Rock, Metal

The Cranberries - To The Faithful Departed (1996/2002)

2018-01-22T12:28:36Z

The Cranberries - To The Faithful Departed (1996/2002)

Original Complete 1996 Album
1 	Hollywood 	5:08
2 	Salvation	2:23
3 	When You're Gone 	4:56
4 	Free To Decide 	4:25
5 	War Child 	3:50
6 	Forever Yellow Skies 	4:09
7 	The Rebels 	3:20
8 	Intermission 	2:01
9 	I Just Shot John Lennon 	2:41
10 	Electric Blue 	4:51
11 	I'm Still Remembering 	4:48
12 	Will You Remember? 	2:49
13 	Joe 	3:22
14 	Bosnia	5:40

Plus 5 Extra Tracks From That Period
15 	Cordell 	3:41
16 	The Picture I View 		2:28
17 	Ave Maria		4:13
18 	Go Your Own Way		4:03
19 	God Be With You 	3:34

Bass Guitar – Mike Hogan
Drums, Percussion – Fergal Lawler
Electric Guitar, Acoustic Guitar, Mandolin – Noel Hogan
Orchestrated By [Orchestration Written And Arranged By] – Michael Kamen
Percussion [Additional] – Randy Raine-Reusche
Strings [Directed By] – Michael Kamen (tracks: 5, 7, 15)
Vocals, Electric Guitar, Acoustic Guitar, Keyboards, Whistle, Mandolin – Dolores O,Riordan
+
Baritone Saxophone  – Michael Buckley
Horn Section – Bruce Fairbairn, Michael Buckley, Richie Buckley
Tenor Saxophone – Richie Buckley
Trumpet – Bruce Fairbairn
Saw – Henry Daag
Vocals (Tenor) - Luciano Pavarotti

To the Faithful Departed turned out to be where the Cranberries' best intentions finally and thoroughly tripped them up. Switching producers to Bruce Fairbairn was a troubling enough move to begin with; Stephen Street's ear for the band's dynamics was note-perfect, but Fairbairn's work with arena-rock monsters like Aerosmith meant that on Departed everything was scaled up accordingly. The results may have been more commercial, but they took the identity of the band with it -- the opening song "Hollywood" was a sludgefest that, ironically, didn't give the band the muscular kick that propelled songs like "Zombie." O'Riordan, meanwhile, decided she was a generation's spokesperson, fully taking over the songwriting, except on a couple of cuts with Noel Hogan, penning some appropriate liner notes, and running with it. Songtitles say it all -- "War Child," "I Just Shot John Lennon," complete with cheesy gun shots, and perhaps most painfully obvious at the end, "Bosnia." Then there's lead single "Salvation," which preaches against heroin addiction in a manner worthy of afterschool specials and with about as much depth. Not that good songs can't and haven't been written on these subjects, of course, but O'Riordan, lacking a truly individual or unique take on them, is not the person to be writing them. Or singing them -- her wails and yelps now run rampant, being less voice-as-instrument as it is signature calling card to be employed throughout. There are bright points -- every so often Hogan's guitar comes through at its best, and there's the retro-'50s finger-snapping "When You're Gone" and the nicely arranged "Electric Blue." Still, when compared to No Need and especially Everybody, Departed completely suffers in comparison. ---Ned Raggett, AllMusic Review

Już w 1991 r. , dwa lata przed wydaniem debiutanckiego albumu, The Cranberries uznano za objawienie - pisał o zespole 20 lat temu Jacek Cieślak. W czasie, gdy na listach przebojów dominowała agresywna muzyka grunge, Irlandczycy zaproponowali delikatne piosenki śpiewane anielskim głosem Dolores O'Riordan. Debiutancka płyta sprzedała się w nakładzie 7 milionów egzemplarzy. Drugi album "No Need to Argue", jeszcze bardziej przebojowy, zawierał takie hity jak "Ode to My Family", "I Can'tBe with You" i "Zombie". Pobity został wynik debiutanckiej płyty - sprzedano 15 mln egz. Wprost z trasy koncertowej zespół trafił do studia nagraniowego, gdzie w miesiąc zarejestrował trzecią płytę "To the Faithful Departed" wydaną w 1996 r. ---rp.pl

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The Cranberries ‎– Bury The Hatchet (1999)

2018-01-19T15:46:58Z

The Cranberries ‎– Bury The Hatchet (1999)


1 	Animal Instinct 	3:31
2 	Loud And Clear 	2:45
3 	Promises 	5:27
4 	You And Me 	3:35
5 	Just My Imagination 	3:41
6 	Shattered 	3:41
7 	Desperate Andy 	3:44
8 	Saving Grace 	3:08
9 	Copycat 	2:53
10 	What's On My Mind 	3:12
11 	Delilah 	3:32
12 	Fee Fi Fo 	4:47
13 	Dying In The Sun 	3:32
14 	Sorry Son 	3:25
15 	Baby Blues 	2:40
16 	Sweetest Thing 	3:34
17 	Woman Without Pride 	2:27
18 	Such A Shame 	4:24
19 	Paparazzi On Mopeds 	4:35

Acoustic Guitar, Electric Guitar – Noel Hogan
Bass – Mike Hogan
Drums, Percussion – Fergal Lawler
Vocals, Guitar, Keyboards – Dolores O'Riordan Burton

The Cranberries stumbled with their move toward heavier, politically fueled modern rock on To the Faithful Departed, losing fans enamored with their earlier sound. Like many groups that see their stardom fading, the band decided to return after a short hiatus with a mildly updated, immaculately constructed distillation of everything that earned them an audience in the first place. It's immediately apparent that Bury the Hatchet has retreated from the ludicrous posturing that marred To the Faithful. There are no blasts of distorted guitar -- as a matter of fact, there are no songs that even qualify as "rockers" -- and there is little preaching, even on Dolores O'Riordan's most earnest songs. Every note and gesture is pitched at the adult alternative mainstream, which is a good thing. Though they ran away from the dreamy jangle of their first hits, the Cranberries never sounded more convincing than on mid-tempo, folky pop tunes with polished productions. Sonically, that's precisely what Bury the Hatchet delivers, complete with little flourishes -- a Bacharachian horn chart there, cinematic strings there -- to illustrate that the band did indeed know what was hip in the late '90s. All this planning -- some might call it calculation -- shouldn't come as a surprise, since Bury the Hatchet is essentially a make-or-break album, but what is a surprise is that the end result is the most consistent record of their career. It's not necessarily their best -- it lacks the immediate singles of their first two records -- but all the songs work together to form a whole; not even embarrassments like the skittering "Copycat" interrupt the flow of the record. True, the album never challenges listeners, but it delivers on their expectations -- and after To the Faithful Departed, that comes as a relief. ---Stephen Thomas Erlewine, AllMusic Review

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The Cranberries ‎– No Need To Argue (1994)

2018-01-27T17:24:17Z

The Cranberries ‎– No Need To Argue (1994)


1 	Ode To My Family 	4:30
2 	I Can't Be With You 	3:08
3 	Twenty One 	3:08
4 	Zombie 	5:06
5 	Empty 	3:27
6 	Everything I Said	3:52
7 	The Icicle Melts 	2:54
8 	Disappointment 	4:15
9 	Ridiculous Thoughts 	4:32
10 	Dreaming My Dreams 	3:36
11 	Yeat's Grave	3:00
12 	Daffodil Lament 	6:14
13 	No Need To Argue 	2:55
+
14 	Away 	2:38
15 	I Don't Need 	3:32
16 	(They Long To Be) Close To You	2:41
17 	So Cold In Ireland 	4:45
18 	Zombie (Camel's Hump Mix)	7:54

Bass Guitar – Mike Hogan 
Drums, Percussion – Feargal Lawler
Electric Guitar, Acoustic Guitar – Noel Hogan
Vocals, Electric Guitar, Acoustic Guitar, Keyboards – Dolores O'Riordan

With their surprise success behind them, the Cranberries went ahead and essentially created a sequel to Everybody Else is Doing It, So Why Can't We with only tiny variations, with mixed results. The fact that the album is essentially a redo of previously established stylistic ground isn't apparent in just the production, handled again by Stephen Street, or the overall sound, or even that one particularly fine song is called "Dreaming My Dreams." Everybody wasn't a laugh riot, to be sure, but No Need to Argue starts to see O'Riordan take a more commanding and self-conscious role that ended up not standing the band in good stead later. Lead single "Zombie" is the offender in this regard -- the heavy rock trudge isn't immediately suited for the band's strengths (notably, O'Riordan wrote this without Noel Hogan) -- while the subject matter (the continuing Northern Ireland tensions) ends up sounding trivialized. Opening cut "Ode to My Family" is actually one of the band's best, with a lovely string arrangement created by O'Riordan, her overdubbed vocals showing her distinct vocal tics. Where No Need succeeds best is when the Cranberries stick at what they know, resulting in a number of charmers like "Twenty One," the uilleann pipes-touched "Daffodil's Lament," which has an epic sweep that doesn't overbear like "Zombie," and the evocative "Disappointment." ---Ned Raggett, AllMusic Review

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The Cranberries ‎– Something Else (2017)

2018-01-17T14:01:01Z

The Cranberries ‎– Something Else (2017)


1 	Linger 	
2 	The Glory 	
3 	Dreams 	
4 	When You’re Gone 	
5 	Zombie 	
6 	Ridiculous Thoughts 	
7 	Rupture 	
8 	Ode To My Family 	
9 	Free To Decide 	
10 	Just My Imagination 	
11 	Animal Instinct 	
12 	You & Me 	
13 	Why?

Bass Guitar – Mike Hogan
Cello – Ailbhe McDonagh (tracks: 2, 7, 13), Richard Angel (tracks: 1, 3, 4, 5, 6, 8 to 12)
Drums – Corey Thompson (tracks: 7, 13)
Drums, Percussion – Feargal Lawler
Guitar – Dan Brodbeck (tracks: 13)
Lead Guitar – Noel Hogan
Lead Vocals, Guitar – Dolores O'Riordan
Strings – Kenneth Rice (tracks: 1)
Viola – Cian O'Duill (tracks: 3, 5, 6), Karen Dervan (tracks: 1, 2, 4, 8 to 12)
Violin – Kenneth Rice (tracks: 1 to 6, 8 to 12), Oonagh Keogh (tracks: 1, 3, 4, 5, 6, 8 to 12),
 Orlah Ni Bhraoin (tracks: 2)

The Cranberries are undoubtedly one of the most influential Irish rock bands of all time, touting an impressive 40 million record sales worldwide. Their seminal album Everyone Else is Doing It, So Why Can’t We? which was followed by the runaway success of No Need To Argue sent the Limerick natives into the stratosphere, predominantly due to the malaise ridden anthem ‘Zombie’. Front-woman Dolores O’Riordan’s harsh, strained vocal performances were haunting and completely unique, capturing the imagination of music lovers both home and abroad. However, with the band going through various on-and-off spells since 2003, there is an entirely new generation of listeners untouched by the Cranberries magic, a thought that somewhat motivated the group to reassess their body of work.

Twenty-five years on from the group’s debut, Something Else is generally a peculiar release. A collection of old hits reimagined with string accompaniment (provided by the Irish Chamber Orchestra) interspersed with smatterings of new material. Upon first listen, it appears the Cranberries are merely marking their transition into a rock nostalgia act. The arrangements on the classic tracks are in no way different, merely stripped down to just an acoustic guitar coupled with a string quartet, which effectively dilutes the amazing potential this reimagining possesses. The 2017 incarnation of ‘Zombie’ is the apotheosis of this fatal hamartia, neither a stripped down acoustic iteration nor a bellowing orchestral effort – it’s somewhere languishing in the middle, lost in some realm of musical purgatory.

Ignoring the lost potential for something truly great, the songs have generally aged quite well. ‘Ode To My Family’ and ‘Linger’ are just as moving and gripping all these years on but O’Riordan’s once unmistakable soaring vocals fall foul to father time at points.

When examining the three new songs however, one can’t help but feel enthusiastic. The group appears invigorated and this fresh material is sumptuous. Sticking to The Cranberries cannon, these recent tracks are also inherently personal to O’Riordan and her much publicised troubles, with the song ‘Rupture’ unabashedly dealing with the dark depths of depression and the new single ‘Why?‘ which was written shortly after her own father’s passing. ‘Why?’ is indeed the shining light of this entire release, a melancholic and emotional 5 minutes of vintage Cranberries material. It is a testament to the quality of the track that it slips rather seamlessly in amongst the vintage hits of the band.

In summation, Something Else seems to be unsure of what exactly it is. It’s not a greatest hits, nor is it a new release – but a collection of both. It’s difficult to grasp what exactly the goal of this new album is, it will perhaps introduce some younger music lovers to their music but it will most definitely not garner them any new fans. This then, is a release for the die hards, the original fans, and maybe a testing of the waters to gather whether there is an audience for a fully-fledged album. Hopefully, there will be more to come. ---J.J. Lee, state.ie

"Something Else" to wybór spośród najbardziej znanych piosenek The Cranberries, które zostały nagrane w nowych, akustycznych wersjach z towarzyszeniem Irish Chamber Orchestra. Dodatkową atrakcję stanowią trzy nowe kompozycje: "The Glory", "Rupture" i "Why". Efekt finalny jest nad wyraz ciekawy. Album zainteresuje nie tylko fanów (dla nich to rzecz obowiązkowa), ale i każdego wrażliwego odbiorcę muzyki, który szuka odrobiny łagodności. Myli się jednak ten, kto myśli, że smyczki i spokojniejsze aranżacje pozbawiły muzykę Irlandczyków charakteru i okradły z mocy. Całość wyprodukowano oszczędnie, bez popisów, ale z dużym smakiem, przez co obcowanie z muzyką The Cranberries w tym wydaniu sprawia po prostu przyjemność. I jest tak od piosenki "Linger", która wiele lat temu rozpoczęła wędrówkę Irlandczyków na szczyty list przebojów, po premierowe "Why".

Przy podobnej okazji, najlepiej sięgnąć po utwory balladowe - nie mogło zatem zabraknąć zatem takich piosenek jak "Ridiculous Thoughts", czy "Ode to My Family", które wypadają tutaj po prostu naturalnie. "Zombie" w wydaniu akustycznym też nie może nas zaskakiwać - w końcu ileż to razy śpiewaliśmy tę piosenkę w takiej właśnie wersji przy ogniskach? (choć może nie na takim poziomie wykonawczym). Łkający głos Dolores O'Riordan, cudowne smyki, nastrój i... może tylko dramatyzm tej kompozycji trochę ucierpiał, ale niewiele. Niezwykle pogodnie i żywo wypadają "Just My Imagination" i "Animal Instinct" - w refrenie tego drugiego szarpane palcami smyczki dodają kompozycji uroku, a w "Dreams" z kolei skrzypce utrzymują rytmikę. No właśnie, czasem niewiele potrzeba, by ożywić dobrze znaną piosenkę. The Cranberries nie proponują tutaj wielkich zmian, ale znakomite, klarowne pomysły aranżacyjne czynią płytę "Something Else" niezwykle atrakcyjną dla słuchacza.

A jak nowe kompozycje? Balladowe "The Glory" i "Why" doskonale wpisują się w formułę płyty. Spokojne, kojące dźwięki, wpadające w ucho smutne melodie - utwory te nie odstają od przebojów Irlandczyków. "Rupture" natomiast zaskakuje nieco inną aranżacją. Nie gitara, a fortepian odgrywa tu kluczową rolę. Czuć też pewien powiew elektroniki, kompozycja lekko kołysze, a głos Dolores przywołuje klimaty wzięte jakby z Cocteau Twins.

Efekty współpracy rockowych zespołów z zawodowymi, klasycznymi muzykami wypadały różnie. W tym jednak wypadku i The Cranbberies, i Irish Chamber Orchestra znakomicie się uzupełnili. Smyczkowe instrumenty dodały piosenkom Irlandczyków sznytu, a wieczór z "Something Else" może przynieść wiele czarownych chwil. ---Paweł Lach, rockmagazyn.pl

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The Cranberries – Gold (2008)

2014-06-08T15:46:57Z

The Cranberries – Gold (2008)

CD 1
01. Dreams 
02. Sunday 
03. Pretty 
04. How 
05. Not Sorry 
06. Linger 
07. Liar 
08. Zombie 
09. Ode to My Family 
10. I Can't Be with You 
11. Empty 
12. Everything I Said 
13. Ridiculous Thoughts 
14. Dreaming My Dreams 
15. Daffodil Lament 
16. So Cold in Ireland

CD 2
01. Salvation 
02. Free to Decide 
03. When You're Gone 
04. Hollywood 
05. Cordell 
06. Animal Instinct 
07. Promises 
08. You and Me 
09. Just My Imagination 
10. Never Grow Old 
11. Analyse 
12. Time Is Ticking Out 
13. This Is the Day 
14. New New York 
15. Stars

Dolores O'Riordan - Guitars, Keyboards, Mandolin, Vocals, Whistle
Noel Hogan - Guitars, Mandolin, Vocals (Background)
Mike Hogan – Bass
Fergal Lawler – Drums, Percussion
Mike Mahoney 	- Vocals (Background)
Horn Section:
Michael Buckley - Sax (Baritone)
Richie Buckley -  Sax (Tenor)
Bruce Fairbairn -  Trumpet

Gold, a double-disc rendering of hits, singles, album cuts, and B-sides, provides Cranberries fans with a nice balance between 2002's single-disc Stars: The Best of 1992-2002 and the mammoth Treasure Box: The Complete Sessions, 1991-1999, the latter of which featured all of the popular Irish band's remastered albums stocked with 21 bonus tracks. The Cranberries called it quits in 2003, but they left an impressive string of radio gems -- like "Dreams," "Linger," "Zombie," and "Salvation" -- that successfully blended the Celtic-infused melodies of their homeland with the lush and accessible modern rock that grew out of the early-'90s alternative scene. ---James Christopher Monger, AllMusic Review

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The Cranberries – Roses (2012)

2012-02-24T13:43:45Z

The Cranberries – Roses (2012)


01 – Conduct
02 – Tomorrow
03 – Fire & Soul
04 – Raining In My Heart		play
05 – Losing My Mind
06 – Schizophrenic Playboy
07 – Waiting In Walthamstow
08 – Show Me		play
09 – Astral Projection
10 – So Good
11 – Roses

Noel Hogan - guitars
Michael Hogan - bass
Fergal Lawler - drums
Dolores O'Riordan – vocals, guitar

Reuniting with all their original members plus original producer Stephen Street just over a decade after their swan song Wake Up and Smell the Coffee, the Cranberries recapture the sound of their earliest records on 2012's Roses. Nearly 20 years have passed since their breakthrough Everybody Else Is Doing It So Why Can't We?, so it shouldn't come as a surprise that there are some signs of age on Roses, notably in an increased sense of professionalism in the band's craft and also in a slight stripping of the ethereal echo that gave their debut an appealing floating quality. Without this dreaminess, the Cranberries are merely pretty, but unlike the turgidly ambitious Bury the Hatchet and Wake Up and Smell the Coffee -- or on Dolores O'Riordan's pair of perfectly fine solo albums -- Roses has definition and momentum, momentum that doesn't derive from artificially enhanced electric guitars, either. However subtle it may be, the Cranberries do have a chemistry, one that helps shape the melodies, one that gives O'Riordan a gentle, supportive bed for her commanding vocals. Dolores no longer exhibits the tics that sometimes overwhelmed her singing circa "Zombie"; she's settled into her voice just as the band has settled into its sound, opting for the swaying, lilting folk-pop that marked its best work. Roses may not immediately grab hold -- and it's lacking one strong single to pull listeners in -- but it's well-constructed adult pop that's unashamed of being either adult or pop. ---Stephen Thomas Erlewine, AllMusic Review

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