

and how AI is shaping the future. Media is one of the first industries to get disrupted by the tech. It's Trapital's job to keep you ahead of the latest trends. You can listen to Trapital wherever you get your podcast.

That's Trapital TRAP-ITAL. - Father Schmidt, what do you see the most in the world in the world? - I want something real to do. Where I'm going to get my father-in-hanger

and when I'm going to get my mother-in-hanger. - Okay. - So what? And all the things that I want to work on, and I want others to love what I do for you.

- I want to stay in love with you. Of course I want to. But no, no, no, no. - No, I just want to be honest with you. - So that's not what I'm going to do.

- Good to see you in the handwork. We're going to do a career with you. That's the handwork. - So good. - It's a good song, isn't it?

That's not how we talk to it all. - Hey, it's me, Robert Schmidt, from the Q. Hey, what a guy, my name. - Glory me. - I'm actor, writer, director, and sometimes Goff,

the all-erid. - And I produce a DJ songwriter, music,

all of this, and always got luxury.

Okay, the guy who whispers interpolation. - And this is one song. - The show where we break down the stems and stories behind iconic songs, the cross genres, and tell you why they deserve one more listen.

- You will hear these songs like you've never heard them before, and you can watch one song on YouTube while you're there, please like and subscribe. So today we're talking about the cure. And I gotta say what I love about this band

is they're not afraid to evolve and keep making music. They just picked up their first ever Grammy's best, alternative music album, and best alternative music performance for the song alone. Let's hear a little snippet of a note.

(upbeat music) - I mean, that song's gonna go on after a fascination street. They have not missed a beat. - They have a sound, they have they definitely have a sound. We're gonna talk about what that sound is

trying to break it down a little bit. - He still sounds like that. - He still sounds like that. - I guess it helps to always sing like a six-year-old British man.

(laughs) It's yourselves the same. - He absolutely does. - It's the luxury. I can send it myself a cure fan,

but you're a next-level cure fan. What does this band mean to you?

“- I think they're the band that I listen to”

the most in my life. I think they're the band that after all of these years like discovering them as a teen. And by the way, when I discovered them as a teen, they were the favorite band of so many

of the cool kids at my school. Like Maggie Nelson, it was her favorite band. And Louise Smith. And importantly Heather Barrett, who famously in our circle of friends,

her phone number was five, six, three cure. (laughs) - The cure of our bearers. - The stalker is that I remember her number. - I mean, it's an impossible number to forget.

Five, six, three cure. - That's pretty good.

(laughs) - So they were really important to me in high school and even middle school. As they are for so many people,

“I think they sort of perineally pick up.”

- Yeah. - A new generation of teenagers who can relate and identify with whatever the sound and the gothsep will be talking about in a few minutes.

But that's never left me.

And I probably turned to a cure record. I play them on my radio show. Like I'm listening to thinking about talking about the cure, kind of my whole life. I don't think, and I can't think of a band that's second to that.

As much as I love the Beatles or Zeppelin, whatever. The cure may be in my number one day. - I think there's an age that you hit in your teenage years where a band can help kind of define who you identify. - How many percent.

I think that's, for me, I think it was like the native tongue screw. I wanted to be in a tribe called Quest or a digible plan. It's in those kind of groups. It sounds like you were like, these guys are like who I want to be. - I bet you it's a similar thing too

where you can identify with, I mean, a huge part of it is the music. But there's also something about who the people making the music are. And there's also something about the other people listening to that music. And I identified with all three. I can tick all three of those boxes with the cure.

And I'll bet you can too. I'll just say one more thing about my middle school experience. My first ever concert experience. Besides seeing the Manhattan Transfer being dragged by my dad when I was 10. Literally the one I wanted to go to that I went to was the cure.

And that was this amazing epiphany for me when I realized

when I got to the Greek theater and Berkeley for the head on the door tour. And I saw all these other like seven-thin eighth graders in an older who were like looked like the outcasts in their school. It looked like you got the two to three kids from every school who kind of looked like that.

Who were like the early got the wearing the black. Yes, you know with the black fingernails and whatever else and all the rubber smith visualisms. That was the first time I was like, "Oh, all of these people exist in the world in other schools and other cities and other towns."

Before the internet kids, right? There was, you could definitely feel isolated. You could feel absolutely alone, and whether it was the record store or a cure concert. When you thought you found your community, that was a big deal. That became my tribe.

And I don't think that's ever left me.

“And I think that's true for a lot of people with this band.”

100%. What about you, Tiaola, how did you first get into the cure? They popped up on my radio. You know, it was one of the songs. I was like, maybe the second or third time.

I used to do my homework with the radio playing. I think it was 99X was the station in Atlanta. And I remember, maybe the second or third time I heard love song. I was like, "I really like this song."

And here's what's interesting.

I think you're saying you fell in love with the cure because you got to see them. And you got to see this community around them. For the longest time, I didn't know what the cure even looked like. Oh, really? Like, I think it's so funny like growing up in an all-black environment in Atlanta, where we had famously like two non-black kids in my school.

I didn't know there was a golf culture. I didn't know there was a whole culture that went with the music. I just appreciated the music. And I came to the cure. I think kind of what you would consider the pop era.

Like, I remember liking songs like Love Song. I didn't like any kind of love and high on the radio. And in Atlanta on MTV, let's check out a clip from the music video. High, which is one of my favorites. It's a sunny day in LA today.

And I got to say, anytime it's sunny and I feel well rested, this is a song that plays for free in my head. This is high. That's dry as I might. By the way, that video looks like they're going to tree in a like physically high.

It's a beautiful world. Videos used to be so much more literal back in the day. Literally, like you say, see you in a beautiful world. You know, like it's just one of the songs. Last week, beautiful.

Yeah, a flash to cloud the skies. Those skies have been weren't for songs like these. I might not have even gotten into the cure. But these are songs that broke through in the mainstream, at least in Atlanta.

These are songs that got me to go back and discover their earlier stuff. But I wonder luxury as a longtime fan of the band. How did you feel about this period in this album, which is one of my favorites? Honestly, wish was a little bit.

They had already lost me a little bit with the album. We're talking about today, Kiss Me Kiss Me Kiss Me.

“And when I think Kiss Me Kiss Me Kiss Me is a divisive album,”

I feel like in the cure fandom. It's a great record. It's also very long. And it has a lot of songs that had they left them out. I might not have had a problem with it.

But there's a shark jumping moment or two on this record. Wow. So you're referring to specifically the 1992 record wish. Yeah. And prior to that, we had disintegration and prior to that.

Which is another perfect album. And what we're going to talk about today is this cure, the 50 years. There's a lot of music. There's the duration of this band means that there's a lot of different sonic directions. They take from one record to the next, one song to the next on the record.

But to your question, I think in 1987, it felt like the sort of it's a bookending for me a little bit of the band.

That's that is prime cure for me.

“That's the cure that I go back to when I say I keep going back to it.”

After that, they really doubled down on these beautiful more pop songs that take into account some of the cureisms that we'll be talking about. Some of the sound qualities, some of the rhythmic qualities. But they lose a little bit of the darkness sometimes a little bit more than I'd like. You don't know something like disintegration.

You think that's a record that has some of it. Yeah. That's the book end right there. On Kiss Me Kiss Me, they sort of allude to what's going to come next. But like more songs that are like beautiful.

I don't have any problem with them. It's just not what I want from the cure. This kind of reminds me of our Depesh mode. Double episode because I think you are more of a fan of the earliest Depesh mode. I'm more of a fan of like the sort of like violator Depesh mode.

And there's no doubt that we, because I think it's a whole band when we get into them.

Well, yes, they are also, I think that, yes, because I got into Blur and Late.

And then went back and discovered earlier Blur albums. I think at the end of the day, we are fans of Depesh mode. We are fans of the cure. And I'm sure that there are some songs on which that you like. And there are definitely some songs on their earlier albums that I love.

And we're going to get into some of those as well. And there's a lot of ways to be a fan. And sometimes being a fan means you're so locked in something meant so much to you in the early work that when the band naturally evolves. And in this case, they believe the cover and start, you know,

silent signing to Becca. Robert Smith didn't just want to make a forest over and over again. I would have loved that band. I would have gone back, but there's something natural about evolving. But sometimes a fan like me is like,

"But I like these 10 years."

“Do you remember the first time you heard just like haven't?”

It was very likely on 120 minutes, which I watched, religiously on MTV every Sunday night. Yeah. I think before after the young ones, I can't remember the sequence. But I watched that whole block of, that was me.

That was locked in every Sunday night. So it's likely I would have seen it there. [laughs] But they look like with a God school. I like the stripped down 80s music video.

Yeah. There's very little set dress there. It's pretty much on a white side, you know, that they throw a nice blue gel on. It's just a performance. If I can cacti-siping over here in the corner, there's something like that. It's just a performance video and you see all of them

as their instrumental parts come in, which is very satisfying, because what you're seeing is what you're hearing. Sometimes that's all you really need in the video. I hope I'm not jumping in the gun,

but has the lineup of the cure basically stayed the same.

We know the Robert Smith's been there the whole time. Let me just give you the really quick rundown. 14 studio LPs at the stand has made. The first one, three imaginary boys, was the three imaginary boys, were Robert Smith, Lawrence Loll, Tallhurst, British accent, Loll, probably.

And Michael Dempsey was the first base player. Okay. That record is amazing. It's sort of stand alone. It's a little bit more post punk, a little more buzz cocky.

It hasn't quite got the goth stuff in there yet. The next three records are really the goth core of the band, and that 17 seconds, faith, and pornography. And those lineups had a replacement, very important one, where the base player was replaced by Simon Gallup.

Okay. Then is seminal to the band. Yeah, and a lot of ways we're going to talk about it. Because I hear the bass of these songs. And today, listen, we're talking about just like have it.

It's important point out by the time the song came out, they're already been, as you said, they don't have been around for a decade. They've already been six albums under their belt. And these earlier albums, we're going to talk about them. They were darker.

They were of a goth. I'd say new way. I'd even argue sort of a punk, who's punk. And the sound evolved.

“So this core period of like where I think the gothness really hardens,”

because of the sound and because of the look, really. And because of some of the cureisms we'll be talking about today. Get established on a lot of these records. There's a moment from 82 to 84 after the record pornography, where Robert Smith's kind of in the wild a little bit.

He's going through a lot, drinking a lot, dragging a lot. He's had a fight with Gallup, Simon Gallup, who's no longer part of, it's just the two of them again. And Amos has a rebellion against this goth period. This is when you start to get Robert Smith and the cure coming up with songs

like, "Let's go to bed." The love cats, the walk, which is one of I think, our shared favorites. And what's important about this though is that not only has the lineup shrunken, but this is when Robert Smith starts to realize, "Hey, I can have more fun with this." We're going to talk about this a little more when we get into the goth stuff.

But the pop music it's important to remember really starts in '82, like, "Let's go to bed," which is intentionally meant to be like an anti-goth song. He's like, "I'm no longer doing this sound exclusively anymore. I'm going to be doing what I want to do and I'm going to be exploratory in pop music and try to come up with new, find new sounds and new melodies that are more along the pop lines."

Well, let's hear a song from one of their early albums.

This is a song called, one of our joint favorites.

This is a problem in my favorite cure song, yeah. Absolutely. Yeah. Even though I said just like, "You don't think it's the best." Oh, just think it's your personal favorite. See, this is going to be the show today. This is going to be the show today. It is my favorite.

“It's his favorite. He doesn't think it's the best. He does not think it's the best thing to be consistent.”

But it's his favorite. He serves the right to be inconsistent today. This is a favorite known as a forest. Let's make the listening audience guess what's happening in the video. Yeah. Can you guess what's happening here at a forest? Would you, if you say a worms eye view of some very tall trees, then you are correct.

And then Robert Smith comes on and he doesn't look like the Robert Smith we don't. He has to look like he's in Divo, but he's wearing a green head. He hasn't become the quintessential god. No, it's got punk edge. And can I just talk about Robert Smith's voice?

He's always had this sort of like, sort of like, bready. I'm just so weak and weakened by whatever emotion

I feel. Like he always says, it's a lot of yelping, a lot of moaning, a lot of sowing. A lot of sounds that are melodic, but aren't necessarily like melodies. In addition to the melodies, there's all these peripheral sounds that are part of the emoting, part of the character, part of the emotional output. I once heard the gods, there's a lot of people who may god's music were heavily influenced by

Jim Morrison and the doors. And I can kind of see it because I feel like there's this sort of like

“the same way Jim Morrison has like the growl. Yeah. And that's how he emotes.”

I feel like a lot of the gods, they're they're so emotional. And they're like, they're like, it's, let's not be afraid to put this emotion in our voice. Listen, let's go there. It's time to talk about what is goth. What is it? Sure. Is the cure goth? Where are they goth? Are they ever, if you were goth before, are you, are you forever goth? All of these questions get to play. So what we've talked about genre many times on the shows,

one of our favorite topics, because it's really important. I think a lot of people can get locked into this idea that it's only one thing. Yeah. And it can't be anything else. But the actuality of what genre tends to be is you have to separate it. There's what the music sounds like. Sure. There's the lyrical content. There's what maybe the bands looks like or the visuals, right? Or even the perfect like the artwork and

everything. Everything aesthetic about the musical packaging. And then there's who is listening to it and what sort of tribe do they belong to? And is there something that they share? Something they haven't common? These are sort of some of the component parts, maybe the main ones of genre. But if you just say this is goth or this is in goth, you're going to get lost and be wrong fairly quickly. Because it's a very reductive and oversimplified thing to say. And let me try to break down

just some of that. I would say that the earliest bands that would be considered goth, not by them for the most part, but by people who like goth music, such as myself, would include but not be limited to Susie in the band. She loves us. Number three party and Nick Cave. The damned of all people, like literally considered one of the first punk bands. But basically after

that first record, they become kind of a goh. Yeah. And in no small part because of what Dave Vanean, the lead singer, looks like. And he was a grave digger, which is part of where that let comes from. And by the way, Susie and the band she's were also punk before they started. And a lot of it was just the visuals came before the sound. I'll just say I'm a few more Southern death cult, probing, gristle, killing joke, bow house, killing joke is so slept on, killing

joke is what it's so good. Favorite songs, 80s? Yeah, 80s by killing joke is amazing. So good.

I would say that what these bands have in common that make them goth are a little bit more thematic and visual than sonic. But some of the sonnics of the music they made become concretized into, if I sit down and I want to write a goh song, I'm going to start using some of the, for example, guitar effects. And I'm going to create some of the moods and atmospheres that come from having boss pedals, like a flange and a delay. And a chorus pedal. These are three

literally off the rack in expensive guitar pedals that a lot of these bands used. So when you hear their music one defining theme that runs through a lot of it, especially with the cure, especially with the cure in Susie, are these guitar pedals and some of the sounds and some of

“the swirl that they create. And I think geography comes into play too because a lot of these groups”

are like, you know, I think there was like, you know, they were from America and they were often thought of as English. What I didn't know at the time is that some of this goth culture at least some of the influences actually have roots in like the Caribbean and Haitian and other places

but like as more people have gotten into sort of like Afro God, they've formed in their own

communities, sort of like drawing on stuff like the cure and Susie, but also bringing stuff like voodoo and a lot of black coaling. And it sort of speaks to something that I read in an interview with Robert Smith where he said, I feel a community of spirit with gods and other subcultures who choose to live and alternative lifestyle. But I wouldn't consider myself to be a part of a Robert and said, many times he doesn't consider the cure to be a god fan saying that it was more

“of a phase for them. But I think to your point, you know, everybody sort of picks and chooses”

what part of God that they will pick off of. I completely agree. And that's interesting. He said that there's something actually related to religion. I would say too because some of the Sonics of the music, especially these early, you mentioned geography. It's also the time. So 1981 England and Australia with the birthday party Margaret Thatcher. There's Margaret Thatcher. There's also, I think a rejection. Just like punk rock is kind of a questioning of politics and power. I say a lot

of Goth music, like, lyrically, a lot of the content. A lot of the ideas are questioning religion. And some of the presumptions of religion. In fact, Robert Smith and other Robert Smith quote, "For the record faith," which is called Faith for not no reason. He says, I used to go and write songs in church. I think about death. I'd look at all the people in church and I knew that they were all there above all because they wanted, quote, eternity. And I was thinking about

when you're young, you're indoctrinated and forced to believe in something. So for him, this early, again, seminal helps create the template for the sound and feel and lyrical content of God is about questioning. Faith. It's about questioning these things that are kind of imposed upon you by your family perhaps and people in your community and the church elders. And this idea, it's like, well, maybe we should question that. We shouldn't take that. And some of it is a

reclamation of the imagery and sound a little bit of the imagery. I think of like Catholic church imagery. It's very dark, right? There's this sort of brutality about a lot of it. And even the sound, a lot of the reverb on the vocals and like even the minor key sort of harkens to some Gregorian chant melodies and minor key melodies. So there's kind of, there's something about the church. We call it "Goth not for no reason." Gothic architecture. We're churches of the medieval period.

What would you say is the pinnacle of a band's godness? Probably the pornography record and there's going to be songs before and after that. But that record to me is the darkest record. It's sometimes

the hardest one to listen to, but it's really good. And just the first line of the first song of the

“record tells you everything you need to know. Let's listen to the live version of 100 years. This is”

from Glasgow in 1984. Ready? First line. Does it matter if we all die? Does it matter if we all die? That's an omission statement. For those of you not watching us on YouTube, imagine Robert Smith looking the most like Robert Smith looking literally like a band. He almost looks like, and the crowd looks like those videos of like the bats in their cage hanging upside down, but then they flip it. And it looks like a golf part. That's what the crowd is. Those are my people, man.

This is the coolest band. I love it. In their coolest era, 1984 cure, it's like peak peak. All the way, it's up to the late 80s, I would say. What a great performance. Great performance. I'm glad you put that on the radar. There's so many live

performances that are amazing on YouTube. And sometimes you're just like, I just want to see this band

in that area. And since we mentioned the iconic visuals right a couple of times now, this is this is now Robert going from not looking like Robert Smith. It reminds of very much Robert Smith, which is the classic Robert Smith is the big black, twosled hair with lots of like hair spraying. It sticks up. It's the listic, which is smeared. And a fun thing, my favorite kind of lipstick. When it's smeared, it's smeared. It's in so much. One theory has to the origin of that look,

which we've come to think is so iconic. And so God, actually, from Steve Severin, the Susie and

“the Banshee's basis. Now, you have to remember that in 1982, that was this year. By the way,”

a base God in my opinion, like, totally. Like, like the cure, when you hear a good baseline on Susie track, like you're just like, oh my gosh, Susie, another one of my favorite bands of all time. We're definitely going to do an episode. So I mentioned in 1982, sort of, the wilderness years began, where he's no longer Simon Gallup is in the band for two years. They're not even talking. They had a big fistfight at a bar after a gig. That's why they break up. So in this moment, Robert Smith,

in addition to making these sort of poppy singles, joins Susie and the Banshee's. He's in that band as a touring guitar player for about 18 months. Works on the record hyena. And for him, it's a relief to not be the singer to just be the guitar player and somebody else's band. But importantly, as Steve Severin says, quote, he was definitely influenced by Susie, you only have to look at him before and after the Banshee's to see that. So let's put Robert Smith side by side on the

screen, who it's Susie Sue, from Susie. And he even has a theory about the smeared lipstick. So here

Legends on OPM or maybe was LSD. I like reading on the list, Robert borrowed Susie's lipstick, went to the toilet and when he came back, he had on the trademark wonky lipstick on and that was it

forever. So Susie and Robert Smith, you never see them together anymore. I wonder, you know,

“and we'd be sure, and we'd be sure they're not the same. And then Paul is dead. I think to the”

uninitiated, sometimes there's this idea that like, God has to be like this sad dreary music. And obviously there are songs like that that I love. You know, pictures of you comes to my life. There's a delicious wallowing and this is a wallowing. But allow me to point out that there are a lot of poppy songs, even in the early part of the Cures catalog. But they're usually in the singles when they were touring in support of pornography. They released a singles compilation,

one of my favorite albums that I wrote, Japanese whispers. It has many of their biggest songs, including this 1983 classic Love Cats. You know, that went from Halloween. That's a really, really fun one. And it's a very fun video. Also a personal favorite of mine, The Walk. I think The Walk is one of the songs that I'm really good to be able to.

Robert Smith is like the guy from Interpol. Like, I just feel like, maybe the register of my voice, but I feel like we can all sing like them.

“Like, I passed the Halloween woman. I think he's the Halloween woman.”

He's the Halloween woman for sure. Or maybe it's Susan. I love the cure. I'm so excited. We're doing this episode. We're going to take a quick break. But when we get back, we're diving into the track, Robert Smith himself, as called the best pop song The Cures Every Day. Also, what's the cure? As we said in a couple of times in the episode, you might be asking yourself, are there elements that you can add to any song to make it sound more like the cure?

Stick around. We'll break it down after this. Hey, guys, it's the top of the year. And look, if you're like me, you're trying to figure out your finances. You're thinking about maybe I should pay off some debt. Maybe I should build an emergency fund with everything going on out here. You know, there's also milestones coming up like kids tuition, retirement, all kinds of things. And I know it can feel overwhelming sometimes.

“But here's a solution. Do you want a tool that helps you plan projected proactively achieve”

your financial goals? Set yourself up for financial success this year. Monarch is all in one personal finance tool designed to make your life easier. That's right. It brings your entire financial life budgeting accounts, even investments that were in future planning together in one dashboard on your phone or your laptop. Feel aware and in control of your finances this year and get 50% off your monarch subscription with code one song. Set yourself up for financial success of

the 2026 with Monarch the all in one tool that makes proactive money management simple all your long. Use code one song at monarch.com for half off your first year. That's 50% off your first year at monarch.com with code O and E S O and G one song. And I want the other's life that I want to do for you. I want to take care of you. Of course, I want to do it. But no, no, no, I want to do it. No, I want to do it. I want to do it.

I want to do it. I want to do it. I want to do it. I want to do it. I want to do it. I want to do it. I want to do it. I want to do it. I want to do it. All right, welcome back to one song. So luxury, you and Robert Smith think this is the best

cure song. Not your favorite, but the best, no, less. And it's an incredible song, no doubt. We think

that it actually establishes what we're going to call on one song. We're going to copy right this. We're going to call it cureisms. These are these are elements of things in so many of our favorite cure songs. It's just seemed to be recurring. It's kind of a checklist of things. You won't find all of these in every song. But these are a lot of these ideas show up in a lot of places. Let's do some cureisms for us, my man. All right. Let's start with the sound.

Literally the sound of the instruments and some of the effects that they're using are very iconic. And many ways they're very simple. They're off the rack pedals in a lot of cases and off the rack guitars and strings that you can buy. But the way obviously they are used and mixed and the actual performance by the players gives them a really iconic sound. I'll be specific. Let me just play it example of one song that to me epitomizes just like the sound of the cure. And not coincidentally

it is the song that they play first and a lot of their concerts. Not least of which is my favorite

cure concert video. This is from In Orange, Live in Orange, 1988, Shake Dog Shake.

Man, this is tickles every part of like the pleasure centers in my brain. Just those initial whole note guitar strums are layered and lathered in bathing in effects. And some of the effects in this song in particular, what I hear are the chorus. Literally a boss chorus pedal, hundred bucks at any guitar center, the flange and other boss guitar pedal. Probably a phaser might be in there as well. These very simple effects pedals very much define a lot of

this sound of a lot of those bands. And hugely define, I would say, the cure because both Robert Smith on his guitar effects board is using them and so is Simon Gallab on the bass. So, cure isn't number one, boss effect pedals. Let's our next cureism. Another major major thing is the use of rhythmic motifs. And what this sort of isn't inside into is that when you have a melody that's memorable, it's comprised of two things,

“the pitch and the rhythm. And what I think Robert Smith and company do is extract that rhythmic thing”

and give it to the bass, give it to the drums. And these are all hooks. And like little, they feel like melodies that you're excited to hear them come up in the song. But they're not necessarily

always melodic. And a lot of times they're really persistent through the song. We're going to hear

this today in just like heaven. There's a bass motif in particular that we hear in this song and other cure songs. What are those? It's a very familiar one. So here are a couple of examples of motifs. This is Fastenation Street. Listen to the bass line on this song and then we'll talk about it. Let me just say one thing. Listen to that motif. That particular motif goes through the whole song because very hypnotic to hear this rhythm. Da-da-da-da-da-da-da-da. And now that I said that in the room

without pitch, does that remind you of anything? Da-da-da-da-da-da-da-da-da-da. It's full Collins in the air. That's the same rhythm. It's found in a lot of things that's also found in the Beatles and the ends. So that rhythmic motif is carried through the whole song and it's very cure to have a rhythmic motif carried through the song. Another example and there are many more. I'll just give you a few more. Check out close to me. Close to me. It's great song.

Hot, hot, hot. Has the famous three-on-ean. I'm one last one. What am I favorite? I'll play it for you. I know this wouldn't well. Long time listeners of the show. What is that sound like? Oh, you're going to say a child called palace, which is part of the family that we talked about on part of the family,

“lust for life. I think it was just a thing that people forget. People use the dance and dance”

clubs. Even at rock clubs. The girls, you always want a song where you can kind of go like this.

Exactly. Like those people who are about to get killed by the Terminator and that one scene when you walked into the club and they were playing intimacy and intimacy. Which is actually sounds like an interval early cure song. So go back and watch the Terminator intimacy. Great track. The cure, why can't I be used as the same rhythmic motif that we heard in Iggy Pop, lust for life? Go back to the episode because we named 20 other songs. Not the least of which is town called

palace. He just walking on sunshine, Katrina, and the waves. Genre, you're going to be my girl. So it's part of that rhythmic motif family as well. So cure is a number two rhythmic motifs that run through the whole song. They run through the whole song. I have a cure, isn't I? Want to throw out there?

“I think you'll agree with it. I noticed that he likes to bring in instruments one at a time. Absolutely.”

Like I didn't notice this until we started working on this episode. But now I can't unhere. Like it's

such a cure. It's a Bob build. Bob's always building Robert Smith being talked to us about the

about this cure, isn't it? Well, we just heard it on fascination street, right? It tends to start with maybe two instruments, maybe one. We heard it on high. We heard it on so many of these songs. We're going to hear it on just like heaven. It's just the introduction of instruments over the span of many bars. So in just like heaven, you're going to be hearing drums and bass. And then the first guitar comes in and the second guitar comes in. Then the third guitar comes in with the melody. And the keyboards,

I think I forgot to mention it in there. But basically, there's a build that lasts nearly an entire minute before we hear any vocals. He does, he's not a guy who comes in right on the song. Not always. Yeah. Yeah. Sometimes it doesn't matter if we all die. He likes to give you a solid

now I'll say. But that build that Bob's build is definitely a major cure, isn't it?

Curious of number three, Bob's build, gradually bringing instruments over the course of the first

calling it Bob's build. Thank you. Wasn't a curious. Next up, we have chord cycles number four. And to be clear, this is sort of like a checklist. Not every song does this and not exclusively cure songs do this. But very often in this and in the song, we're talking about today. There's a cycle of chords, sort of like the motif that's hypnotically repeats throughout the entirety of the song. They're often for of them. And they're often quite a satisfying within the four

chords. You sort of get the tension, the build, and the release, and then you're back to one again. So that chord change family thing we've talked about on many episodes. And we've got our medley of songs at the top of the episode. It's exactly about all of the songs in our medley at the beginning of this episode. Cycle through the same for chords. And the point we were making is many songs are in that

family. That's right. We'll talk more about it when we get to the guitars in the stems. But that's part of the chord cycle thing that is a cure is. Curious of number four,

“chord cycles. I have one more that I think we agree upon, which is it wouldn't be a”

cure song without the voice of Robert Smith, such a distinct voice, such like there's so much emotion in his voice. Like he sort of like he helps it out. Like we're talking to joking like how would he describe like today. It'll be like, it's a beautiful day in the airway. Like you know, like there's so many things he does. But it's so distinctive. Yeah. It's so distinctive, but it's so emotional. And it really just draws you in because he taps into, I think, something that we all

feel, especially if you're like an outsider, which is just like, why can't I be here? It's very yearning and trying. It's effort filled. He's, you know, he's frustration. I have to do this on frustration and they're like, too. Why can't I fit in? You're looking, you're having fun. You look like you're having fun. He'd be the first to say that he's no Shaka Khan. Like he's not like I'm not Shaka Khan. He's a great singer because we relate emotionally to listening. But not

a celly because he's like a masterfully powerful, like church level, you know, the voice of the

singer. He helps all these songs be releasing a lot that you don't have to be Shaka Khan. That's right. I look, I'll try to be Shaka Khan. I often try. In those drinks of me and it's night time, I will try to be Shaka Khan. But even sober. We all think we can be Robert Smith to a certain

“extent. Yeah, I'll can be Robert Smith. It's accessible to your point. That's what's ironic. He”

would as why he can't be you. But we're like, why can't we be him? There's that whole slate of bands in the early odds like VHS or beta and the rapture. Oh, yeah, the rapture. Oh, yeah, the rapture. Hot hot heat. These were there many bands that were loving Robert Smith's voice and kind of sound like him. Go back to listen to something. Absolutely. That's very Robert Smith. Absolutely. So, cure is a number five sound like Robert Smith. Robert Smith vocals do a lot. And arguably the

most important thing because out of the 50-year history, Robert Smith is the only consistent through

lines for all of the songs you've ever heard by the cure. They all feature him on vocals. That's very true. All right. Without further ado, let's start with those iconic driving drums. All right. Here's Boris Williams at 152 BPM. So one thing I want to point out is we're going to hear three motifs. Okay. And you just heard two of them. One, motif A, I'll call it, is the drum fill that starts. What is essentially a 16-bar loop that

goes through the whole song? Mm-hmm. But with these really satisfying two things, motifs. So these are patterns that we hear over and over. And there's a specific symbol that he's using, which is relatively unusual in pop music, not never. But it's kind of more of a metal sound. So listen for the crash symbol. It's a special kind of crash that I'll be explaining in just a moment. So I'll point it out here. It comes in this section right here. It sounds a little different from your typical

crash. We're going to hear it again right here. And then finally, this is the third motif which happens at the end of the cycle to get us back to the next loop. Two things to listen for. One is that crash, which I've already mentioned. But we're also that crash. And we're emphasizing the two. We're not coming in on the one. We're coming in on the two. I'll point that out. Okay. One, two. Oh yeah. So all the way through, all of those motifs really emphasize that too.

“I'll play the second one again. Here we go. One, two. Yeah. So that's a really important thing.”

The two is emphasized song a lot by those motifs. And the fact that he's hitting his China crash, which is kind of more heard in metal and maybe jazz that is in my pop music. What it is, it's a crash symbol just like any other you'd see on a drum kit. The difference is that it's a little higher in pitch. It's bright, it's crisp and it's kind of metallic sounding. So it's a very

that too. Why is it making you go? Yeah. Two. Two. It's like trying to drag a moody

golf teenager, you know, to school in the morning, like, you know, it's just like, okay, mom,

“yes, I'll come, you know. It's like that too does a lot. I think it's like, what would be”

the opposite? If it landed on the one, it would be like one, two, three. But like one is way too go get it. Yeah. You've got to drag those go. Two is against their will. Yeah. Two is against the will, man. That crash symbol came in a beat too late. While we're on the subject of the motif, let's talk about the base. I'll talk about the base because that's the motif that motifs are made of. This is I mean motif. I mean, I would say Simon Gallup is an unsung hero,

not just of the song, but of this band. So this is Simon on base. And just to give him a little

flower, as he's had the longest tenure in the cure, besides Bob, the longest standing member. Yeah. Ministers, two years when they had a bar room, fight between them and didn't talk for 18 months. Um, who has the head of bar room fight with their partner? And my right, luxury. Absolutely. Let's have one today after this episode. Like we haven't already. I would say that Simon Gallup is the main motif, man in the cure. Motifs could happen in every

instrument. We just heard them in the drums. But boy, do we hear a lot of motifs across cure songs in the base? So in this particular instance, this is a very cure motif, because we've heard it in other cure songs. It's this two-bar loop. And the rhythm is done, done, done, done, done, done, done, done, done, done, done, which has long time cure fans. My recognizes also used it in between days from 1985.

So that's the done, done, done, done, done, done. Now let's listen to Simon Gallup's isolated base stems from just like heaven. So that rhythm is literally 1, 2, 3, and 4, and 1, 1, 2, 3, and 4, and and 4, and. And we're hearing it in that song. Yeah. Same as we're hearing it in between days. There's a tiny, you know, there's one additional eighth note. And it's a motif they use again in Friday. I'm in love from 1992. I don't care about you. It's Friday. I'm in love. This is a cureism that the cure uses

themselves as a cureism to remind themselves that they are the cure. So we hear that particular motif in it. They roll but with band all we. All we the stone roses. Go to our checklist,

“motif number 52. I believe with a cure. I like the idea better about this. It's the cure. The”

guitars are always very prominent and I got to ask right out of the bed. Is this a case of our

cureism like are there a lot of boss effect pedals in play? Let's listen and find out. They sound so far away. Like in a good way. Like it sounds like. Why are you so far away? She said. How are you so emotionally distant? Robert Smith. How do you say far away? What do you mean by that? You know, I mean it might just be the echo or the reverb or whatever. But it does sound immediately dated. Not like it was recorded in the sixties or seventies. But it's there's something very like

80s and early 90s about the way that those guitars sound. I think I can pick up on a couple of things. One of them is the cureism. So the 80sness is coming from there is definitely a chorus on that. The effects pedals. There's definitely a chorus. There might be a little flange on that particular one. But there's probably a here some flange. I think so. And I think that there is some reverb that might be giving it the, not distant. You said distance. But yes, when you add reverb to something, it makes it

less dry. So it feels like you're in a room. It could be a small room. It could be a large room. But reverb is kind of an older sounding effect in a lot of ways. Like it does kind of a Vogue sixties feel specter while of sound. A lot of that era is more reverby than say delay, which gives you space in a

“different way. I'm hearing a little bit of that there. I don't know if that's what you're hearing.”

That might be space. It doesn't feel like you're in a chapel. It doesn't feel like there's a big space. Yeah, this is not what's that one. But this is also not like warm and like your next to the guitar. It sounds like you're right. I think that is part of the atmospheric moody guitar sound in our cureisms that happens in this song. And across the catalog is there is a lot of reverb across the cure's catalog. It's not very dry. It doesn't feel close and intimate.

No, it's not close and intimate. I think the ultimate effect of all of what we're saying is that it feels moody. Yeah. It feels a little bit dark. Not like in a sinister way, but just sort of like

necessarily correlate all of them. But Roberts myth is credited with guitars as is another unsung hero

“of the band and of the song, "Poral Thompson", aka Pearl for his art career. And I say that because”

Pearl is another member of Roberts myth's "Coderie" that's been around since day one. There's school buds. He was in an early version of the Ezekieler. And he has been not just a musician and they often call him the best musician in the band. He plays saxophone, a plays keyboard, it's a guitar. But he's also the visual artist behind a lot of the early and most of the 80s cure album part. He's used the aestheticistician. Poral and that's right. Poral and his graphic design partner did that kind of iconic

calligraphy, the graphics that you see in a lot of earlier records and videos and album covers. And he's playing guitar on this song. Now I say that because in the video we see both Roberts myth and Poral playing guitars. Roberts playing the acoustic 12 string. I'm not sure if that means necessarily they were recorded that way. But let's listen and picture in our mind that I

“kinda use a video, starting with Roberts myth coming in with this acoustic 12 string.”

It's so great. And it gives a kind of a spanishy. It does. I was going to say, you know, again, it takes me back to the limited mode episode where they had this big fascination with the American West and Flamingo guitars. And that sort of, to me, that's the jangliness that I hear in these songs. Oh, I see, but it's translated over into like, you know, Stone Rose is happy Monday's early blur like that jangliness like that. And you're right, Flamingo guitar. Smith has been doing

that too because in the previous record on the in-between days record, there's a song called The Blood, which just as a straight-up like Spanish Flamingo song. Yeah. And last but not least in the guitar section, we have this incredibly important and iconic melody line, which is literally just a descending and ascending scale. Let's listen and then we'll talk about it. You once said something on this show

that it has always stayed with me, which is the idea that like a lot of our favorite songs are

“literally just ascending or descending broken scales. And that's what I hear now when I hear this”

part of like it's like it's going kind of where you expect it to go, but it's going there in a wonderful way and it comes back down from that from that high. It's just satisfying it's A, A, B, A. And that's a pattern that our ears are used to. Yeah. And so it's very satisfying. Whether it's a gorem poetry. Yeah. What about the chords of the song? You know, earlier we, we did our little medley songs, Simisonic, Katy Perry, share. And that was based on the sort of like the 152 for the,

what we call the axis of awesome. Yeah. You know what I mean? Like, so explain to us how that comes into play here. Right. So the axis of awesome. We've talked about on several other episodes of this show. Go back to Miley Cyrus, The Flowers episode. I think it came up there and I definitely came up on Olivia Rodriguez when we did good for you. So four chords that go back to, I think early YouTube, there was this great video by this Australian group. The axis of awesome, who did a medley

of dozens of songs that used the chords that you mentioned with one slight variation. So this is, as you mentioned, one, five, two, four. It turns out that 12% of the songs on the Billboard Hot 100 used some variation of those four chords. Yeah. Either in that sequence or with some shifting

so the five comes first or the two comes first. Yeah. Or sometimes the two is a six. All the

numbers are in order. Yeah. 12% of songs in popular music. Yeah. And therefore your ear is very accustomed to hearing these chords together. AI does not disagree with your life. But how does this relate to a song called another girl, another planet? Well, let's listen to that song and then we'll talk about it. This is by the only ones. It's called another girl, another planet from 1978. You're having thoughts. My man is having thoughts over here. I can tell when there's thoughts

being had. I've heard this song before, but it's just because we're just going to stocking about the access of awesome and these certain chords. Now I'm thinking like, don't stop believing. Yeah. But that's the original access of awesome. Yeah. Right. That one's in there.

These chords are slightly different because the third chord is different. But the difference is

it says that you can rearrange. So the chords in another girl, another planet, are 156, 4 instead of 1524. But two and six are sort of functionally interchangeable. Yeah. Right. And it's a minor two and a minor six. The rest of the chords are the same. There's a similar tempo. There's obviously a similarity in how there's an instrumental with a melody that rises in falls. Basically,

events take place in just like heaven. Right. But when you really break it down and verbalize that out loud, what you're saying is, okay, the chord changes are similar, not identical, but similar, and there is a scale being played. Right. Which gets to the point, the heart of the matter on all of these like x sounds like y conversations, which is, well, there are similarities. But is anyone not listening to the first song because the second one came out and replaced it? Or is it

generally the opposite that people often go back in time and find a song that people say sounds like the new one. So Robert Smith himself says, I didn't realize it at the time, but the structure is actually very similar to a song called another girl, another planet when we just heard, which

“back to his quote, I can still vividly remember hearing on the radio late at night in the mid 70s.”

The main difference is that as the song progressed, I introduced different chord changes to give it a slightly melancholic feeling. And to that point, the chord changes are not just chord changes, it's actually a key change. So once we get to the U lost in lonely part, the song shifts from

a major to d major. So let's listen to the stems. Here's what to listen for. We're going to hear

two chords that are just a half step apart, repeating three times that shift from the minor three to the four. It's a very tense. It's a half step. We talked about a half step recently on the nods episode. That's right. So this half step is very tense. And then after these six bars of tension, we get four bars of really gratifying release on the D major, and we're just kind of lingering there lovingly. So listen for that as I play for you the isolated guitar. I'll put some synth in there too.

We're in the four bars of release. It's a real magic trick of songwriting that we like left the key, went to this completely different place. It was Bell and College to use Robert Smith's words about what he did. And then we come right back home to this like beautiful land. Beautiful thing. Thank God for those major notes. We're back home. It was great tense and strange. And then we got back. And the strangeness is really emphasized when we get to the vocals. I'll point out some of the ways

“of the strangeness is emphasized even more. What's going on with the keys on the song?”

I feel like there might be multiple keys. That one is our multiple keys. But in the video, there are multiple keyboard players. And I'm not sure that either the people playing keyboards in the video are actually hanging in the song. But it could very well be La Talhurst Lawrence who in the video is shown on one keyboard. He was starting to be a little bit ice out of the band but he wasn't yet.

But there was a second keyboard player who had been brought in who was more properly able to play

keys. And that's Roger O'Donnell. Roger O'Donnell. You'll see him in the video. He definitely is out on the song because he hadn't joined the band yet when song was recorded. And last but not least, Pearl Thompson is also credited with the keyboards. Let's listen and decide who's fingers this sound like. Big eighties, just one note in an octave. So that runs through the intro just big sadding sound. And you know, we've talked so much about how he brings in instruments one by one.

But like, I generally join in with the song when these high elements come in. So on Friday's with a guitar. And on this one, I'm definitely. I picture you hiding in the corner for the first 25 seconds. Then you jump out and you play your note. Just wait for my notes, man. And then of course, we have this iconic solo, which is very simple and beautiful. Sounds like it's on to my ears. It sounds like it's a piano sound but it sounds like a like an 80's keyboard piano, like an

insony or something like that. Let's listen to it. Oh, yeah. With delay on it. I love that part. And by the way, it should be mentioned. This is relevant for especially for the deep cure fandom. At that part of the video, it's Mary Pool, who's actually dancing in the video, which is Robert Smith's longtime girlfriend slash wife. He's only to our knowledge as cure fans, like only ever been with her since high school. Another important thing to sort of

keep in mind across the cure catalog, he's kind of always singing about Mary. Now, that's

extrapolation. We can't go mad. It's so romantic. We can't have been our Valentine's Day episode.

“There's something so romantic about this band. I think it's important because when you think”

about the cure, I think about how Robert Smith has always been with Mary. Now, all these love songs are to Mary Pool. And you see her as sort of a rare glimpse of her because she's not in the public covering my speech. But she is dancing in the video during the solo. And Robert beautifully says because he dances with her, he says the video director was suggesting we get a girl and he's like, I'm only going to dance with one person and that's Mary. That explains so much. I think that's

why, as opposed to other rock bands, the cure catalog with one notable exception has aged so well, like, literally, like, there's nothing, there's nothing, do she? Yeah, there's nothing, do she

make sense because he's singing about a legitimate love. He's not like, I think the authenticity

is right there in the lyrics. Like, it really, he's... And it makes me like this fan even more. Yeah, me too. For most of my life, including in the run-up to this episode, I heard the opening lyrics wrong, everybody. I heard the one that makes me scream, she's sick. I thought that was so cool. The one that makes me scream, she's sick. I wish I wish I owe me how you do that trick. The one that makes me scream, she's sick. Like, I thought, like, sick is in cool.

“Sick is in, like, you know. I thought you think that's in Robertson's vernacular?”

Dude, I broke your whole Mary, you're sick, bro. I thought it was sick and I, I don't, that line definitely connected with me because this goes the show. Sometimes you can create art and people interpret it wrong, but they just, like, they put it inside themselves. What should we listen? I thought that was the greatest. The one that makes me scream, she's sick. I thought that was so free and cool. And what I read, the flick, the flick, and I was like, oh, he says she said twice.

I was like, I'm been wrong. I'm sorry, Robert. I should have listened more carefully. I apologize. Here we go, guys. The isolated Robertsmith vocals. Okay, and challenge for you, the listener. Tell me if you hear any repeated melodies or any rhymes. Show me, show me, show me how you do that trick. The one that makes me scream, she's sick. The one that makes me in love, she's sick. All right, there's some rhymes in there. I was wrong about that,

but there's not a lot of repeated melodies. He's doing a lot of different things. He's been very playful with the melody. And that's true across all the verses of the song, which are the bulk of the vocals.

“I think they're, they're rhymeish. They're, they're near rhyme. There are, there are some more rhymes”

than I remember, but they're near, there are a lot of near rhymes and there aren't any, I don't think, repeated melodies in the verses. That I believe, but it also makes me feel better about thinking that he says she's sick because I thought he rhymed trick with sick. Oh, there you go. There's not

for no reason that you thought that. But he clearly says she's said the second time and I was like,

throw her arms around my neck. I was like, it's rhymey. Yes, not a rhyme. Yeah. And that's okay. Because he's being vulnerable. Let Roberts sing. Let's feel that. Robert, do what he wants to do. He's talking about Mary Paul. He loves Mary Paul. Robert, do what? Do what? Do what? So in that opening line, show me how you do that trick. It sounds really playful. It almost sounds childlike. Yeah. And that's intentional. Robert Smith has said that part of it actually comes from his childhood

obsession with magic tricks. Magic comes up so many times on the show. Like, a lot of musicians want to be magicians. I don't know. I don't know if that's, is that true? I think it's true. I'd be a lot of the opposite end of the spectrum on the cool. I think the magician's hands down, right? Everybody, no one is going to listen to this. No one's going to do it. Everybody wants to say, yeah, it's my death, the magician. But that doesn't really mean. That's not the spirit of the show. Sorry,

dad. If your dance of the magician, I apologize. But Robert had this love of magic. But on the other level, it can be read as a seduction trick. That's the way I sort of read it. And Robert

“has said the song is about quote, hyperventilating, kissing and fainting to the floor. That's what he said.”

Look, I'm not sure that's my king, but hey, to each there. The man is in love with this woman. I know. I know. Bob loves Mary. It's the cutest thing in the world. It's the cutest thing in all of God history. A half century of Bob loving Mary. It's like if you had a goth puppy and he was in love. It's got the puppy love. Yeah. Let's, let's hear the chorus because I, I think that this is the chorus. You mentioned earlier, doesn't have a chorus. I think this is the chorus. Listen, it's kind

of more of a refrain than a chorus. We only hear it twice. And we kind of only hear one and a half times.

The first time around, we get that full 10 bars that I was mentioned right six bars of the

tension in four bars of the release. That only happens once. And then at the end of the song, we kind of get half of that half of that. Yeah, let's hear it real quick. You lost an only you who strangers angel stancing. And there's a crazy harmony in there. I don't know if you noticed it, but I'm going to say it again. Listen for one of our favorite words of this show in the past year. There's a tritone. Oh, I do. You know, there's going to try it down. There's a tritone in this harmony,

which implies that it's like lady in mode, but it adds to the strangeness of this moment. Here it is. I'll point it out as it happens. Right here. That's part of why that note feels so crazy because it is a tritone. It's literally a minor third on top of a minor third. Like, how do you go into the booth? These are all Robert by the way. That's all Robert. The way I'll sing this song. Does Robert write the lyrics? Robert is for the most part the almost 100% songwriter we think across

much of his catalog, but we're going to talk about that a little more in this industry. Certainly the lyrics is unquestioned that lyrics and melodies. But because you said that he's the throughline for the band, is there anybody else who we know had a heavy hand in just talking about the catalog

interviews. It's not frequently discussed what the actual literal contributions of other band made are. It's unclear to me where he brings a demo and where the line is between guys. That's

worked the song up together and the final result. It's not always, I think a lot of it is

worked up in the demo stage. But I think obviously a lot comes from, I think for us, for example, on the song, the drummer contributed those iconic motifs for my understanding. And from listening to the demos, and then at the very end, we finally hear the song title. This time, no tension just the song title. It's resolution. That's the only time we hear that, which is part of why I'm wondering is that even the chorus, because we don't even hear just like heaven. The title, I like the song that

only brings up the title once. Those are some of my favorite, you know. It feels poetic. It feels special. It does. All right, luxury. Now that we heard the song, tell us how the splits break down.

“So Bob, get 60. I keep saying Bob, I do believe that's what they call them. Okay,”

we did in the band. Robert Bob Smith, get 60% and that is divided lyrics, 50 music, 10, interestingly enough. And I think generously he's given Simon Boris, Laurel Lawrence, and Paul, aka Paul are also credited with 10% each. Okay. So they get 10. He gets 10, the four of them get 10 each. Yeah. And Bob gets 60. I keep saying Bob, it doesn't feel right anymore. I'm going to go back to Robert because it feels more respectful. And I think that

that's in part because of the actual contributions that they're making on the musical side. No. But I also think it's part of what keeps a band together. And Robert has talked and we've talked a little bit early on the show about the history of getting to this line up in the band. Yeah. Once he locked in with this line up, he loved playing with them. Yeah. And it was so gratifying to have an actual band, especially after the early years of kind of having people come and go,

“that part of it is a retention strategy in my humble opinion. I think part of it is you keep a band”

together by being generous. Yeah. And whether or not they literally put 10% of just like have it into the song, these band members did a lot for the band. Sure. Watching them live, it's what an incredible group of musicians. It's mesmerizing. So I think the splits reflect that a little bit too. I can see that. So do you all know what do you think the legacy of just like evidence? Well, I just said, I think this song, much like their catalog has aged incredibly well.

I think every generation at some point discovers a song by the cure that can resonate with them. Yeah. And encourage them to pick up an instrument and start playing music. I will say this is one

of those groups that always makes me want to make more music. You know, I always feel like the

cure and Blondie hip-hop in electron music. I have a whole other canon of groups. But when it comes to specifically like guitar, drums, rock, this is just one of those groups where I'm just like, yeah, it's it's so personality driven and it's so emotional and it feels so real. I just can't

“help a love it. So I think the legacy is that they are still making music, winning Grammys and winning”

fans. I completely agree with you. And I think part of their enduring appeal, it's not just the song right. The song right, it's a huge part of it. But the reason why 14 year olds today and 14 year olds in next generation and beyond will probably find something appealing about the cure is there's a resonance, there's an emotional resonance that's baked into the songwriting. But also the visual, yeah, the legacy, the mythology, the fact of them being canonical at this point, they're right up

there with joy division and a pesh mode. These are canonical bands that have meaning in a way that's baked into culture. So it's the music, it's the culture, it's the visuals, it's maybe UT and sub culture and all that wonderful stuff. And this stuff trickles down the visuals like the Goth aesthetic is an aesthetic forever. It will differ ever. I mean, it came out before the 80s. Yeah, they were literally copy people for the previous century. That's right. And that's appealing

in addition to the music and as a package. It has an undeniable appeal. It's part of why I still levied to this day. It has almost a half century of appeal to me personally. Okay, luxury is time for one more song. This is the segment where we share a deep cut or hidden

chip with you. The one song nation and with each other, luxury, I'm going to ask you to go first.

And today, I think we're going to keep it with the cure. We're going to talk about cure covers, covers of cure songs that we really enjoy. So what's yours? Awesome. Well, I'm going to do the song we did today. My favorite cover of the cure is just like heaven by Dinosaur Jr. Big J mask is fan. I don't know that I know this. This version is so good. I can't wait. I'm going to play you the part and I can't wait to see a reaction. Okay, I'm going to go that point. He sounded like a

drum co-ed in college. I love Dinosaur Jr. I didn't see that one coming. And it ends like this just for some satisfaction. That's the end of the song. Yeah, this is how you abruptly. It's like kind of like that.

It's genuinely terrifying. I quit it. It's like that. What the fuck?

“No country for old men, abrupting. Oh, boy. I don't remember that. Oh, my god. I probably drowned it out.”

You're all affairs are great moving for the 80s. I don't like scary things. I'd like to be scared. What about you, Dio? What is your cure cover? Do you sure for one more? Well, I'm going to set some history here at the show because I'm actually going to do two more songs. What? Two more songs. It's a must-know. My cure cover is a song by the group Novel Vague. And they covered a forest in a very sort of like, boss-a-nova elevator music style. But I found it really endearing.

This is the Will Vague with a forest. Tell you, do you have a song that acoustic guitar? It works. It's boss-a-nova. They did a boss-a-nova cover of a forest and it really worked. It really works. The core changes in that song in the actual song, which they just, you know,

“are using, are really, they sound native to what boss-a-nova core changes. I know.”

I just sounded like, because that sounded really cool. I'd like to help them. If you're into really cool covers in a boss-a-nova style, that newvel Vague album is a really, it's a good album, it's a good purchase.

But for the first time ever, I do have one more song on top of that. And that is because

being big fans of the cure and everything that they influence, you and I did a song together. We haven't made mini songs together, but we did do a song together all the world. Black nerds, which is for my show Sherman Showcase, and I was going for sort of a, Robert Smith, even more so the Interpol song. Right. And this is a song produced by our band, Luxury, sung by me. This is a Black nerds.

“We got a lot of fun that day. That was great. That was a lot of fun.”

And you put a tri-tone in that song? We put a tri-a, you even know what a tri-tone was. It's at the time. You put it in the song, you put it in there, you, you knew.

Robert Smith will see you at Glastonbury. As always, if you have an idea for one more song,

you can find us on Instagram and TikTok. You can find me on Instagram @TheoloDIA. Hello, and on TikTok @TheoloRittle. And you can find me on Instagram @LUXXURY. And on TikTok @LuxuryXX. And you can follow our podcast on Instagram, and TikTok @OneSongPodcast where exclusive content. You can also watch full episodes of OneSong on YouTube. Just search for OneSongPodcast. We'd love it if you like and subscribe.

And be sure to check out the OneSong Spotify playlist for all the songs we discuss in our episodes. You can find the link in our episode description. And if you made it this far, you're officially part of The OneSong Nation. Show us some love. Give us five stars, leave a review, and send this episode to a fellow music fan. It really helps keep the show going. Luxury helped me in this thing. I'm producer DJ Songwriter, musicologist, and KCRWDJ

every Friday night from 10 pm till midnight. Luxury. And I'm actor, writer, director, and sometimes DJD All over. And this is OneSong. We'll see you next time. This episode is produced by Melissa Duanez, our video editor is Casey Simonson, mixing by Michael Harman, an engineering by Eric Mr. Patience X. This show is seconded produced by Kevin Hart, Mike Stein, Brian Smiley, Eric Wall, and our friends at RPG. We'll see you soon.

[music] But what I still want to say is that you don't want to be a student, a master, but a master of laptop, soft, handy, internet, and so on. I'm saying, you can say that you're a hero. You're a master of science, right? But you don't believe it.

Exactly. The master of science is a master of science. Make the whole thing just like this. And if you work then you'll be able to do it. - That's right. - Save. Like this. Hold your money back. Now it costs just out for me.