Untitled - Matthew J Harris* - The Cure May Never Come (CDr, Album)

See, e. Anne M. Knopf, , Banta, , Amazingly, one can now pull up the sketches online from the Houghton Library at Harvard.

War Series , 4: n. War Series , South Carolina. For treaties influenced by the Franklin program in Central and South America, see ibid. Stagg, Mr. Joseph Chitty Philadelphia: T. Richardson, ed. Tenney Frank ; repr. Even before the enactment of the neutrality legislation, the district attorney in Philadelphia indicted U. Herring, From Colony to Superpower: U. Johnson et al. Louis University Law Journal 53 : — The Charming Betsy , 6 U. Newport Ins.

Barreme , 6 U. Shattuck , 7 U. Knox , 7 U. Smith, , 6. Jefferson, Secretary of State, to Mr. Arden, , v. Gould, 2nd ed. White, Cray, Jr. William Cobbett Philadelphia: Thomas Bradford, , — United States , 12 U. Story dissenting. Halsted, —30 , 1: 86— Harper was also one of the strongest advocates of building a strong navy to protect American commercial rights.

See Craig L. Macanulty, Morrison, Jr. Hawes, Pratt, , 5. Dye, eds. Knopf, , 3. James K. Barnhart, ed. Banta, , ; Gregory T. Halsted, , 1: 3—4. Owsley, Jr. Eastburn, Sumner edited the wording of this passage in subsequent editions.

McLeod , 1 Hill. Globe , 27th Cong. Compton Smith, M. Jacob Oswandel, , — Ramsay, ed. Putnam, , 97— Pickney, 2nd ed. December 5, , House Exec. William Cobbett London: William Cobbett, , bk 3, ch. Halsted, —30 , 1: Johnson, —60 , 1: Lewis, Jr. Lalor, ed. Care, , 2: —10, — Globe , 30th Cong. Perkins, ed. Appleton-Century Co.

Randall, eds. Beale, ed. Francis Adams on the Late Wm. Putnam, , ; see also Donald, Lincoln , Stephen R. Naval College Review 36 : 38— In the midst of a later court-packing controversy, Erwin Griswold of Harvard Law School explained the tenth circuit as an apolitical response to the founding of the Union Pacific Railroad, which made it possible for a justice to get to a new 10th circuit court based in California.

See Hearings on S. Navy captors: E. Ellen, Jr. Scharf puts the Ely meeting on February 2, Du Pont: Philbrick, Sea of Glory , Invariably, Smith said the particular album served as a fitting epitaph, and it was now time for him to bring the Cure to an end and pursue something else, maybe a solo career, maybe a new band, maybe nothing else. This claim carried some weight when it was supporting a monumental exercise in dread, like Disintegration or Bloodflowers , but when applied to Wild Mood Swings , it seemed like no more than an empty threat, so fans played along with the game until Smith grew tired of it, abandoning it upon the release of his band's eponymous 13th album.

Instead of being a minor shift in marketing, scrapping his promise to disband the Cure is a fairly significant development since it signals that Smith is comfortable being in the band, perhaps for the first time in his life. This sense of peace carries over into the modest and modestly titled The Cure , which contains the most comfortable music in the band's canon -- which is hardly the same thing as happy music, even if this glistens in contrast to the deliberate goth classicism of Bloodflowers.

Where that record played as a self-conscious effort to recreate the band's gloomy heyday, this album is the sound of a band relaxing, relying on instinct to make music.

The Cure was recorded and released quickly -- the liner notes state it was recorded in the spring of , and it was released weeks later, at the end of June -- and while it never sounds hurried, it never seems carefully considered either, since it lacks either a thematic or musical unity that usually distinguish the band's records. It falls somewhere between these two extremes, offering both towering minor-key epics like the closing "The Promise" and light pop like "The End of the World. Which is ultimately the record's Achilles' heel: the Cure have become journeymen, for better and worse, turning out well-crafted music that's easy to enjoy yet not all that compelling either.

It's not a fatal flaw, since the album is a satisfying listen and there's also a certain charm in hearing a Cure that's so comfortable in its own skin, but it's the kind of record that sits on the shelves of die-hard fans, only occasionally making its way to the stereo. Rest of it's pretty good too, but the song only really needs one verse and a chorus -- the riff, which runs ceaselessly throughout the song's five minutes, does all the heaviest lifting.

Like you're actually in the wardrobe going over the cliff with the rest of the group. An immaculate pop-rock fantasy -- induced either by a mirage in the heat of the African desert or a vision on one particularly feverish late night in Robert Smith's bedroom, depending on how literally you want to take the lyrics. That's the level The Cure were at in -- tossing off absolute diamonds on B-sides that could've served as career-defining hits for lesser acts. Same could be said, by the way, of the stadium-rock slow-burn "Fear of Ghosts," the single's other stowaway.

The B-side of The Cure's first single was so strong that it not only demanded inclusion on their eventual debut, it led off the thing. While lacking the spectral grandeur that would come to define the group at their peak, everything else is already here: The instrumental interplay, the ear for hooks, and particularly the world-building lyrics.

Such a shimmering pop song might make intuitive sense at the length of a single edit, but you really need all seven and a half minutes of the album version here: It's got to take the proper time to build to the climactic bridge "If only I'd thought of the right words The chase music that every half-century-old black-and-white horror flick had no idea it needed.

It's got both gravity and lift, and it makes Smith's plain-faced vows of forever feel as resonant as Lord Byron. And of course, Robert Smith is up to the occasion of piloting this towering machine of death, starting with the legendary declaration " It doesn't matter if we all die!

It'd probably be a lot lower on this list if it was lying. Mint Car. More Than This. Mr Pink Eyes. Never Enough. New Day. One Hundred Years. One More Time. Other Voices. Out Of Mind. Out Of This World. Pictures Of You. Piggy In The Mirror. Pillbox Tales. Plastic Passion. Play For Today. Prayers For Rain.

Saturday Night. Scared As You. See The Children. Seventeen Seconds. Shake Dog Shake. Shiver And Shake. Siamese Twins. Six Different Ways. Snow In Summer. So What.

Speak My Language. Spilt Milk. Splintered In Her Head. Stop Dead. Strange Attraction. Subway Song. Sugar Girl. The 13th. The Baby Screams.

Mar 29,  · The Cure may have existed in extremes -- their album Wild Mood Swings boasted one of the more on-the-nose LP titles in recent memory -- .

8 thoughts on “Untitled - Matthew J Harris* - The Cure May Never Come (CDr, Album)

  1. Except from inner sleeve: "The Cure May Never Come is the first piece in the Renewable Music Series. These pieces will be long-form ambient pieces consisting of ninety-nine unique tracks to be played back using the random feature of most CD players.5/5(1).
  2. Untitled Lyrics: Hopelessly adrift in the eyes of the ghost again / Down on my knees and my hands in the air again / Pushing my face in the memory of you again / But I never know if it's real.
  3. Explore releases from Matthew J. Harris at Discogs. Shop for Vinyl, CDs and more from Matthew J. Harris at the Discogs Marketplace.
  4. Feb 09,  · 50+ videos Play all Mix - The Cure - Untitled (LYRICS ON SCREEN) 📺 YouTube The Cure - The Same Deep Water As You (Lyric Video) - Duration: .
  5. Oct 10,  · 12" Elektra Hopelessly drift In the eyes of the ghost again Down on my knees And my hands in the air again Pushing my face in the memory of you again But I never know if it's real Never .
  6. For a long time, maybe 15 years or so, Robert Smith rumbled about the Cure's imminent retirement whenever the band had a new album ready for release. Invariably, Smith said the particular album served as a fitting epitaph, and it was now time for him to bring the Cure to an end and pursue something else, maybe a solo career, maybe a new band, maybe nothing else.
  7. The Cure (formed in ) are an English rock band, originally comprised of primary songwriter Robert Smith, drummer Lol Tolhurst, and bassist Michael Dempsey—later replaced by.
  8. The Cure () Somehow, Robert Smith got into his head the notion that it would be a good idea to work with producer Ross Robinson, known for his collaborations with Korn, Slipknot and, Gods.

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