Greatest Hits

1	Boys Don't Cry 2:42
2	A Forest 4:44
3	Let's Go to Bed 3:34
4	The Walk 3:32
5	The Lovecats 3:40
6	In Between Days 2:58
7	Close to Me 3:42
8	Why Can't I Be You? 3:14
9	Just Like Heaven 3:33
10	Lullaby 4:10
11	Lovesong 3:29
12	Never Enough 4:28
13	High 3:35
14	Friday I'm in Love 3:35
15	Mint Car 3:30
16	Wrong Number 6:02
17	Cut Here 4:11
18	Just Say Yes 3:29

Barnes & Noble

With dirgelike jams and a ghoulish, mascara-soaked look, the Cure have long been the reigning kings of mopey, doom-and-gloom rock. But that image only tells half their story. Robert Smith's ever-changing band has consistently cut some of pop's most buoyant, helium-filled singles, starting with late-'70s pop-punk gems like "Boys Don't Cry," an irresistibly catchy tune made odd by Smith's distinctive yowling vocals. Greatest Hits tracks the band through delicious synth-heavy gothic narratives ("The Walk"), quirky and bouncy expressions of desire ("Close to Me'), surprisingly sincere love songs ("Friday I'm in Love"), and grand set pieces ("Never Enough"). These tracks, along with two new songs, including the enticing "Cut Here," make a solid case for the Cure as a fun-loving singles band, showcasing Smith and company at their sunniest. Although it shares 7 of its generous 18 tracks with 1986's Staring at the Sea collection -- including "In Between Days," "Close to Me," "Let's Go to Bed," "Forrest," and the aforementioned "Boys Don't Cry" -- Greatest Hits is the most comprehensive Cure set available (there is also a companion DVD release of videos). As an added treat for fans, the limited-edition version of Greatest Hits includes a bonus CD, Acoustic Hits, with all the songs done "unplugged." With extra helpings of piano and acoustic guitar, these new versions are sometimes even sunnier than the originals; "In Between Days" and "Let's Go to Bed" are brightened by their airy arrangements. Robert Smith clearly had a great time revisiting these songs; no doubt listeners will too. Steve Klinge

All Music Guide

The Cure were never afraid of artistically defining themselves. They had their own sound, an eerie glamour surrounding a dark whimsicality, yet fans flocked to them throughout the '80s and '90s. Commercial or cult favorites, they're impressive as being one of the '80s' seminal bands who culled more than 30 critical singles. Compilations like 1986's Staring at the Sea: The Singles and 1997's Galore showcased the Cure's accessibility; therefore, having a solid greatest-hits collection might be a bit nonessential. Then again, releasing an album like this at the tip of the new millennium calls for a celebration, and that's what the Cure did. They collected 16 amazing cuts which spanned 23 years and recall what once was. From the saucy synth strut of "The Walk" and the cabaret stylings of "The Lovecats" to the lilting swan songs of "Lovesong" and "Just Like Heaven," the Cure's ever-changing moods were switched up for something desirable and blissful. They are selectively classic, leaving this package to be its own storybook of sorts. The Cure did treat the fans with two new songs: "Cut Here" rises with early sounds of Madchester, but the glitzy swirls of "Just Say Yes" mark the Cure's return to form. Republica's Saffron joins Robert Smith for something campy and carefree. Greatest Hits is basically for the fans who have to have everything, but also a decent collection for those who never fully enraptured themselves with the Cure. MacKenzie Wilson