Kiss Me, Kiss Me, Kiss Me |
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Released: May 19, 1987 Peak: 35 US, 6 UK, 30 CN, 9 AU Click for codes to charts. Sales (in millions): 1.0 US, 0.1 UK, 2.0 world (includes US and UK) Genre: goth rock |
Tracks:Song Title [time] (date of single release, chart peaks)
Total Running Time: 74:35 The Players:
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Rating: 3.968 out of 5.00 (average of 26 ratings)
Quotable:--Awards:(Click on award to learn more).
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About the Album:Kiss Me, Kiss Me, Kiss Me was the seventh album for The Cure, the English rock band that formed in 1976 and became the quintessential goth band. “Having established themselves internationally as a multifaceted alt-rock band over the course of six records, the band crafted an album that successfully represented all the sides of the Cure, with great songs to boot.” SL “The Cure gives the listener the kind of roller-coaster rush that only great pop can provide.” SL Pitchfork’s Nitsuh Abebe said, “Every major mode of the Cure is here, and sounding better than ever, each one a realm of its own.” WKThe album was “simultaneously more accessible and ambitious than any of the Cure’s previous albums.” AM Lead singer Robert Smith said, “This one is taking bits from everything we’ve done, all the bits that I’ve liked. But there’s a single album’s worth of that and a single album’s worth of stuff we’ve never really attempted before.” WK While Smith had previously asserted “top-down control over composition” WK here he solicited each band member for ideas. Six or seven songs were assembled from each member and then winnowed down via votes from the band. WK Rolling Stone’s Mark Coleman said, “For the first time, the Cure’s music is relatively unfettered by pretension and indulgence, and the results are remarkable.” WK Q’s Chris Heath praised the album for steering the listener “on a clear path through sweeping gestures and bold statements.” WK Los Angeles Times’ Chris Willman called it “a welcome step away from the existential gloom-monster image the Cure has cultivated.” WK The album was significant in garnering a mainstream audience for The Cure. It was the band’s first album to reach the top 40 on the Billboard album chart, gave them their first top 40 hit on the Billboard Hot 100, and went platinum. Blender’s Douglas Wolk said, “almost every song is a neatly arranged bouquet of roses or a bag of thorns.” WK Smith expands “his pop vocabulary by tentatively adding bigger guitars, the occasional horn section, lite-funk rhythms, and string sections.” AM The SongsRoaring out of the gate with the potent snarl of The Kiss, Robert Smith and crew…display their penchant for pop perversity from the get-go.” SL Catch is “a prime example of the melancholic pop that Smith seemed to be able to write in his (surely troubled) sleep.” SL “Tracks like Flight are pummeling sonic assaults.” SL“Just as the length of the album…is gargantuan, so is the scope of ambition in the arrangements: The band trots out horns for the psycho-soul of Hot Hot Hot and the ‘Love Cats’-styled Why Can’t I Be You?.” SL The latter is “deceptively bouncy” AM “with the horns actually coming from Tolhurst’s synth banks.” SL Songs such as that “and the stately Just Like Heaven – are remarkable and help make the album one of the group’s very best.” AM The “stellar” SL song finds The Cure “at the top of their game… Glistening descending guitar lines, Gallup’s throbbing bass line, and Williams’s authoritative thumping frame a typically lovelorn Smith lyric, with the end result being one of the Cure’s finest songs, and perhaps one of the best pop singles of the late ’80s.” SL
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First posted 8/26/2026. |
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