The Cure Share Demo Of ‘Cut’ From New Deluxe Edition Of ‘Wish’
Newly-remastered at Abbey Road Studios, the new, deluxe edition of ‘Wish’ includes a plethora of rarities and previously unreleased tracks.
The Cure have shared a previously unreleased demo version of “Cut”, one of the key tracks from their ninth album, Wish, originally released in 1992, and set for deluxe reissue on November 25.
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, “ in March 1992, which reached No. 8 in the UK, the evergreen “Friday I’m In Love” in May 1992 and “A Letter T o 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. One of these, the demo recording of “Cut” you can hear below.
CD1 of the new edition 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 “Cut” – made up of 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.
Also included are the previously unreleased song “A Wendy Band” from the 1992 Manor Studio album 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 Arena in October 1992.
From the start of the recording, Robert Smith had a clear vision of what Wish should be. He said, “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 Me was more of a reference than Disintegration.”
When Wish was completed, Smith felt that they had achieved everything they had set out to do, but there was a glitch. Smith says: “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.”
