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共12首歌曲

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艺人
The Cure
语种
英语
厂牌
Fiction
发行时间
1992年04月21日
专辑类别
录音室专辑

专辑介绍

ROBER SMITH,一个创造了THE CURE那疯狂,异常的音乐世界的歌手, 一个在十四岁大还穿着天鹅绒校服时就因其恶略行为被开除学校的男孩,一个梦想在永不停止的音乐声中尖叫,狂笑,在 悬崖绝壁上蹒跚漫步的疯子.

SMITH, 一个来自CRAWLEY的男孩.如今已卖出了两千四百万张唱片,而且是一个只需要在MTV上剪短头发,就能让许多人感到痛苦的男人.他吧他个人的一切都神秘的隐藏在他那引人注意的蜘蛛网般的黑发和血红的嘴唇后面.而对于听过他的音乐的人来说,不管是一直用他的歌声伴随着你的人声,还是偶尔走过他的道路,你都会感受到一个魔幻般的世界.缀满星辰的天空,深蓝色的湖面,鲜艳的深吻.....一切都是如此的不可思议.

在英国人里面叫Robert非常平常,如果你正好又姓Smith,那么这样一个名字在英国人中随便一抓就一把,属于普通的不能再普通的了。于是他只好用古怪的装束来区别自己:涂着深色的眼圈,朱红的嘴唇,爆炸式的头发。他就是The Cure的灵魂人物,号称“哥特音乐教父”的Robert Smith。

The Cure作为一支老牌的Post-Punk乐队,起初也不是一帆风顺的,他们成立于1976年,原名Easy Cure。从低潮期到朋克爆发时代再到现在的后现代摇滚,The Cure始终由Robert Smith领导着,到2000年推出最后一张专辑《Bloodflowers》经历了风风雨雨20数载。奠定其哥特风格的是他们的第二张专辑《Seventeen Seconds》,此时The Cure才终于结束了几年的寻觅真正成为英国乐坛上著名的乐队!在接下来的时间里,乐队开始不断的换人,除了Robert Smith其他人都在不停的更替,期间推出过一系列的优秀作品。我们今天所要听的这首被推崇为恋爱者必听得曲目的《 Friday I‘m in love》收录在他们1992年的《Wish》中。这张专辑是一张颇为成功的唱片,Robert Smith真正的把他自己的怪异的个性、矛盾的思想和独创的音乐风格及他独具魅力的声音表现的淋漓尽致! Robert Smith鲜明的另类个性、独特的乐风和他充满焦虑不安情绪的歌声和玄妙变幻的吉他成为我最喜欢的音乐样本!他的音乐无时无刻的深深的吸引着我!虽然我喜欢Robert Smith音乐思想中最忧郁的一面,但他时不时流露出的顽皮同样也散发着魅力!

Wish is the ninth studio album by British band The Cure, released on 21 April 1992.

The record is the final studio album featuring Boris Williams and the first featuring Perry Bamonte, as well as being the last album featuring Porl Thompson for sixteen years. Special guest Kate Wilkinson plays the viola on the track "To Wish Impossible Things".

Although not as well received by critics as Disintegration (1989), Wish is the band's overall highest charting album, given its debut at number one in the UK and number two in the United States, where it sold more than 1.2 million copies.

The album's second single, "Friday I'm in Love", became one of the band's most popular songs – reaching number six in the UK, number seventeen in the US and number one in South Africa.

Wish also nominated for the Grammy Award for Best Alternative Music Album in 1993.

On the surface, Wish sounds happier than Disintegration, and the sunny British Invasion hooks of the hit single "Friday I'm in Love" certainly seem to indicate that the record is a brighter affair than its predecessor. Dig a little deeper and the album reveals itself to be just as tortured, and perhaps more despairing. Granted, the sound of the record, with its jangling guitars and simple arrangements, is more immediately accessible than the epic gloom of Disintegration, but nearly every song finds Robert Smith wracked with depression. Unfortunately, the even-handed production makes the record sound very similar, so it is less compelling than it might have been, but there are a handful of gems ("High," "A Letter to Elise," "Wendy Time," "Friday I'm in Love") that make the record worthwhile.


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