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He has also played guitar in the band Siouxsie and the Banshees.Smith is a multi-instrumentalist, known for his unique stage look and distinctive voice.Robert Smith filled on in guitar for the headline band, an experience that profoundly changed his musical outlook: “It was so different to what we were doing with The Cure.Robert James Smith (born 21 April 1959) is an English singer, songwriter and musician.Howard, or Mc Geoch’s heavily chorused, layered picking.Check out early Cure songs like “Three Imaginary Boys” or “The Figurehead,” and it’s plain that Smith can wring out of comparatively few notes.Robert Smith was born in Blackpool and is the third of four children born to Alex and Rita Smith. When he was three years old his family moved to Horley in Surrey, then finally to Crawley four years later.Smith was raised as a Catholic and went to Notre Dame Middle School and St. He was an accomplished student who maintained high marks, but after he began playing guitar at the age of 11 his primary focus quickly became his music.
Budgie went on to stay with the band forever, and even wed Siouxsie, but Smith only stayed in for the duration of the tour (the Cure were the opening act anyway), so his first shift with the band was as an interpretive player.Smith wouldn’t write music with the band or perform on a Banshees album until 1984’s , but as this was the transitional phase of the Banshees’ career wherein the band straddled punk and goth, Smith makes an apt fit even though the compositions being played aren’t his. The Robert Smith Wikipedia page can get as many as 14 edits per month. I urge anyone who needs the latest information about Robert Smith to please read his Wikipedia article instead. Robert James Smith (born on 21 April 1959) is an English musician.Even Cure devotees know him more for his melancholic singing and his trademark hairsplosion.But the guitar stylings associated with that saturnine strain of UK post-punk that would become known as Goth owed as much to Smith’s deliberate and doleful playing as to the aggressive slashing of Bauhaus’ Daniel Ash, the disquieting Morricone-isms of the Birthday Party’s Rowland S.