THE CURE "DISINTEGRATION" 1989 ELEKTRA RARE DMM AUDIOPHILE VINYL PROMO EX/EX-

$

142

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THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. THANKS FOR LOOKING.

ARTIST: THE CURE

TITLE- “DISINTEGRATION”

TRACK LISTING-SEE PHOTOS & BELOW:

Track listing

All lyrics are written by Robert Smith; all music is composed by Smith, Simon Gallup, Roger O'Donnell, Porl Thompson, Boris Williams, and (officially, in credits) Lol Tolhurst.

Disintegration track listing

No.

Title

Length

1.

"Plainsong"

5:12

2.

"Pictures of You"

7:24

3.

"Closedown"

4:16

4.

"Lovesong"

3:29

5.

"Last Dance"

4:42

6.

"Lullaby"

4:08

7.

"Fascination Street"

5:16

8.

"Prayers for Rain"

6:05

9.

"The Same Deep Water as You"

9:19

10.

"Disintegration"

8:18

11.

"Homesick"

7:06

12.

"Untitled"

Credits

• Artwork, Design – Parched Art

• Bass, Keyboards – Simon Gallup

• Drums – Boris Williams

• Engineer [Assistant At Outside] – Richard Sullivan

• Engineer [Assistant At Rak] – Roy Spong

• Guitar – Porl Thompson

• Instruments [Other] – Laurence Tolhurst

• Keyboards – Roger O'Donnell

• Music By – Williams*, Tolhurst*, Thompson*, Smith*, O'Donnell*, Gallup*

• Producer, Engineer – David M. Allen, Robert Smith

• Voice, Guitar, Keyboards – Robert Smith

• Words By – Robert Smith

Notes

US Promotional copy.
Direct Metal Mastered audiophile quality vinyl.
'Promotional Copy Not For Sale' printed on labels.

Three round stickers on front sleeve:
- "Over 1 Hour of The Cure featuring Fascination Street DMM Direct Metal Mastering 60855-1"
- "When You Play It, Say It"
- "Pressed On High Quality Audiophile Vinyl"

Golden promo stamp on back sleeve.

Cover has a crackled gloss finish over normal artwork & spine cut saw mark.
Vinyl shows a brown translucent effect when held up to a light.
Includes thin paper printed inner.

Catalog numbers:
60855-1 on labels and inner.
9 60855-1 on spine.

Barcode and Other Identifiers

• Barcode (Printed): 0 7559-60855-1

• Matrix / Runout (A Side etchings): ST-E-60855 A DMM-7 SP1-1 MASTERDISK

• Matrix / Runout (B Side etchings): ST-E-60855 B7 DMM 1-1 MASTERDISK DMM

YEAR OF RELEASE- 1989

LABEL- ELEKTRA RECORDS

CAT.#: ST-E-60855-1

RECORD CONDITION: THE RECORD IS IN EX/EX- CONDITION, NICE SHINEY BLACK LUSTER. NO MARKS OR SCRATCHES, BOTH LABELS IN EXCELLENT CONDITION. NICE SHINEY LUSTER TO THE VINYL. NO SKIPS, POPS. OR CLICKS. THESE LOOK VIRTUALLY UNPLAYED. SUPER CLEAN. NICE CLEAN AUDIO BETWEEN TRACKS TOO. I HEARD A COUPLE OF VERY VERY LIGHT “CLICKS” ON THE LEAD IN GROOVE ON SIDE 2, BUT ONCE THE SONG STARTED, THERE WAS NONE. REALLY A CLEAN COPY. ALSO THIS IS A BROWNISH TRANSLUCENT VINYL WHEN HELD TO A LIGHT.

JACKET CONDITION: THE JACKET IS IN VG++/EX--CONDITION. NICE CLEAN EDGES, NO SEAM SPLITS, NO WRITING, BENDS, MARKS, WRITING ON IT. NOTCH CUT DONE BY THEIR RECORD LABEL. THERE'S A SMALL WEAR SPOT ON THE TOP EDGE ABOUT 2” LONG, THE SEAM IS NOT SPLIT, JUST SOME LIGHT WEAR.

MORE INFO : THIS RECORD IS CURRENTLY OUT OF PRINT. COMES IN ORIGINAL INNER SLEEVE (ONE EDGE HAS A SPLIT (SEE PHOTOS). HAS A GOLD INK EMBOSSED PROMO STAMP ON THE BACK, ALSO BOTH LABELS HAVE PRINTED ON THEM “PROMOTION COPY-NOT FOR SALE”. (SEE PHOTO). NO RESERVE. THIS WAS NOT SOLD TO THE GENERAL PUBLIC! HAS THREE STICKERS ON THE FRONT INCLUDING THE “PRESSED ON HIGH QUALITY AUDIOPHILE VINYL”.

ARTIST/ALBUM INFO:The Cure are an English rock band formed in Crawley, West Sussex, in 1978.The band members have changed several times, and guitarist, lead vocalist, and songwriter Robert Smith is the only constant member. The band's debut album was Three Imaginary Boys (1979) and this, along with several early singles, placed the band in the post-punk and new wave movements that had sprung up in the United Kingdom. Beginning with their second album, Seventeen Seconds (1980), the band adopted a new, increasingly dark and tormented style, which, together with Smith's stage look, had a strong influence on the emerging genre of gothic rock as well as the subculture that eventually formed around the genre.

Following the release of their fourth album Pornography in 1982, the band's future was uncertain. Smith was keen to move past the gloomy reputation his band had acquired, introducing a greater pop sensibility into the band's music. Songs such as "Let's Go to Bed" (1982), "The Love Cats" (1983), "Inbetween Days" (1985), "Close To Me" (1985), "Just Like Heaven" (1987), "Lovesong" (1989), and "Friday I'm in Love" (1992) aided the band in receiving commercial popularity. The band have released 13 studio albums, two EPs and over 30 singles to date.

The Cure were inducted into the Rock and Roll Hall of Fame in 2019.

Disintegration is the eighth studio album by English rock band the Cure, released on 2 May 1989 by Fiction Records. The record marks a return to the introspective gothic rock style the band had established in the early 1980s. As he neared the age of 30, vocalist and guitarist Robert Smith had felt an increased pressure to follow up on the band's pop successes with a more enduring work. This, coupled with a distaste for the group's newfound popularity, caused Smith to lapse back into the use of hallucinogenic drugs, the effects of which had a strong influence on the production of the album. The band recorded the album at Hookend Recording Studios in Checkendon, Oxfordshire, with co-producer David M. Allen from late 1988 to early 1989. Following the completion of the mixing, founding member Lol Tolhurst was fired from the band.

The album became the band's first commercial peak, charting at number three in the United Kingdom and at number 12 in the United States, and producing several hit singles including "Lovesong", which peaked at number two on the Billboard Hot 100. It remains the band’s highest selling record to date, with more than three million copies sold worldwide. It was greeted with a warm critical reception before later being acclaimed, eventually being placed at number 116 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time".[3] Stephen Thomas Erlewine of AllMusic called it the "culmination of all the musical directions The Cure were pursuing over the course of the '80s".

Background

The band’s second album Seventeen Seconds (1980) established it as a prominent gothic rock band, which would be followed up by Faith (1981), and Pornography (1982). Three singles were released during 1982 and 1983 that were a significant divergence in style; essentially, pop hits. "The Love Cats" became the band's first single to infiltrate the top ten in the United Kingdom, peaking at number seven.[This shift is attributed to Smith's frustration over the band's labelling as a predictable gothic rock band: "My reaction to all those people ... was to make a demented and calculated song like 'Let's Go to Bed'." Following the return of guitarist Porl Thompson and bassist Simon Gallup and the addition of drummer Boris Williams in 1984, Smith and keyboardist Lol Tolhurst continued to integrate more pop-oriented themes with the release of the group's sixth studio album The Head on the Door (1985). With the singles "In-Between Days" and "Close to Me", the band became a viable commercial force in the United States for the first time.

The band's 1987 double album Kiss Me, Kiss Me, Kiss Me resulted in further commercial success, with a sold-out world tour booked in its wake. Despite the international success the band was now enjoying, internal friction was increasing due to Tolhurst's increasing alcoholism at the time. Keyboardist Roger O'Donnell (who had recently been touring with The Psychedelic Furs), was soon hired as a second touring keyboardist. As Tolhurst's alcohol consumption increased, the other band members would tease Tolhurst, leading Smith to later comment that his behaviour was similar to that of "some kind of handicapped child being constantly poked with a stick".[9] At the end of the Kissing Tour in support of the album, Smith became uncomfortable with the side effects of being a pop star and moved to Maida Vale (in West London) with fiancée Mary Poole. Regularly taking LSD to cope with his depression, Smith once again felt the band was being misunderstood and sought to return to its dark side with their next record.

Recording and production

Smith's depression prior to the recording of Disintegration gave way to the realization on his 29th birthday that he would turn 30 in one year. This realization was frightening to him, as he felt all the masterpieces in rock and roll had been completed well before the band members reached such an age. Smith consequently began to write music without the rest of the band. The material he had written instantly took a dismal, depressing form, which he credited to "the fact that I was gonna be thirty". The band convened at Boris Williams' home and compared their individual demos that each member recorded, and they rated them '1 to 10', then the group met later at a second session and recorded a total of 32 songs at Williams' house with a 16-track recorder by the end of the summer.[11] Of these 32 songs, 12 of the songs would make it onto the final album.

When the band entered Hook End Manor Studios, their attitude had turned sour towards Tolhurst's escalating alcohol abuse, although Smith insisted that his displeasure was caused by a meltdown in the face of recording the band’s career-defining album and reaching 30. Displeased with the swollen egos he believed his bandmates possessed, Smith entered what he considered to be "one of my non-talking modes" deciding "I would be monk-like and not talk to anyone. It was a bit pretentious really, looking back, but I actually wanted an environment that was slightly unpleasant". He sought to abandon the mood present on Kiss Me, Kiss Me, Kiss Me and the pop singles they had released, and rather recreate the atmosphere of the band's fourth album Pornography (1982). Despite the serious subject matter of the album, O'Donnell commented in 2009 that the atmosphere in the studio was still upbeat during the sessions: "I remember very clearly laughing and joking and fooling around in the control room while Robert was singing 'Disintegration', and then all of us trying to be serious when he came in to listen back.[...] It was never a serious atmosphere in the studio, and when you think about the album and how dark it is, I'm sure people think we were sitting around slitting our wrists with candles and chains hanging from the walls."

While Tolhurst had contributed to the foundation of the song "Homesick" (according to O'Donnell), his musical contributions to the album were marginal as his alcohol abuse rendered him more or less incapable of recording.[The other members, finally, threatened to quit if Tolhurst was not fired before the end of the recording session. When Tolhurst arrived to the mixing of the album, and then became excessively drunk, a shouting match ensued and he left the building furious; three weeks later, Smith decided to terminate his tenure with the band prior to the band's upcoming tour. It was during this period that O'Donnell was asked by Smith to become a full-time member, instead of simply a touring musician. Despite Tolhurst's ejection from the group, Smith told NME in April 1989, "He'll probably be back by Christmas. He's getting married, maybe that's his comeback."] Tolhurst did in fact briefly reunite with the band in 2011 during the Reflection tour.

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