From Amazon:
Brit Box: UK Indie Shoegaze & Brit Pop Gems was released on November 20, 2007, by Rhino Records.  The description at amazon says:  Incredible four CD box set filled with influential and diverse U.K.-based Indie Pop and Rock acts that emerged from Great Britain in the broad wake of ’80s Post-Punk. The Brit Box features all of the styles that wormed their way into the hearts of the music lovers during the late ’80s, all through the ’90s and beyond including Indie, Shoegaze, Baggy and Brit-Pop. While many artists featured here enjoyed superstar status in Mother England, their impact on U.S. charts was more peripheral but their stylistic imprint and collective uber-hip peer-pressure on late 20th century popular music overall is undeniable. With the respect given the ’60s-era British Invasion in countless other compilations, Rhino’s new trans-Atlantic ocean liner-sized box shaped to resemble a vintage UK phone booth with real flickering lights champions close to 80 independent acts that didn’t so much reject mainstream musical sensibilities as spin it in their own fashion for hits that defined cool. Lovingly compiled with true oh to be in England spirit, Rhino hails Britannia with over five hours of tastemaker tracks.

Reviewer Andrew Bartlett says:
Consider this super-cool, long-overdue 4-CD set the less-commercial but no-less telling riposte to the early 1960s British Invasion, when bands crossed the Atlantic to serve up what they’d learned, largely from under-heralded American artists (as in the Stones and Muddy Waters). During the period that The Brit Box puts under the microscope, England went from Margaret Thatcher and John Major to Tony Blair, from youth culture (and the press) zeroing in on football hooliganism to the rise of Acid House and Brit pop. So it is that the addled guitar haze of Spaceman 3’s “Walkin’ with Jesus” melds with the bouncy, synth-softened euphoria of “She Bangs the Drums,” and the chirpy, jangly float of The Primitives’ “Crash.” These are moments in pop transition, as the peppy new wave of the 1980s meets up with the psychedelic, dope-colored moodiness of the ’90s, and then, quickly, with the ascent of “Cool Brittania.” As the Thatcher/Major era heads into the 1990s, Birdland–long forgotten–rips at the jugular with the quick, garage rock-infused “Shoot You Down,” which, like so much here, keeps a finger keenly on a groove you could either embrace while hallucinating or pogo-ing on the dance floor (or both). New Order, Pulp, Oasis, Blur, Elastica, and My Bloody Valentine are all here, of course. They embrace the whole continuum, from the trippy to the happy to the… self-reflective, and they offer enough landmarks that Dodgy, and The Bluetones, and Silver Sun and These Animal Men all have space to drop in, adding layers to this spectacular omnibus collection. –Andrew Bartlett

From Disc 1, Song 6:

“Just Like Heaven” is a song by British alternative rock band the Cure. The group wrote most of the song during recording sessions in southern France in 1987.

“Just Like Heaven” was the third single released from their 1987 album Kiss Me, Kiss Me, Kiss Me. The song became the Cure’s first American hit and reached number 40 on the Billboard charts in 1988. Smith has said he considers “Just Like Heaven” to be one of the band’s strongest songs.

“Just Like Heaven” is written in the key of A major and consists of an A–E–Bm–D chord progression which repeats throughout the song, except during the chorus when the band plays an F♯m–G–D progression. The song’s central hook is formed from a descending guitar riff which appears between song verses and in parts of the bridge and the last verse. This guitar line contrasts with the “fuzzier mix” of the rhythm guitars.

According to frontman, Robert Smith, “The song is about hyperventilating—kissing and fainting to the floor.” The lyrics were inspired by a trip with his then-girlfriend (and later wife) Mary Poole to Beachy Head in southern England. Smith said the opening line of the song (“Show me, show me, show me how you do that trick”) refers to his childhood memories of mastering magic tricks, but added “on another [level], it’s about a seduction trick, from much later in my life.”

The music video for “Just Like Heaven” was directed by Tim Pope in England’s Pinewood Studios in October 1987. Set on a cliff overlooking a sea, the video recreates many of the memories detailed in the song’s lyrics. When a fanzine asked Smith what the song was about, he said it was inspired by “something that happened to me a long time ago—see the video!“

During the song’s piano solo the sky turns to nighttime and the band is shown clad in white shirts. Mary Poole appears in this sequence as a woman dressed in white dancing with Smith. As Smith explained, “Mary dances with me in the video because she was the girl [in the song], so it had to be her.” Pope later commented, “[Poole] can honestly lay claim to being the only featured female in any Cure video, ever.”

Show me, show me, show me how you do that trick
The one that makes me scream she said
The one that makes me laugh she said
Threw her arms around my neck
Show me how you do it and I’ll promise you
I’ll promise that I’ll run away with you, I’ll run away with you

Spinning on that dizzy edge
Kissed her face and kissed her head
Dreamed of all the different ways, I had to make her glow
Why are you so far away she said
Why won’t you ever know that I’m in love with you?
That I’m in love with you?

You, soft and only, you lost and lonely
You, strange as angels
Dancing in the deepest oceans
Twisting in the water
You’re just like a dream
You’re just like a dream

Daylight licked me into shape
I must have been asleep for days
And moving lips to breathe her name
I opened up my eyes
And found myself alone, alone, alone above a raging sea
That stole the only girl I loved and drowned her deep inside of me

You soft and only
You lost and lonely
You just like heaven

Songwriters: lyrics written by Robert Smith; music composed by The Cure (Smith, Simon Gallup, Porl Thompson, Lol Tolhurst, and Boris Williams).