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The Cure's Wish album: the stories behind all the songs

25 November 2022, 15:23 | Updated: 28 February 2023, 17:00

Robert Smith and the cover of The Cure's 1992 album Wish

Robert Smith and co's ninth studio album from 1992 has had a reissue for its 30th anniversary... here are some of the inspirations behind the music.

By Martin O'Gorman

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As the 1980s turned to the 1990s, Britain's biggest alternative rock band, The Cure , were at the top of their game.

Having spent the previous decade transforming form the gloomy cult band that made albums like Faith (1981), frontman Robert Smith led the group and its ever-changing line-up into the pop chart thanks to singles like The Love Cats and In Between Days , plus the eclectic albums The Head On The Door (1985) and Kiss Me Kiss Me Kiss Me (1987).

Because of their new-found status as an international pop act, the dark sounds and introspective lyrics of 1989's Disintegration caused some concern (mainly among the bosses at The Cure's record label), In fact, the album was the group's most commercially successful to date.

The follow-up was released on Robert Smith's 33rd birthday, 21st April 1992. Wish initially seemed like a lighter collection of songs than its predecessor, but the influence of US grunge bands and the UK's then-popular shoegaze scene was evident in the record's dense, layered guitar sound.

The Cure in Munich, October 1992, on the European leg of the Wish tour: Porl (now Pearl) Thompson (guitar), Boris Williams (drums), Simon Gallup (bass), Robert Smith (vocals and guitar) and Perry Bamonte (guitar and keyboards)

For its 30th anniversary, Wish has been given deluxe-CD reissue which includes 24 previously-unreleased tracks of demos, outtakes and live recordings. The album will be available on vinyl for the first time in three decades, and there's even a picture-disc edition released for Black Friday on 25th November.

The album sessions - which had the working titles Higher and Swell - produced a number of songs that almost appeared as an instrumental album called Music For Dreams. Ultimately, they were offered as a limited edition cassette in 1994 called Lost Wishes , and the tracks have finally resurfaced on the new reissue.

Here, from the archives, are some of the stories behind the songs on what has been, to date, The Cure's only Number 1 album in the UK...

Read more: The Cure's Songs Of A Lost World - album release date, tracks and more

"I really don't know what I'm doing here / I really think I should've gone to bed tonight."

Guitar-fuelled opener which sees Robert Smith involved in what sounds like the worst "meet and greet" of all time. The line "And the way the rain comes down hard / That's how I feel inside" is a quotation from one of tragic poet Sylvia Plath's Letters From Home.

"The immediate inspiration for that song was derived from a lot of what we do," Robert Smith told Vox in May 1992. "Which is that you're asked to meet a lot of people. It's easy to say yes and afterwards you regret it. I've certainly used drinking to get through some of those things."

wish tour 1992

Released as a single on 16th March 1992, this was The Cure's first new song to reach the public since Never Enough eighteen months earlier. The unveiling was a huge marketing event, with fans being offered the chance to hear the track on an 0891 phone number and director Tim Pope 's glorious video premiered on release day at HMV stores around the country.

wish tour 1992

The Cure - High (Official Music Video)

Smith later revealed that the scene where he is attached to a kite and flown across the sky was rather painful. "At one point I really wished I hadn't thought of it." he told Select in May 1992. "It was really uncomfortable, I was sat on a bicycle seat suspended in the air for a few hours and at first I felt really dizzy - I was meant to look euphoric and I looked dreadful."

A delicate, heart-breaking song about a failing relationship, from the point of view of an observer. "I'm not emotionally involved at all in this song," Smith explained in a promotional interview for Wish in February 1992. "I'm just singing it quite dispassionately, but trying to get involved with the two protagonists in the song and singing each of their point of view."

wish tour 1992

From The Edge Of The Deep Green Sea

A song that came out of the band playing live in the studio and became a turning point in the recording of Wish. After recording this epic track, which sees Smith play all the guitar parts, "We sort of looked back at what we'd done over the first month and realised that a lot of it wasn't really up to standard," he told Guitar Player magazine in September 1992. "The atmosphere hadn't built up at that point Some of the songs we re-recorded two or three times just to get the feel right."

The lyrics - which tell the story of a substance-fuelled night of passion on a clifftop that ends in remorse, is the darker side to the joyous Just Like Heaven, which also takes place by the sea, most probably the South Coast of England, which borders Smith's hometown of West Sussex.

wish tour 1992

"Wendy Time is this indefinable time," Robert Smith noted in the promo interview that went out with Wish in April 1992. "The title actually hasn't got very much to do with the song, although the idea of Wendy Time is sort of crystallised in my mind as being a certain feeling at a certain moment, like when someone leaves the room and you sort of heave a sigh of relief."

wish tour 1992

Doing The Unstuck

"Let's get happy!" "Doing The Unstuck is a pretty sort of throw your hands in the air, let's get happy kind of record," Smith said of this exuberant tune in February 1992. This track was intended to be the third single from Wish, an honour that instead went to A Letter From Elise. "It's one of our best pop songs," Smith said in the sleeve-notes to 2004's Join The Dots set. "I was so happy when I sang this in the studio that it still makes me laugh when I hear it today."

wish tour 1992

Friday I'm In Love

"I remember driving home one Friday afternoon to have the weekend off," Robert Smith told Guitar World in 2004. "I started to think of this really great chord sequence. So I turned around and went back. We actually recorded it that Friday night. So from then on it was always just called 'Friday'."

wish tour 1992

The Cure - Friday I'm In Love

"Then, when I came to do the words for it, I thought, why don't I do a song about that Friday feeling? It's a thing you have at school, and lots of people work at jobs they don't really enjoy. So that Friday afternoon feeling is something you look forward to."

The song was the second single to be released from Wish, on 15th May 1992, but had been heavily promoted during the initial round of press for the album. The single made Number 6 in the UK charts.

An elegant piano-led track, which is still occasionally played live by The Cure to this day. "I think you have to trust, even if you know it's going to be abused," Robert told Request magazine in May 1992. "Sometimes you're trusted for parts of yourself which are unstable, and you're a bit unsure of them yourself. Then you have to become something that you're not, or abuse someone else's trust."

wish tour 1992

A Letter To Elise

"I used the name Elise because it's the name of the girl in Les Enfants Terribles by [Jean] Cocteau," Robert explained in February 1992. "The song isn't about her but the name has overtones for me, a kind of symbolic name."

wish tour 1992

The Cure - A Letter To Elise (Official Music Video)

In another literary connection, "Letters To Felice" is a compilation of letters to Felice Bauer by her fiancé Franz Kafka, an old favourite of Smith's. This was the third and final single to be taken from Wish, issued in October 1992 and making Number 28.

Originally titled Away, this song was originally premiered at The Cure's "secret" show in January 1991 at London's T&C2 (now known as The Garage). The song was originally quite downbeat, but the vicious studio version really plays up the theme of a "longstanding relationship that was suddenly and unexpectedly starting to fracture", as Smith says in the sleeve-notes for the new reissue of Wish.

wish tour 1992

To Wish Impossible Things

Smith told Melody Maker in December 1992 that this intricate song is "about relationships. The notion of three wishes, all through history, has this aspect where if you wish for selfish things, it backfires. But wishes never seem to take in the notion of wishing for other people. In all relationships, there are always aching holes, and that's where the impossible wishes come into it."

wish tour 1992

This swirling, grunge-influenced track almost gave the album its title. "I'd gone home one weekend and came back with the idea for End," Robert told RCD magazine in May 1992. "It got faster and faster and swelled to an excellent, cacophonous conclusion. So I had it in my mind that the title would be Swell and it would be the last track on the album, which would also be called Swell."

The refrain "Stop loving me, I am none of these things," seems to point to the fan adoration that the frontman was now receiving. "It's probably a feeling that people understand when they're put in a position whereby they are liked or loved or thought of and they are almost becoming a caricature of themselves and wish that they could change but they haven't the courage to." (Wish promo interview, February 1992)

wish tour 1992

The deluxe edition of Wish by The Cure is out now via www.thecure.com . Thanks to the excellent resource Flower Of Love: http://thecure.cz/

Read more: Friday I'm In Love: how The Cure created the perfect pop song

The cure - wish.

First released: 21st April 1992 Track listing: Side One: Open High Apart Side Two: From The Edge Of The Deep Green Sea Wendy Time Doing The Unstuck Side Three: Friday I'm In Love Trust A Letter To Elise Side Four: Cut To Wish Impossible Things End

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The Cure Wish

By Sam Sodomsky

Fiction / Elektra

May 29, 2022

Wish is what happens when a daring, visionary rock band starts slowing down; when the album-a-year pace and artistic reinventions pause to let the world catch up; when they reach a peak in popularity but start losing steam as a creative unit in the studio. While touring the album in 1992, the Cure played sold-out stadiums around the world, sounding stronger than ever, and most of the band quit afterward. They found an enduring hit with “Friday I’m in Love,” and a good portion of their fanbase felt slightly queasy about it. They were selling records and charting like never before, and critics began turning their attention to hipper, younger acts.

Granted, plenty of those bands were citing the Cure as an inspiration. From shoegaze to Britpop, alt-rock to post-rock, many of the prominent strains of music in the ’90s pulled from some corner of the Cure’s vast catalog, whether it was the tightly crafted post-punk of 1979’s Three Imaginary Boys or the ghostly sketches of 1981’s Faith , the devilish art-pop of 1985’s The Head on the Door or the immersive world-building of 1989’s Disintegration . Any one song from these records has enough character, vision, and atmosphere to spawn the careers of five entirely new bands.

On Wish , the Cure were beginning to assume the role of a legacy band—more important for what they had done than what they were currently doing—but they still had plenty of peers. Like R.E.M. on Monster , they cranked up the guitars to fit in with the current crop of radio rock; like Depeche Mode on Songs of Faith and Devotion , they ditched some of their signature synths in pursuit of a raw, live-band sound, complete with feedback and amplifier noise; like U2 on Achtung Baby , they took pleasure in challenging expectations, which meant balancing their totems of depression with gestures toward unfettered joy. In “Doing the Unstuck,” Robert Smith closes each verse with an uncharacteristic instruction: “Let’s get happy!”

Unlike those records, Wish is not remembered as a left turn or experiment, neither the start of a bold new phase nor an unsung dark-horse favorite. Instead, Wish is a solid record that sometimes gets overlooked due to the remarkable records preceding it and the largely disappointing work that followed. This humble reputation was aided by the music’s organic, communal genesis: It arrived in a rare moment of peace. Compared to previous career highs, the sessions were smooth and productive, even idyllic. With longtime producer David M. Allen, the quintet recorded in the stately Manor Studio in the English countryside, where they lived together and plastered the walls with cartoons and poetry.

As the sessions proceeded, there were no rumors that this would be the Cure’s final album, no dangerous drug use or health scares, no interpersonal conflicts to seep into the lyrics. Smith, who had gotten married to his high school sweetheart Mary Poole just a few years earlier, turned 33 on the day Wish was released, April 21, 1992. In the preceding months, the most scandalous news story to emerge in the UK tabloids was that Smith—whose severe employment of backcombing and Aqua Net had recently inspired the film Edward Scissorhands —had actually gotten a haircut .

If there is a quality that distinguishes Wish from the rest of their catalog, it’s the dense, buzzing sound—the work of five people in a studio, as opposed to one person’s vision brought painfully to life. An immediate side effect was a creative process that tended to drift all over the place. First, it was going to be a pair of albums: one titled Higher and an atmospheric companion called Music for Dreams . Then it was going to be called Swell . On the cover, you will find a prominent drawing meant to depict a song called “The Big Hand,” an early favorite during the sessions that was cut from the tracklist. These might seem like minor footnotes, but for a band whose leader conceived his work with a monomaniacal focus, they represented a proud embrace of directionlessness.

While it scattered the vision for the record, the full-band approach led to some fantastic performances. Bassist Simon Gallup is irreplaceable, adding latent hooks to even the most abstract moments, a melodic undercurrent that connects singles like “High” to gothy throwbacks like “Trust.” Drummer Boris Williams performs with arena energy, making their ongoing ascent feel inevitable. Weaving between the rhythm section, you can hear guitarists Pearl Thompson—whose electric, mythical leads would soon result in a gig accompanying Jimmy Page and Robert Plant—and Perry Bamonte, a one-time roadie who added a burst of levity to their dynamic. There are records by the Cure that feel like full-body experiences—music that asks you to step inside in order to fully enjoy—but Wish glides, floats, goes with the flow.

It’s not like Smith lost his edge—and to prove it, he paraphrases Sylvia Plath in the very first song. But listen closely, and note what is bringing him down. “Open” seems to be narrated by the saddest attendee of some industry party, the kind of grim, obligatory event that requires massive amounts of alcohol to get through the night: “The hands all on my shoulders don’t have names/And they won’t go away,” Smith sings to Williams’ pounding drums, antagonized by dull conversations and fake smiles. These are not the laments of a hopeless young romantic, grasping for love and meaning in a loveless, meaningless world, but rather the private anxieties of someone who lived long enough to see his dreams come true—and realized they didn’t solve anything.

Smith finds a contrasting setting in the closing “End,” which seems to address the conflicted thoughts of a beloved artist performing to his audience: “I think I’ve reached that point/Where giving up and going on/Are both the same dead end to me/Are both the same old song.” To make matters even clearer, the chorus goes as follows, repeated over and over again like a tantrum: “Please stop loving me/I am none of these things.” In interviews, he described these words—the first he wrote for the record—as a message to himself, a reminder not to fall into the trappings of ego and delusion: “It might seem like it’s quite late in the day for it to all go to my head, since we’ve been going so long,” he explained with typical self-deprecation, “but the success has reached the kind of magnitude where it’s insistent and insidious.”

I imagine most people who play dark, artsy music for long enough will notice a particular show when the audience seems different—a little bigger, maybe a little more distant, maybe no longer wearing entirely black. Smith always took pleasure in writing pop songs as a kind of gateway—“That was always our intention,” he said , “to draw people in and then smother them”—and often, his romantic songs like “Just Like Heaven” and “Lovesong” helped set the stakes for the gloomier material around them. In the lyrics of “Friday I’m in Love,” the Cure’s giddiest single, he condenses this idea to an existential quandary: Can just one day of bliss justify all the surrounding pain and monotony? The chorus offers an answer, and the classic, chiming chord progression does not contradict.

Like a lot of great bands, the Cure have followed a parabolic journey, starting as a cult act, then peaking in the mainstream before settling back with their core audience. For many of those hardcore fans, Wish is a strong album whose deficiencies are diagnosable and treatable. If you’ve got a Cure head in your life, casually mention Wish to them and count the seconds until they bring up the outtakes. From the six excellent B-sides on 2004’s Join the Dots box set to the four instrumentals on 1993’s cassette-only Lost Wishes EP, these shadowy obscurities are enough to fuel decades of conversation regarding alternate tracklists for the true follow-up to Disintegration . (And not to mention, heightened expectations for the delayed installment in Smith’s meticulous, enlightening reissue series, where Wish has been the next item on the checklist for years.)

For new listeners, Wish may be an unrepresentative starting point but it does go down easy—even the filler tracks have a lightness that feels uniquely humanizing. “Wendy Time,” while not the Cure’s most memorable funk-rock excursion, still offers a whimsical adrenaline hit, as Smith’s opening meow snuffs out the fiery momentum of “From the Edge of the Deep Green Sea.” This is the precise type of tone shift the band would have difficulty replicating as the years wore on and their records took the form of jarring hodgepodges (1996’s Wild Mood Swings ) and overcorrected moodpieces meant to reclaim the brooding melancholy of their signature sound (2000’s Bloodflowers ).

Back when they settled on that sound in the early ’80s, the Cure could conjure vast feelings through sheer suggestion. Records like Seventeen Seconds and Faith have a sinister magic akin to those early, low-budget horror movies, full of distant murmurs and ominous shadows, jump-cut climaxes rendered in grayscale. Instead of showing you the monster, Smith realized our subconscious could fill in the blanks with something far scarier. With their increased notoriety, the Cure upped the ante on Disintegration and Wish to color in those details, swapping our primal fear of the dark for elaborate settings and scenery, real characters and dialogue. It’s why “A Letter to Elise,” with its strumming acoustic guitars and keys that sound like a broken xylophone, seems to embody an entire narrative arc in the music alone.

It could veer toward melodrama if the sadness didn’t seem so real, so inhabitable. On Disintegration , the Cure prolonged and accessorized the emotion, embellishing each instrument—the drums with heavy reverb, the bass soaked in chorus, the lead guitar solidifying while it played, like liquid into ice—until everything sounded how we feel at our lowest. It was a creative breakthrough and an emotional one: “The crux of this album is the horror of losing the ability to feel things really deeply as you get older,” Smith told OOR Magazine ’s Martin Aston, pinpointing the driving tension of his songwriting. “It worries me and everyone that I know of my age.” There is a reason why so many of his lyrics turn to Christmastime and kittens and first loves—formative symbols that carry past adolescence, never losing their sentimental appeal.

In a sense, the Cure’s entire body of work can be heard as an inquiry into how childlike emotion fares against the crushing tedium of adulthood. “For me, the idea of growing up is this idiot idea, because I was more grown up when I was 13 than I am now,” Smith said in 2004. “To me, grownups [were] people that kind of sighed a lot and had worry lines and looked forward to the weekend. I don’t look forward to the weekend at all.” It’s a funny distinction, but it speaks to the particular escape that his best work provides: The Cure posit that any emotion—sadness, fear, nostalgia, unrequited longing, ill-fated optimism—is preferable to numbness

This is why, in the loudest and most desperate moment of Wish , Smith lashes out using these words: “You don’t feel anymore/You don’t care anymore.” Compared to Disintegration , these songs keep a foot in the adult world, where we are encouraged to appear a little more balanced. “The vulnerable, lost little boy side of my image is gradually disappearing, if it hasn’t gone already. But the emotional side of the group will never disappear,” Smith promised at the time, noticing his use of the word “man” in a lyric where he might have previously written “boy.” Eventually, on Bloodflowers , he would find a way to verbalize this dissonance: “She dreams him as a boy/And he loves her as a girl,” he sang on “The Loudest Sound,” a bleak song about an older couple vowing to live entirely through each other’s fading memories. It’s not exactly a happy ending, but then again, what did you expect?

The years that followed Wish brought some hard lessons: Thompson and Gallup quit temporarily. Williams left for good. Smith endured a long and brutal legal battle with his former bandmate, Lol Tolhurst, a co-founding member who had been fired at the end of the previous decade due to issues stemming from alcoholism. Wish ’s distracted and labored follow-up, Wild Mood Swings , landed with a thud four years later, effectively ending the Cure’s tenure in the mainstream. In retrospect, Smith claims he saw the writing on the wall, and the commercial failure forced him to develop a more personal relationship to his art, blocking out the masses to please only himself and his devoted fanbase. You can hear him beginning to embrace this path on Wish , letting go of some perfectionism, accepting the inevitable. Everything ends; life goes on. It doesn’t make growing up sound particularly fun, or any more avoidable. But it assures us we don’t have to do it alone.

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The Cure: Wish

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Newly-remastered, the record’s deluxe 3-CD 45 track edition includes 24 previously unreleased tracks 4 more that are new to CD and digital.

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Wish was The Cure’s 9th studio album, released on April 21, 1992 It became the band’s best selling album, reaching No. 1 in the UK and No.2 in the US, where it was nominated for a Grammy in the Best Alternative Music Album category. The album yielded three hit singles, with “High” in March 1992, which reached No. 8 in the UK, the evergreen “Friday I’m In Love” in May 1992 and “A Letter To Elise” which was released in October 1992. That year’s ‘Wish’ tour would be the Cure’s most extensive, with 111 shows in 21 countries.

The new deluxe 3CD 45 track edition of Wish includes 24 previously unreleased tracks 4 more that are new to CD and digital. CD1 contains the original Wish album newly remastered by Robert Smith and Miles Showell at Abbey Road Studios. The second disc features 21 previously unreleased demos, including four studio vocal demos from 1990 and seventeen instrumental demos from 1991, 9 of which are previously unreleased songs. The third CD in the set features the four tracks from the mail order only cassette ‘Lost Wishes’ released in 1993, which have never appeared on CD or digitally. “Uyea Sound” from that cassette can be heard as a digital single now .

Uyea Sound (Dim-D mix) - Official Visualiser

Also included are the previously unreleased song “A Wendy Band” from the 1992 Manor Studio sessions, a previously unheard mix of the epic live favourite “From The Edge Of The Deep Green Sea”, as well as five rare 12” mixes. Finally, closing the set is an unheard live version of “End” from Paris Bercy in October 1992.

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The prolific period of recording Wish began with demo sessions at The Live House in Cornwall and continued at Farmyard Studios in the Cotswolds. “We got around forty songs put down during those two sessions”, recalls Robert Smith, “we were on fire!”

On arrival at The Manor, a residential studio in Oxfordshire, in September 1991, the band all bought bicycles. Robert Smith: “There was a pub down the nearby canal path, and most early evenings we’d cycle down there for a livener or two. I was the only one ‘un cool’ enough to have a bike with lights, so I was always at the back on the way there, and always at the front on the way back… I still can’t believe we never ended up in the water.”

From the start of the recording, Smith h ad a clear vision of what Wish should be. The overall sound was in my head from the start. We used a pretty small palette of sounds, as we did with Disintegration , but managed to create a lot of different kinds of song with it. I think Kiss Me Kiss Me Kiss  was more of a reference than Disintegration .”

Listening back to the album in 2022, Smith has said, “There’s a side to the album which I had kind of forgotten, a very gentle, yearning thing which is quite beautiful. “Trust” is one of the best things we’ve ever done I think, it’s played with great feeling, and “To Wish Impossible Things” is another gorgeous, melancholic piece… in fact it could well be my favourite song on the record.”

When Wish was completed, Smith felt that they had achieved everything they had set out to do, but there was a glitch In the studio control room. “It all sounded excellent, but I got too busy sorting out our upcoming concerts to properly oversee the mastering. It was too late to do anything about it; the album was out, and we were off around the world again. It has really bugged for me for a very long time Remastering the album earlier this year has finally given Smith the chance to address this It has taken 30 years, but finally, finally my Wish has come true.”

Pre-order Wish .

Wish : CD1 Original Album Remastered by Robert Smith and Miles Showell at Abbey Road Studios: “Open” “High” “Apart” “From The Edge of The Green Sea” “Wendy Time” “Doing The Unstuck” “Friday I’m In Love” “Trust” “A Letter To Elise” “Cut” “To Wish Impossible Things” “End”

CD2 Demos – All previously unreleased versions. (*Unreleased track) “The Big Hand” [1990 Demo][final version on B-side to A Letter To Elise 7”] “Cut” [1990 Demo] aka “Away” [final version appears on WISH] “A Letter To Elise” [1990 Demo] aka “Cut” [final version appears on WISH] “Wendy Time” [1990 Demo] [final version appears on WISH] “This Twilight Garden” [Instrumental Demo] [final version on B-side to High 7″] “Scared As You” [Instrumental Demo] [final version on B-side to Friday I’m In Love 12″] “To Wish Impossible Things” [Instrumental Demo] [final version appears on WISH] “Apart” [Instrumental Demo] [final version appears on WISH] “T72” [Instrumental Demo]* “Now Is The Time” [Instrumental demo]* “Miss van Gogh” [Instrumental demo]* “T6” [Instrumental Demo]* “Play” [Instrumental Demo] [final version on B-side to High 12″] “A Foolish Arrangement” [Instrumental Demo] [final version on B-side to A Letter To Elise 12″] “Halo” [Instrumental Demo] [final version on B-side to Friday I’m In Love 7″] “Trust” [Instrumental Demo] [final version appears on WISH] “Abetabw” [Instrumental Demo]* “T8” [Instrumental Demo]* “Heart Attack” [Instrumental Demo]* “Swing Change” [Instrumental Demo]* “Frogfish” [Instrumental Demo]*

CD3: ’Lost Wishes’ / Studio Out-Takes / 12” Remixes / Live / Rare / Previously Unreleased. (*Unreleased track **Unreleased version) “Uyea Sound” [Dim-D Mix] [from Lost Wishes MC 1993] “Cloudberry” [Dim-D Mix] [from Lost Wishes MC 1993] “Off To Sleep…” [Dim-D Mix] [from Lost Wishes MC 1993] “The Three Sisters” [Dim-D Mix] [from Lost Wishes MC 1993] “A Wendy Band [Instrumental]* “From The Edge Of The Deep Green Sea”[Partscheckruf Mix]** “Open [Fix Mix]” [B-side to High 12″] “High [Higher Mix]” [High 12″] “Doing The Unstuck” [Extended 12” Mix] “Friday I’m In Love” [Strangelove Mix] [Friday I’m In Love 12″] “A Letter To Elise” [Blue Mix] [A Letter To Elise 12″] “End” [Paris Live 92]**

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  • Song played from tape Tape ( Intro over PA ) Play Video
  • Open Play Video
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  • The Figurehead Play Video
  • Charlotte Sometimes Play Video
  • Three Imaginary Boys Play Video
  • Boys Don't Cry Play Video
  • Close to Me Play Video
  • Why Can't I Be You? Play Video
  • Primary Play Video
  • A Strange Day Play Video
  • A Forest Play Video

Edits and Comments

10 activities (last edit by Lizards , 21 Dec 2011, 18:42 Etc/UTC )

Songs on Albums

  • Doing the Unstuck
  • Friday I'm in Love
  • From the Edge of the Deep Green Sea
  • Fascination Street
  • Pictures of You
  • A Night Like This
  • Close to Me
  • In Between Days
  • Let's Go to Bed
  • Just Like Heaven
  • Why Can't I Be You?
  • A Strange Day
  • The Figurehead
  • Boys Don't Cry
  • Never Enough
  • Charlotte Sometimes
  • Three Imaginary Boys

Complete Album stats

The Cure setlists

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Seattle center coliseum.

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The Cure Gig Timeline

  • Jun 27 1992 Rose Bowl Pasadena, CA, USA Add time Add time
  • Jun 30 1992 Pacific Coliseum Vancouver, BC, Canada Add time Add time
  • Jul 01 1992 Seattle Center Coliseum This Setlist Seattle, WA, USA Add time Add time
  • Jul 04 1992 Spartan Stadium San Jose, CA, USA Add time Add time
  • Jul 05 1992 Cal Expo Amphitheatre Sacramento, CA, USA Add time Add time

35 people were there

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wish tour 1992


  1. The Cure's 1992 Concert & Tour History

    The Cure's fourth album, "Pornography" (1982) was the first Top 10 in the UK while its ninth studio album "Wish" (1992) was its first Number One. To date, Cure has released thirteen studio albums with its final, "4:13 Dream," dropping in 2008. ... Wish Tour Setlists. Olympia Grand Hall: London, England, United Kingdom: Nov 26, 1992 The Cure ...

  2. The Cure

    Wish Tour - 199221.04.1992 Bradford - St. Georges Hall22.04.1992 Newcastle - Mayfair 23.04.1992 Dundee - Caird Hall 24.04.1992 Glasgow - Barrowland Ballroom ...

  3. The Cure Concerts 1992

    1992-05-17 Philadelphia - Spectrum (USA/PA) Open, High, Pictures Of You, Lullaby, Just Like Heaven, Fascination Street, To Wish Impossible Things, Wendy Time, The Walk, Charlotte Sometimes, Doing The Unstuck, Friday I'm In Love, In Between Days, From The Edge Of The Deep Green Sea, Never Enough, Cut, End.

  4. The Cure, A Forest Live 1992, At The Palace of Auburn Hills, Michigan

    At The Palace of Auburn Hills, Auburn Hills, Michigan in 1992, during the successful Wish Tour.Almost 14 minutes playing the best live version from A Forest ...

  5. The Cure Wish Tour 05 16 92

    The Cure - Wish Tour May 16, 1992 - Philadelphia Spectrum.This is my own personal video - all copyrights to The Cure.

  6. The Cure's Wish: the stories behind all the songs

    The Cure in Munich, October 1992, on the European leg of the Wish tour: Porl (now Pearl) Thompson (guitar), Boris Williams (drums), Simon Gallup (bass), Robert Smith (vocals and guitar) and Perry ...

  7. The Cure Concert Setlist at Texas Stadium, Irving on June 13, 1992

    Get the The Cure Setlist of the concert at Texas Stadium, Irving, TX, USA on June 13, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on setlist.fm!

  8. The Cure Concert Setlist at Dean E. Smith Student Activities Center

    Get the The Cure Setlist of the concert at Dean E. Smith Student Activities Center, Chapel Hill, NC, USA on May 28, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on ... The Wish Tour (North American Leg) Tour statistics Add setlist. Setlist. share setlist Song played from tape. Tape (Intro over PA ...

  9. The Cure Concert Setlist at The Omni, Atlanta on May 30, 1992

    Get the The Cure Setlist of the concert at The Omni, Atlanta, GA, USA on May 30, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on setlist.fm!

  10. The Cure: Wish Album Review

    Today, we revisit the Cure's commercial peak in 1992, a pivotal, fantastic, and often overlooked album in the band's catalog. ... turned 33 on the day Wish was released, April 21, 1992.

  11. Wish (The Cure album)

    Wish is the ninth studio album by English rock band the Cure, released on 21 April 1992 by Fiction Records in the United Kingdom and Elektra Records in the United States. Wish was the most commercially successful album in the band's career, debuting at number one in the UK and number two in the US, where it sold more than 1.2 million copies.. On 25 November 2022, a remastered 30th-anniversary ...


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  13. The Cure

    Wish is The Cure's ninth studio album, released in April of 1992. ... Smith predictably claimed that this would again be the band's final album and tour, ...

  14. Show (The Cure album)

    Show is a live album released in 1993 by the British alternative rock band the Cure.It was recorded live over two nights at The Palace of Auburn Hills, Auburn Hills, Michigan (a suburb of Detroit) in 1992, during the successful Wish tour. Show was also released as a concert video.. This live album was released along with Paris, which was recorded in Paris.

  15. The Cure Setlist at Cal Expo Amphitheatre, Sacramento

    Get the The Cure Setlist of the concert at Cal Expo Amphitheatre, Sacramento, CA, USA on July 5, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on setlist.fm!

  16. The Cure Announce 30th Anniversary Edition Of Wish

    Wish was The Cure's 9th studio album, released on April 21, 1992 It became the band's best selling album, reaching No. 1 in the UK and No.2 in the US, where it was nominated for a Grammy in ...

  17. Lullabies From Heaven: The Wish Tour 1992 (2022, CD)

    View credits, reviews, tracks and shop for the 2022 CD release of "Lullabies From Heaven: The Wish Tour 1992" on Discogs.

  18. The Cure Concert Setlist at Spectrum, Philadelphia on May 17, 1992

    Get the The Cure Setlist of the concert at Spectrum, Philadelphia, PA, USA on May 17, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on setlist.fm!

  19. Lullaby (Wish Tour '92 Live In Europe) (1993, CD)

    Cure. Released. 1992 — UK & Europe. Vinyl —. 12", 45 RPM, Single, Limited Edition, Numbered. View credits, reviews, tracks and shop for the 1993 CD release of "Lullaby (Wish Tour '92 Live In Europe)" on Discogs.

  20. Live Wish Tour 1992 (2018 Unofficial Remaster)

    About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features NFL Sunday Ticket Press Copyright ...

  21. The Cure Tour Statistics: 1992

    The Wish Tour (European Leg) (46) The Wish Tour (North American Leg) (44) Three Imaginary Boys Tour (54) WXRT Radio (1) Wild Mood Swings Promotional Shows (7) Songs; Albums; Avg Setlist; Covers; With; Concert Map; Songs played by year: 1992. Song Play Count; 1: Cut Play Video stats: 110 : End Play Video stats: 110 : Friday I'm in Love Play ...

  22. Lockheed Martin Engineering Management Program

    Join professor Ronald Duren Jr. to learn about his specialization: Neuroscience of Leadership: Leading with Your Brain in this 30 minute webinar. With a rich background spanning engineering management, aviation, and athletics, Professor Duren has integrated over two decades of industry experience into his teaching. In addition, learn about the ME-EM degree and the graduate certificate ...

  23. The Cure Setlist at Seattle Center Coliseum, Seattle

    Get the The Cure Setlist of the concert at Seattle Center Coliseum, Seattle, WA, USA on July 1, 1992 from the The Wish Tour (North American Leg) Tour and other The Cure Setlists for free on setlist.fm!

  24. THE CURE

    ★ Follow TCDB on https://ko-fi.com/tcdbinfo to never miss a thing. It's free and you can login with your Google, Twitter, Facebook or email.☑ About This Vide...