The Cure’s ‘Acoustic Hits’ Gets Robert Smith-remastered Vinyl Treatment For Record Store Day 2026 (ALBUM REVIEW)

Released as a companion piece to 2001’s Greatest Hits, Acoustic Hits strips The Cure’s catalog down to its core and puts the songwriting front and center. Recorded at Olympic Studios in London during the same sessions, these versions remove most of the band’s signature production (no dense synth layers or effects), just acoustic arrangements that highlight melody and structure. For Record Store Day 2026, the set returns newly remastered by Robert Smith and pressed on 2LP silver bio vinyl by Rhino Records, giving this once under-the-radar release a more fitting spotlight.

“Boys Don’t Cry” opens with a softer, more reflective tone compared to the original’s urgency. The acoustic guitar sits up front, and Smith’s vocal feels a little more worn-in. “A Forest” maintains its tension even without the driving rhythm, relying more on pacing and space. “Let’s Go to Bed” and “The Walk,” both originally built on synths, are reworked into more grounded versions where the hooks come through more simply. “The Lovecats” still has its playful feel, though it feels more restrained here. “Inbetween Days” and “Close to Me” benefit from the stripped-down setup, with their melodies coming through clearly, unadorned. “Why Can’t I Be You?” loses some of its bounce but holds together as a straightforward pop song, while “Just Like Heaven” keeps its lift, even in a quieter arrangement. “Lullaby” closes the first half with a more subdued and slightly darker tone.

The second LP leans into later-era material. “Lovesong” works naturally in this format, with its direct structure fitting the acoustic setup. “Never Enough” and “High” are more low-key takes that smooth out some of the original energy. “Friday I’m In Love” is dialed back but still recognizable through its chord progression and vocal phrasing. “Mint Car” and “Wrong Number” feel like deeper cuts in this context, but the hooks still land. Acoustic versions of the previously unreleased tracks “Cut Here” and “Just Say Yes” finish the set, both noticeably more restrained than the much more rock-fueled versions on Greatest Hits.

Acoustic Hits works best when viewed alongside Greatest Hits. Where that collection captures the band at full scale, with all the production, effects, and energy that defined their sound, this set pulls everything back and lets the songs stand on their own. The remaster keeps things clear and balanced without losing the intimacy of the original recordings, while the pristine vinyl pressing really lets every note come through. For longtime fans, it offers a different perspective on familiar tracks, and for newer listeners, it’s a solid way to hear just how strong these songs are without anything in the way.