Again a classic 'goth-rock' signature marks Smith above so many others of the time . . . .  
posted before but again I don't really mind
OK this is beginning to hack me off now this video was taken down in days . . . . . .so here goes . . . . 

On this day in music history: April 18, 1980 - “Seventeen Seconds”, the second album by The Cure is released. Produced by Mike Hedges and Robert Smith, it is recorded at Morgan Studio One in London in Early 1980. Following up their debut release “Three Imaginary Boys” (released in the US as “Boys Don’t Cry”), bandleader Robert Smith writes the majority of the music and lyrics for their second release on his parents Hammond organ with a built in tape recorder. The album is recorded and mixed in only seven days, at a cost of around £3000. The collection of mostly downbeat and dark songs cement their status as one of the premier goth-rock bands, and set their musical path for the next few years. It spins off the single “A Forest” (#31 UK), becoming their first record to make the UK singles chart. The album sees its first US release in 1981 when A&M Records packages it as part of a 2 LP set titled “…Happily Ever After” with the follow up album “Faith”. It stays in print only a couple of years before it is deleted, and remains so until it is finally reissued as a stand alone album in 1986, after Elektra Records in the US acquires the rights to The Cure’s earlier albums. The album is remastered and reissued on CD in 2005, as a two CD deluxe edition. The first disc contains the original ten song album, with the second featuring fifteen bonus tracks including four songs from The Cure side project Cult Hero, demos and live performances. Out of print on vinyl for many years, it is remastered and reissued as double vinyl set, featuring the full contents from the 2005 CD release. The original ten song LP is released simultaneously on black and limited edition white vinyl. “Seventeen Seconds” peaks at number twenty on the UK album chart.

So let's have three instead of just the one! . . . . . . .  






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