download purchase The Cure: Ranking the Albums From 13 to 1. Just about every Cure is worth picking up, and even those ranked lowest boast worthwhile moments. Here are their albums, spanning 29 years, presented from worst to best. Just about every Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. Also worth noting is that the 13 studio albums do not tell the whole story. The Cure have released multiple live albums (the best are 1984’s , 1991’s and 1993’s Show ), a kaleidoscopic remix collection (1990’s Mixed Up ), and dozens of diverse b-sides not available on any of the albums. The vast majority of those are included on the essential 2004 box-set Join the Dots: B-sides & Rarities 1978-2001 . As hardened fans will tell you, many of the Cure’s b- sides are every bit as strong as their album tracks and singles. Here are their albums, spanning 29 years, presented from worst to best. Obviously every Cure fan has their own take, and would end up with a different ranking. There are no right answers. A strong argument could be made for at least four of the Cure’s albums to be at the top. Regardless, it’s nice to be able to look back with some distance on the entire catalog to see where everything fits. The Cure’s fascinating musical legacy will endure for generations of new fans. 13. The Cure (2004) Somehow, 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 help us, Limp Bizkit. Robinson tried to fit the Cure into the edgy, almost-but-not-quite “nu metal” vibe that polluted the rock airwaves at the time, with disastrous results. The collaboration was not a good fit — it’s like a Hot Topic exploded all over the studio and slathered everything in thick layers of contrived melodrama and cheap mascara. Robert Smith’s vocals are way too high in the mix — he spends much of the album howling incoherently over a maddening barrage of heavy guitars. The keyboards, which have been an integral part of the Cure’s sound since , are largely absent. Perhaps all wouldn’t be lost if there were any discernible melodies, but unfortunately most of the songs meander uselessly to nowhere. Particularly nail-on-chalkboards is the punishing ten-plus minute, “The Promise”. Still, there are a few worthwhile tracks if you have enough patience to wade through the dross to find them. The best is a pleasant pop throwaway that would have made a great single, “(I Don’t Know What’s Going) On”. “Taking Off” is catchy Cure-by- numbers pop (it’s been done before, and better, but at least it’s a break from the relentless slog). “Anniversary” is another high point, a brooding expression of melancholy that sounds like the Cure we know and love. First single “The End of the World” is mediocre compared with other lead singles to Cure albums, but it’s not a total catastrophe. “alt.end” is the only one of the harder-edged rockers on the album with any value. The scream-fests “Us or Them” and “Never” are simply unlistenable. The Cure has moments that work, just not enough of them. Some of the songs may have turned out better with different arrangements and mixes. It seems that Ross Robinson cheerily led Robert Smith and company into a ghastly misfire with this one. Robinson didn’t understand the Cure, and it shows. 12. 4:13 Dream (2008) 4:13 Dream is easily better than The Cure largely because Ross Robinson is no longer in the picture, and the songwriting is improved. Unfortunately, for the most part, it finds Robert Smith descending into formula. Unlike its dreadful predecessor, 4:13 Dream is at least always tolerable, and there are sprinkled moments of Cure magic. Far and away the best track is the opener Underneath the Stars , with Smith’s effects-laded multi-layered vocals building an atmosphere of mystery and wonder. The quirky “Freak Show” is reminiscent of the hallowed “Close To Me”/”Lovecats” days, but it’s not quite convincing — it’s like Smith is checking off a box on a list of stylistic musts for a Cure album. Tracks like “The Reason Why”, “The Hungry Ghost”, “” and first single “The Only One” are all worthy additions to the Cure’s discography, but nobody’s going to confuse them for the band’s best work. “Siren Song” is a mellow and dreamy acoustic piece with slide guitar that is quite lovely. Much weaker is the noisy guitar-freakout “Switch” and the album’s two-song finalé of bashing guitars and Smith’s discordant wailing, “Scream” and “It’s Over”. Strike those three tracks and add a couple of the superior b-sides, and you’ve got a solid album. There are enough strong moments on 4:13 Dream that it’s worthwhile adding it to your collection, eventually. No real hurry. 11. (2000) Billed as the third of a trilogy that also includes Pornography and Disintegration , the Cure’s 2000 release Bloodflowers had a lot to live up to. By and large, it fails. That’s not to say it isn’t a solid Cure album — it is — but it doesn’t belong in the same breath as the first two chapters of the supposed trilogy. It smacks of Robert Smith trying too hard to replicate something that’s impossible to force (especially with the 11-minute “Watching Me Fall”, which is simply overkill). Yeah, like Pornography and Disintegration , Bloodflowers is relentlessly downbeat and tense, but the sonic marvels and songwriting thrills of the first two are largely absent. Still, there are some killer tunes, and Bloodflowers is far superior to the two albums that followed it (and make up #13 and #12 on this list). The album’s strongest moment is “Maybe Someday”, a blazing rocker with a terrific vocal by Smith that’s good enough to stand alongside any of the Cure’s classic singles. The long and atmospheric opener “Out of This World” is excellent as well, as is the stripped-down acoustic “There is No If”. “The Loudest Sound”, about the wall of sullen silence that builds between a couple who have fallen out of love, rings of convincing truth. “39” and the title song, the one-two punch that ends the album with its heaviest emotional impact and are obviously meant to be the grand finalé, don’t quite gel. They never reach the piercing intensity of the Cure’s best work — it’s a lot of Robert Smith wailing over heavy guitars about getting older and life’s neverending parade of disappointments. While it isn’t their greatest work, there are indeed brilliant moments on Bloodflowers , and the tour in support of the album was outstanding. The Cure: a guide to their best albums. In a career spanning over 40 years, The Cure emerged from the wreckage of punk, helped launch the goth movement and ballooned into planet- conquering alt-rock titans. Along the way this creepy Crawley collective recorded some of the most diverse, perverse, sleepy-sad and sickly- sweet albums in the British rock canon. The shorthand caricature of The Cure’s sound would be Robert Smith’s pained whimper set to a gloomy backdrop, yet these perennial cult favourites have actually travelled a remarkably eclectic journey all over the musical map. Their opening suite of youthful albums was rooted in the monochrome angularity of post-punk, but during the 1980s they also embraced roaringly romantic pop, jazzy textures and super-sized stadium riff- monsters. Alongside Def Leppard and Depeche Mode, The Cure were one of the few British bands to truly conquer America in the 1980s and 1990s. The panda-eyed, haystack- haired Edward Scissorhands of noir-punk evolved into a musical version of Dr Jekyll and Mr Hyde, swinging wildly between doom-rock epics and super-catchy, three-minute pop classics. With more accessible albums like The Top and , they stopped being sullen outsiders and blossomed into a universal cult that everyone could join. In the process, their songs wove themselves into the global pop fabric, inspiring cover versions by everyone from and Dinosaur Jr to Tricky and Adele. As The Cure’s sole remaining founder member, Smith has had boozy fights and bitter fall-outs with numerous former band members, and the fluid line-up constantly reshaped itself. But running like a golden thread throughout their career has been the singer’s enduring love of late-60s psychedelic rock. This manifested itself in a series of Hendrix and Doors covers, a fondness for trippy guitar effects, and a lyrical flair for phantasmagorical imagery that tapped a rich tradition of English literary surrealism ranging from Lewis Carroll to Syd Barrett. It's been over a decade since The Cure released their last album, 4:13 Dream, but it seems they don't need to keep the discography rolling. They're still out there, headlining festivals and promising new music, even if it fails to immediately materialise. "We’re going [to the studio] in about six weeks time to finish off what will be our first album for more than a decade." Smith told SiriusXM in 2018. "So it’s very exciting times for us all round.” Over 40 years since The Cure took their first steps, Robert Smith remains one of British rock’s true originals. Here, we compile the albums that defined his career. The Head On The Door (Fiction, 1985) With former Cure tour guitarist Porl Thompson now fully on board, their sixth album saw The Cure come of age as a focused, jangly, defiantly poppy outfit. Partly thanks to the growing power of MTV and their shared chemistry with video director , their singles also began to chart around the world. The Head On The Door featured all-time Cure classics in the euphoric rush of and the snuffly folk-pop shuffle Close To Me , while the flamenco flourishes of The Blood and the Van Halen-ish soft-rocker Push saw Smith’s songwriting emerging from the shadows with a newly extrovert swagger. View Deal. Disintegration (Fiction, 1989) With his 30th birthday looming, Smith conceived this milestone album in a fog of depression and hallucinogenic drugs, consciously revisiting The Cure’s sombre, gothic roots. All heavy treated guitar effects and icy electronics, seven-minute requiems such as Pictures Of You and Homesick reverberated with funereal synth-rock solemnity. Smith’s voice sounded world weary throughout, though it became a wistful whisper on the graceful Lullaby and a more raunchy yelp on the brawny . Despite the singer’s half-serious quips about “career suicide”, Disintegration soon grew into a stadium-filling monster, and The Cure’s biggest seller to date. View Deal. Seventeen Seconds (Fiction, 1980) The Cure first began to hone their signature aesthetic on this chilly second album, with Robert Smith’s emergent child-man whine and new keyboardist Matthieu Hartley to the fore. Full of grim fairy tales and half-glimpsed creatures lurking in the shadows, the overall mood was gloomy and suffocating. Smith demonstrated his blossoming gift for left-field pop gems on Play For Today and , both taut, minor-chord speed-strums full of nocturnal angst and creeping dread. Bracingly austere but highly atmospheric, it was all recorded and mixed in a single week on a shoestring budget. View Deal. Pornography (Fiction, 1982) Later hailed by Smith as the first in a trilogy of definitive Cure albums, Pornography ushered in the band’s trademark ‘big hair and smudged lipstick’ look. It also remains their most emphatically gothic work, right from the opening line of guitar-scraping lament One Hundred Years : ‘It doesn’t matter if we all die.’ Tribal drums and glacial keyboards lend monumentalism to the remorselessly sombre Siamese Twins and the experimental title track, which is a churning nightmare of buried voices and David Lynch-ian weirdness. It still sounds oppressively harsh and despairing, but also impressively stark and uncompromising. View Deal. The Top (Fiction, 1984) In transitional flux following their bleak post-punk period, The Cure released a string of upbeat, non-album singles including Let’s Go To Bed and The Lovecats . They carried over this playful mood into their fifth studio album, a candy-striped feast of nursery-rhyme lyrics and light-headed arrangements. The standout track is The Caterpillar , a semi-acoustic skiffle awash with squeaks, honks and love-drunk euphoria. Relations within the band had become toxic, and The Top was close to being a one-man-band affair. Robert Smith played most of the instruments, indulging his love of vintage English psychedelia from Edward Lear to Pink Floyd. View Deal. Kiss Me, Kiss Me, Kiss Me (Fiction, 1987) Originally a double LP, the first Cure album to make the US Top 40 was a stylistically diverse smorgasbord of neo-psychedelia, jaunty quirk-pop and monster-sized shoegazing spangle rock. Too many faceless plodders pad out the second half, while escalating tensions between Robert Smith and Lol Tolhurst may also have affected overall quality levels. That said, the brassy strut of Why Can’t I Be You? and the piano-driven blast of Just Like Heaven earned their place in the pantheon of classic Cure singles, ensuring this album played a key role in helping British alt-rock to crack America. View Deal. (Fiction, 1979) Still in their larval stage as a band, The Cure’s raw debut was rooted in the dry, skeletal, angular sound of the post-punk era. Between routine juvenile sketches, Robert Smith hinted at future greatness with the kitchen sink melodrama of 10.15 Saturday Night and sardonic social snapshots like Accuracy and Object . The Pop Art cover, with its drably domestic still life, was imposed by the . Likewise, the ill-advised novelty punk cover of Jimi Hendrix’s Foxy Lady , sung by bass player , which Smith hated. An expanded version of the album, with the title Boys Don’t Cry, was later released in the US. View Deal. Wish (Fiction, 1992) Riding a wave of worldwide success following Disintegration , The Cure’s ninth album topped the UK chart and climbed to No.2 in the US. A line-up reshuffle brought in on keyboards, guitars and co-production, swelling the group’s sound to a stadium-sized roar which ultimately leaned more towards baroque sonic bloat than memorable pop melodies. Even so, Smith was on top of his game with hit single Friday I’m In Love and the giddy chemical-romantic euphoria of High , although he also indulged himself with too many blustery, overlong psych-rock juggernauts like From The Edge Of The Deep Green Sea . View Deal. Bloodflowers (Fiction, 2000) Described by Robert Smith as the last in a trilogy of definitive Cure albums (after Pornography and Disintegration ), this midlife milestone combines the wistful melancholy of their early work with a broader canvas of immersive, widescreen folk-rock arrangements. Aside from one or two windy epics, bombast and melodrama are kept to a minimum. Sounding huge yet intimate, Where The Birds Always Sing is a semi-acoustic symphony of bitter-sweet regret, while the softly strummed There Is No If. offers a gorgeous affirmation of evergreen romance. After an uneven decade, it was a pleasing reminder of Smith’s emotional clout. View Deal. The Cure – The Cure. This album was recorded live in a candlelit room & mixed very loud in the dark. We know you should turn down the lights & turn up the sounds for your optimum listening pleasure. Recorded & mixed at Olympic Studios Spring 2004. Mastered at Sterling Sound NYC. ℗ & © 2004 Geffen Records Geffen Records, a division of UMG Recordings, Inc. Made in the EU. [DVD] E Exempt from classification. [Digipak trays] DIGIPAK® Manufactured by Van de Steeg, Holland, under license from AGI, USA. Released in a 3-panel fold-out Digipak with a bonus DVD & 16-page booklet. The CD features an enhanced section including a secret link to The Cure's website. Originally with yellow sticker, English printed. Sold in France with an alternate sticker in French. 15 hi-res album downloads to treat your hi-fi system. The number of hi-res albums available to purchase from download stores is on the rise and rise, and here are some of our favourites. Interested in better sounding music? Of course you are. So when you've enriched yourselves by reading our high-resolution audio: everything you need to know guide (if you haven't already), the answer to whether you want a library of hi-res music files will likely side with the one to the question above. And, if you have a hi-res-supporting device – whether that’s a portable music player, smartphone or NAS drive and streamer combo – you'll be pleased to know you can get a pretty rich collection with just a few clicks of a computer mouse (and, ahem, a credit card). More than a few hi-res download sites are committed to the cause, including 7digital, HDtracks, Onkyo Music, Qobuz and Technics Tracks. And having scoured the stores and tested the tracks, we’ve decided upon our favourite 15 hi-res albums available to download, from £7.49 to £19.49… Perfume Genius – No Shape (24-bit/96kHz) The vocal scrawling of Mike Hadreas, under his Perfume Genius moniker, presents some of the most empowering and emotionally baring battle cries in music when it comes to subjects of sexuality, self-identity and homophobia. The critical acclaim of his third album, Too Bright , which reinforced the unflinching, melancholic directness of his previous efforts, may have put him on the map. But the follow up, No Shape, could be his most audacious and poetically candid record yet, with opening track Otherside (one of his most spectacular examples of balladry yet) sounding particularly hair-raising through a good pair of open-sounding headphones. The contrasting charge of the second track is equally arresting - but those yet to discover the album shouldn't be worried about only top-heavy brilliance here. Gregory Porter – Take Me To The Alley (24-bit/96kHz) The follow-up to the Brooklyn-based jazz singer-’s 2013 Platinum-certified album Liquid Spirit , Take Me is an even headier, attitude- driven jazz-soul fusion. Wearing his confessional heart on its sleeve, it basks in the buttery-smooth baritone and compositional craft that’s made him such an unlikely superstar. His tender musings in More Than A Woman and the breezy trumpet solo in Don’t Be A Fool are worth half the album’s outlay alone, and there’s plenty more – from the warm brass in the eponymous track to the gospel-rooted flare of Don’t Lose Your Steam – to take care of the rest. Joe Goddard – Electric Lines (24-bit/44.1kHz) As suggested by the album’s title, the solo debut from Hot Chip and 2Bear's Joe Goddard is all about connections – those within the history, and between the different genres, of the electronic indie music scene Goddard has been a mainstay in for almost two decades. It follows a knowingly habitual direction, with jubilant, jangly rhythms and soulful vocals delivering a broadly inspired, well-rounded album of left- field pop and dancefloor grooves. Because hi-res isn't exclusive to refined classical music tastes and Sunday evenings on the sofa, you know. The Flaming Lips – Yoshimi Battles the Pink Robots (24-bit/96kHz) As we stepped into the millennium, who’d have thought that the follow up to The Flaming Lips’ 1999 The Soft Bulletin album (which was lauded as one of the best of the decade) would actually turn out to be their career-defining, gold-certified effort. More melodic in nature and with experimentalism as rooted in its psychedelic- and electronic-infused musicality as it is the emotive storytelling of the title character, Yoshimi Battles is consistent and expressive, with Coyne’s tenderly sung lyrics meandering between a deluge of playful basslines, fuzzy analog synths and supporting mellifluous acoustic guitars. One More Robot/Sympathy 3000-21 and Do You realize? are the standouts, and sublime production throughout makes up for the album’s transitory running time. Hans Zimmer - Hans Zimmer: The Classics (24-bit/96kHz) Film fans need about as much introduction to Hans Zimmer as budding bakers do to Mary Berry, and so shouldn’t be surprised at the familiar fare on this 12-track ‘classics’ album, which includes some of his biggest hitters from the likes of Gladiator , The Lion King and Interstellar . But it's the opening track – the Main Theme (From "The Dark Knight Rises") – that causes most reason for celebration. What are mere stirrings as Spotify streams are comparatively rapturous bellows of percussion and violent, impactful strings in its 24-bit/96kHz version. The only album's snag: having been released in 2016, it forgoes Dunkirk and Blade Runner 2049 , which are two excellent recent additions to his catalogue. LCD Soundsystem – American Dream (24-bit/96kHz) As baristas, craft brewers and part-time graphic designers from Homerton to Williamsburg cooed at the broken-promised regathering of James Murphy’s LCD Soundsystem now two years ago, there was likely as much anxiety that a pedestrian fourth album, especially following a seven- year wait, would sully somewhat the band’s indie folklore legacy. Thankfully, American Dream was consummately one of the finest albums of last year, again coupling synth-led art rock arrangements with Murphy’s candid and often droll social commentary and tales of personal conflict. We included LCD’s This Is Happening in our list of 50 of the best albums for audiophiles last year, voicing our hopes of a follow-up worthy of being its peer: our complaints could be few. J Hus – Common Sense (24-bit/44.1kHz) J Hus had about as good a year as anyone in 2017. The versatile London lyricist successfully straddled hip-hop, grime, afrobeats and more to deliver an accomplished and accessible showcase of the current state of UK urban music. While some songs shimmer with the sheen of 00s hip-hop, featuring crisp drums, smooth bass lines and big hooks, others borrow sounds from garage and grime for a more contemporary, minimal sound. African rhythms and sounds permeate the album, helping deliver an upbeat and soulful sound sure to test your system’s timing and musicality. Mike Oldfield - The Killing Fields (24-bit/96kHz) While Oldfield’s semi-satisfying Return to Ommadawn (which pursued the original album's motif in his old, two-part format) was also released last year in glorious 24-bit/96kHz, his 1984 soundtrack for the eponymous British drama is still our pick. The strings throughout Pram’s Departure , in particular, send shivers, and really benefit from the extra headroom afforded over the CD recording. But ultimately, the extra detail and dynamic discrepancy do wonders for conveying the perilous atmosphere of the entire score. Four Tet – New Energy (24-bit/44.1kHz) From bedroom production to, well, bedroom production for a much bigger audience. Four Tet was doing immaculately produced ‘lo-fi’ electronica before it was cool and continues to do so now his stock has risen to make him one of the most prominent UK dance music producers. New Energy mixes the best of Kieran Hebden’s old sound - melancholic, melodic loops that creep to a lazy crescendo - with examples of his more recent dancefloor-orientated work, which up the tempo and come with a little more attack and dynamic reach. Either way, you’re guaranteed shuffling rhythms, intricate drums and a soundstage as wide as Four Tet’s appeal. Bach: Brandenburg Concertos – Concerto Köln (24-bit/48kHz) In one of Concerto Köln’s latest recordings (recorded in 2014), the chamber ensemble expands its repertoire of classical baroque music with one of the era’s most famous pieces, performing a technically virtuosic 90-minute interpretation of Bach’s Brandenburg Concertos No. 1-6 that’s as refreshingly spirited as it is comfortably familiar. And, if you can’t experience their period instrumental in the Cologne Opera House or Philharmonie De Paris, this 24-bit recording is next best. You'll want a system (or pair of headphones) with pinpoint soundstaging for this one. Nils Frahm – Spaces (24-bit/44.1kHz) Audiophile-wooing experimentation isn't restricted to the music on this ambient-cum-modern-classical album: "Some were recorded on old portable reel-to-reel recorders, some on simple cassette tape decks… and others were more advanced multi-track recordings." The by-product is the German composer's best work, from the opening echoic pummelling of electronica ( An Aborted Beginning ) to the dynamically diverse piano workout ( Said and Done ) and pensive keys above pattering rain ( Over There, It's Raining ). A fan's next line of inquiry? The Erased Tapes hi-res collections. John Williams - Star Wars: The Last Jedi (24-bit/192kHz) John Williams is getting on for 86 years old and, if his latest soundtrack to the Star Wars saga is anything to go by, still going very strong indeed. As with the Hans Zimmer album above, we use a fair bit of John Williams' music in our testing process, and Star Wars: The Last Jedi seems destined to become another favourite. Williams is a master of his art, and the dynamism of his music, with sweeping crescendos and vast amounts of light and dark, means any system is put through its paces strenuously. And, of course, a high-resolution download only intensifies the listening experience. You can't really go wrong here: from the familiar opening strains to the new motifs for characters, this is Williams at his imperious (or should that be rebellious?) best. Tom Waits - Alice (24-bit/96kHz) It’s probably not anyone’s favourite Tom Waits album, but this 2002 record combines all the aspects of Waits’ quirks we’ve come to know and love. Deftly combining the soft bluesy crooning of his early years and the growling, gruff and stomping quality of Rain Dogs – it’s a bewitching balancing act that puts his idiosyncratic style and evocative lyrics to the fore. Written with wife and partner in crime Kathleen Brennan, the album (containing songs written for a play of the same name) weaves a bittersweet story such as only Waits can tell, with muted trumpets and marimbas mixed in with mournful cellos. From the lullaby-like Alice to the wistful sweetness of Flower's Grave to the sinister Kommienezuspadt – every song lays bare the gravelly tones of his voice and an atmosphere that is at turns tender, nightmarish, whimsical and macabre. Aretha Franklin - I Never Loved A Man The Way I Love You (24-bit/192kHz) Although it was released a fortnight shy of her 25th birthday, I Never Loved a Man the Way I Love You was Aretha Franklin’s 11th studio album. And thanks in equal measure to some tumultuous reworkings of other people’s songs, some matchless originals and the exquisite performances of Franklin and her band, it’s probably the most fully realised Aretha Franklin album. It’s certainly one that lends itself gladly to the high-resolution treatment. All the musicians perform beautifully, inhabiting the pocket like it’s the most natural thing in the world - special mention must go to stalwart Spooner Oldham’s empathetic keyboard fills. But it’s Aretha’s inimitable vocal prowess, its stridency and vulnerability, its religious fervour and secular abandon, that makes I Never Loved a Man the Way I Love You an absolute cornerstone of popular music. Neil Young – Harvest (24-bit/192kHz) Neil Young’s seminal album, along with various others in the Canadian's colossal catalogue, may be available to stream in full fat hi-res from neilyoungarchives.com for free (until June, anyway), but this is one of history’s albums we wouldn’t mind having in our pockets for a lifetime. And hearing the dynamic voyage of the genteel pluckings throughout The Needle and the Damage Done , and the height of the harmonica in Heart Of Gold , stand as enough reason why one of country-rock's most iconic recordings should be pocketed in glorious hi-res. Best enjoyed in barn setting with a pint bottle of Jack Daniels in hand (probably). The Cure – Greatest Hits. [booklet] Disc 1: Mastered at Metropolis London. 1. "Boys Don't Cry" - FICS 2, June 1979 From the album "Boys Don't Cry" 2. "A Forest" - FICS 10, March 1980 From the album "Seventeen Seconds" 3. "Let's Go To Bed" - FICS 17, November 1982 4. "The Walk" - FICS 18, June 1983 5. "The Lovecats" - FICS 19, October 1983 From the album "" 6. "Inbetween Days" - FICS 22, July 1985 7. "Close To Me" - FICS 23, September 1985 From the album "The Head On The Door" 8. "Why Can't I Be You?" - FICS 25, April 1987 9. "Just Like Heaven" - FICS 27, October 1987 From the album "Kiss Me Kiss Me Kiss Me" 10. "Lullaby" - FICS 29, April 1989 11. "Lovesong" - FICS 30, August 1989 From the album "Disintegration" 12. "Never Enough" - FICS 35, September 1990 From the album "Mixed Up" 13. "High" - FICS 39, March 1992 14. "Friday I'm In Love" - FICS 42, May 1992 From the album "Wish" 15. "" - FICCD52, June 1996 16. "Wrong Number" - FICCD 54, October 1997 From the album "Galore" 17. "" - FICCD 55, October 2001 18: "Just Say Yes" - FICCD 56, 2002 Previously unreleased. Disc 2: Recorded 13th August 2001 at Olympic Studios, London. Mixed by itself and Robert. Comes in clear jewel case with 2 sided back tray, 6 page booklet and front sticker.