If THIS isn’t the CREEPIEST Song of the 80s… I Don’t Know WHAT is | Professor Of Rock

The unorthodox track known as Lullaby by Robert Smith and the Cure has so many stories tied to it. It came from the 1989 classic Disintegration that record execs called a career killer. The creepy opus really was misunderstood from the start. However, hypnotic, haunting, and kind of horrible, this song told a tale that was too shocking to turn away from. About a Spider eating Smith alive. it was the 80s creepiest song and induced plenty of nightmares but where did it come from and what is it really about?

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It’s time to return to one of the newest shows that we do on this channel. I call it ‘Career Suicide.’ This where we break down an artist, song or album that took a major risk. And maybe the gamble paid off. Or maybe it was a complete disaster. In this show it could go either way. But whatever the outcome, it’s a guaranteed great story. Last time out, we covered David Bowie’s Let’s Dance. This time however, we are revisiting The Cure’s Disintegration and their single, Lullaby. It’s hard to believe now, but when the label heard this song and album they believed it was a career killer. More on that later.

On April 21, 1988, Cure front man Robert Smith celebrated his 29th birthday. But for Smith, the party was short-lived. That’s because he immediately started thinking about his 30th birthday, which filled him with utter dread. Not only did the big three-oh highlight his mortality, but Smith also worried that his prime creative years might be behind him.

Faces of rock legends whom he believed produced their best work in their 20s flooded his mind... The Beatles, the Stones, Zeppelin, Bowie, Hendrix, The Who... As he thought about what they had accomplished, Robert feared he hadn’t created anything meaningful. Yes, the Cure had accumulated years of success. They were just coming off their seventh album Kiss Me, Kiss Me, Kiss Me... a platinum-bound double-album that featured their first Top 40 single in the US, Just Like Heaven.

But Smith yearned for more than popularity. He wanted to leave an indelible mark on rock history... to compose an undisputed masterpiece of a record. Driven by this anxiety, Smith isolated himself in his London home and set to work writing the most intense demos he had ever made. Drawing inspiration from the darker, more introspective records in the Cure’s catalog, Robert developed several long and dramatic instrumental pieces.

But as he reflecting on this new batch of songs, Smith wondered if they fit the Cure aesthetic. They were so different from his Kiss Me material that for a while he considered using them for a solo project instead. The following June the band gathered at drummer Boris Williams’ home to give these instrumentals a listen. At this time, the rest of the band included Simon Gallup on bass and keyboards, Porl Thompson on guitar, Roger O'Donnell on keyboards, and Lol Tolhurst on, well, he’s credited with ‘other instrument’ on the album. We’ll touch on that in a few minutes.