Galore: The Singles 1987–1997

Rock · 1997 · 15 tracks

Galore: The Singles 1987–1997

October 28, 1997 · Fiction Records (2)

This is the sound of The Cure at their most accessible and anthemic, a collection of shimmering, often melancholic, pop gems that defined alternative radio for a decade. Imagine a soundtrack for late-night introspection, bittersweet romance, and the quiet beauty of solitude.

Robert Smith's distinctive croon guides you through a landscape of layered guitars and evocative synths, with just one unexpected detour into electronic experimentation. It's the perfect entry point for new fans and a nostalgic journey for long-time listeners, capturing the band's unique blend of darkness and dazzling pop sensibility.

Tracklist · 15 Tracks

01

Why Can’t I Be You?

3:16

02

Catch

2:47

03

Just Like Heaven

3:34

04

Hot Hot Hot!!!

3:38

05

Lullaby

4:12

06

Fascination Street

4:22

07

Lovesong

3:31

08

Pictures of You

4:50

09

Never Enough

4:31

10

Close to Me (Closest mix)

4:24

13

A Letter to Elise

4:23

14

The 13th (swing radio mix)

4:19

15

Mint Car (radio mix)

3:33

17

Gone! (radio mix)

4:29

18

Wrong Number

6:02

Moments Worth Listening For

The iconic, instantly recognizable synth riff and driving rhythm of 'Lovesong', encapsulating their pop prowess.

The dramatic build and soaring chorus of 'Friday I'm in Love', a perfect example of their lighter, more joyful side.

The stark contrast of 'Wrong Number', with its unexpected electronic beats and distorted vocals, marking a significant departure from their signature sound.

The atmospheric, reverb-drenched guitar textures and Smith's yearning vocals on a track like 'Pictures of You', showcasing their mastery of melancholic beauty.

Reviews

Also reviewed byAllMusic

Where This Album Departs

How does Galore: The Singles 1987–1997 sound next to the rest of The Cure's catalogue?

This album stays in step with the catalogue across the board — no axis departs enough to be worth its own note. Hover the dots to see where each one sits.

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