Catch

Lore & Background

The Cure of 1983 were deep in the territory that would define their legacy: the shadowy, hymn-like world of *Pornography* and the brooding singles that accompanied it. "A Forest" itself is a moody, atmospheric piece, and its B-side "Catch" feels like a deliberate counterweight—a moment where Robert Smith let his guitar ring out in bright, interlocking arpeggios rather than the sustained, droning textures that dominated the period. The contrast is part of what makes the pairing memorable to listeners who flip the vinyl and discover a sudden lift in tone.

The song's placement as a B-side meant it reached audiences in a more intimate, less curated context. There was no album narrative to frame it, no accompanying video to anchor it in a visual identity. It simply existed as a bonus for the single buyer, a small reward for the dedicated fan who cared enough to want both sides. This scarcity, paradoxically, deepened its affection for those who found it. When *Galore* eventually collected it alongside other B-sides and rarities, the track gained a kind of retrospective legitimacy, a permanent shelf in the band's catalogue rather than a fleeting 7-inch artifact.

Within the broader lore of The Cure's fan community, "Catch" is often cited as evidence that Robert Smith's songwriting range extended well beyond the gothic archetype. It is a reminder that even at the height of their most intentionally dark period, the band could pivot toward something almost poppy in its brightness, and that this duality—light and shadow coexisting in the same discography—is a core part of what makes their catalogue so richly layered.

In Their Own Story

The rehearsal room in Crawley smelled of stale tea and rosin. Outside, the November drizzle had turned the parking lot into a grey mirror. Robert set his guitar down, wiped his hands on his trousers, and said, "Right, one more take. Make it sound like someone actually wants to be alive." The band laughed. They ran the arpeggios again, and this time the interlocking guitar lines caught the light in the small room like a window opening in a basement. Someone hummed the chorus. No one corrected the pitch. It was good enough. It was *Catch*.

Reader's Guide

Year: 1983. Parent release: B-side to the single "A Forest"; later included on the compilation *Galore* (1990). Lyrical theme: the song carries a playful, almost teasing sense of connection—reaching out, catching something fleeting, a moment of lightness that contrasts sharply with the weight of the A-side. The words suggest a small, personal triumph rather than grand narrative.

Musical structure: built on bright, interlocking guitar arpeggios with a driving, mid-tempo pulse. The arrangement is tighter and more rhythmic than much of The Cure's 1983 output, with a clear verse-chorus shape and a melodic hook that rewards repetition. The production is clean and forward, letting the guitar texture breathe.

Cultural impact: as a B-side, it never charted or received mainstream attention, but it became a touchstone for fans exploring the band's deeper catalogue. Its inclusion on *Galore* cemented its place as a recognized part of The Cure's official output.

Live-performance history: the song has appeared sporadically in The Cure's live sets over the decades, often as a brief palate-cleanser between heavier material. It is less frequently played than album tracks but is a reliable crowd-pleaser when it does appear.

Notable remixes or covers: no widely documented official remix exists, though the track has been covered by various tribute and fan acts over the years.

Did You Know?

• "Catch" was never part of a studio album when first released in 1983; it only gained a permanent home on the 1990 compilation *Galore*.
• It serves as the B-side to "A Forest," a pairing that showcases Robert Smith's ability to shift from gothic atmosphere to bright jangle within a single 7-inch record.
• The song's jangly, interlocking guitar texture is a notable contrast to the droning, sustained tones that dominated The Cure's output during the *Pornography* era.
• The Cure are from Crawley, England, and much of their early B-side material was recorded in small local studios before the band's international breakthrough.