Bleak, gleeful, melancholy, theatrical--call them what you will. The Cure has been a spick-and-span, cutting-edge band since their start in 1976.

Their true charm has always lain within front man Robert Smith's ability to craft remarkable albums that stir up an assortment of emotions within not only their fans, but their songs as well. Now, with three greatest hits collections ("Staring at the Sea," "Galore," and "Greatest Hits"), it was finally time to release a collection of B-sides and rarities.

"Join the Dots," a four-disc set of the group's hidden treasures, captures the longevity of their career, opening with the raw, early work of "10:15 Saturday Night." Much of the preliminary 1978-1987 disc holds true to the unrefined work of The Cure's beginning stages, showing that the band was still wet behind the ears until the release of their 1987 record, "Kiss Me, Kiss Me, Kiss Me."

With Smith growing artistically and musically, the shadowy and heavy pop songs of the 1987-1992 disc haunt listening ears, while bright, quirky songs such as "Snow in Summer" and a cover of The Doors' "Hello I Love You" prove that The Cure had hope and happiness after all. The Cure began to find a real nook and knack at that time, budding their dream pop into the kaboom gloom-doom of their 1992-1996 B-sides.

"Burn" and "Adonais" (a lingering song of trouble and sorrow, born from a P.B. Shelley poem of the same name) highlight this third disc, as listeners are given a brilliant and profound look at the group's more critical and commercial era. The cheery singles of 1992's "Wish" are survived by grim, desolate tracks such as "This Twilight Garden" and "Scared As You," portraying what is quite possibly the most lonely and frightenedrepresentation of The Cure.

Disc four is the most frail and sporadic of the set, but still produces great moments with remixes, acoustic performances, and even a Depeche Mode cover ("World in My Eyes"), making it worthwhile.

All in all, "Join the Dots" is a strong collection for fans and strangers alike, proving that a great band is partially made through their B-sides. It admittedly may be too much for a non-devotional listener, but it is genuinely god-sent for fans who have been hanging around for a release of this magnitude. These dots prove the unwavering, immaculate work of The Cure, offering permanence and hope in their upcoming efforts.