In the first half of the ‘80s, the Cure (particularly Robert Smith) was the face of alternative music. Pale skin, black eyeliner and blood red lips became the uniform of those who deemed themselves outside of the mainstream, and the Cure? The Cure was the cool band people would say they listened to when they wanted to prove that they themselves were cool. The Head on the Door made the Cure Masters of the Form and expanded this rather myopic opinion of the band. The Head on the Door had been a visceral musical masterpiece that channeled the Cure’s musical energies in an album length wave of accessible energy. It eliminated the idea that the Cure was nothing more than the face of alternative music. The Cure had openly courted the mainstream without ever actually swimming in it or changing the basics of their sound. In essence, the Cure didn’t seem to care about being cool at all and, naturally this made the band that much cooler. They were no longer simply what alternative music looked like; they were what it sounded like as well.
After The Head on the Door, the band found themselves tasked with following up the most successful production of their musical ideas. So in 1987 The Cure released Kiss Me, Kiss Me, Kiss Me a sprawling double album filled with virtually every musical idea that Robert Smith and the band could think of. With the release of Kiss Me, Kiss Me, Kiss Me the band that had always seemed too cool for the mainstream, the band that had always been seen as the cool alternative to it, discovered something they’d never experienced before – their first world wide success.