The Cranberries: Everybody Else Is Doing It So Why Can't We? (The Complete Sessions 1991-1993) CD Track Listing

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The Cranberries Everybody Else Is Doing It So Why Can't We? (The Complete Sessions 1991-1993) (2002)
Everybody Else Is Doing It So Why Can't We? (The Complete Sessions 1991-1993)\n2002 Island/Def Jam Music Group\n\nOriginally Released April 20, 1993\nComplete Sessions CD Edition Released July 30, 2002\n\nAMG EXPERT REVIEW: Title aside, what the Cranberries were doing wasn't that common at the time, at least in mainstream pop terms; grunge and G-funk had done their respective big splashes via Nirvana and Dr. Dre when Everybody came out first in the U.K. and then in America some months later. Lead guitarist Noel Hogan is in many ways the true center of the band at this point, co-writing all but three songs with O'Riordan and showing an amazing economy in his playing, and having longtime Smiths/Morrissey producer Stephen Street behind the boards meant that the right blend of projection and delicacy still held sway. One can tell he likes Johnny Marr and his ability to do the job just right: check out the quick strums and blasts on "Pretty" or the concluding part of the lovely "Waltzing Back." O'Riordan herself offers up a number of romantic ponderings and considerations lyrically (as well as playing perfectly fine acoustic guitar), and her undisputed vocal ability suits the material perfectly. The two best cuts were the deserved smashes: "Dreams," a brisk, charging number combining low-key tension and full-on rock, and the melancholic, string-swept break-up song "Linger." If Everybody is in the end a derivative pleasure -- and O'Riordan's vocal acrobatics would never again be so relatively calm in comparison -- a pleasure it remains nonetheless, the work of a young band creating a fine little synthesis. -- Ned Raggett\n\nAMAZON.COM CUSTOMER REVIEW\n"Everybody Else" not quite the caliber as everything else, March 12, 2004 \nReviewer: A music fan\nThis is a great album of the Cranberries' but it's definitely not quite the same caliber as say, No Need to Argue or To the Faithful Departed. In some ways this album seems a lot more shallow, a lot less variety and experimentation, but if that's more your style of the Cranberries' songs, you will enjoy this one. The songs are a lot less political and a more limited subject matter is in this CD. Her voice doesn't really have the same fluctuating quality from song to song as does in the other two albums I own, and neither is the music better in comparison. I would recommend the other two aforementioned in place of this one, but there are some very good ones, such as "Sunday" (slow beginning, spontaneously upbeat, awesome instrumental of strings). I don't think the Cranberries really let themselves go until their next albums. (In the midst of all these love-elation-and-despair songs you almost can't distinguish the Irish accent until the "linger" in Linger is a jarring realization of their heritage, though that's beside the point. )Great, but could be better. \n\n\nAMAZON.COM CUSTOMER REVIEW\nOverexposed, February 22, 2006 \nBy Jessica Winney (Houston, TX USA)\nI originally purchased this album over nine years ago and, although I liked the songs and Dolores O'Riordan's voice, I find myself rarely listening to it now. For me, the excessive radio airplay of the songs "Dreams" and "Linger" killed the longevity of the album as a whole. It seemed as though throughout most of the nineties a person couldn't listen to the radio, walk around in a shopping mall, or watch TV without hearing "Dreams" or "Linger" at least once, if not more than once. I must have heard those songs a hundred times at least. Now I groan internally whenever I hear them. To me, this album will always sound like the nineties, and, unfortunately, the nineties haven't been gone long enough to make me want to reminisce. The Cranberries were a great band and it is a shame that much of their subsequent output wasn't as good. This is not a terrible album by any means, it has just been, to use a photographic term, overexposed. \n\n\nAMAZON.COM CUSTOMER REVIEW\nBeautiful melancholy..., December 11, 2005 \nBy A. Ort "aorto" (Youngstown, Ohio)\nThis album, along with Counting Crows 'August and Everything After', came out around the same period of time and both have this gripping, haunting sound to them. Perhaps it is because during a certain period of transition in my life, this album and the Counting Crows album never left my CD players and the song "Linger" always take me back to that period of time and causes a bittersweetness to arise in my soul. So too was I transported back when I revisited this album after a number of years. \n\nThis album is gorgeous on so many levels. I forgot just how powerful it is. The music, the singing, the lyrics and the overall tone are melancholy but not depressing, haunting but not sorrowful and gorgeous in a way few albums achieve. "Linger" is one of my all time favorite songs and it never gets old but this is a treasure trove of other songs that never made the radar. \n\nIt plays well as an organic whole; there is not a bad song on here. If you're ever looking for an album to help you chill, to cause you to reflect or to just set a certain mood, this is one to play. \n\n\nAMAZON.COM CUSTOMER REVIEW\nsonic antithesis of grunge, May 9, 2005 \nBy Donovan G. Rinker "donoglen" (Cambridge, MA)\nBeautiful and inspired, the Cranberries' sound ultimately managed to merge the ambrosial ambience of Enya with the jaggedness of Seattle Grunge to produce a unique poignance owing little to either influence. \n\nStandouts "Dreams" and "Linger" reached the pinnacle of lushness, with the latter suggesting emerald landscapes and adventures to advertisers inviting Americans to see Ireland. \n\nThis album favored softer mixtures, draping complex aural textures across O'Riordan's lush voice, complete with yodels. Later releases favored the harsher combinations (hinted at here in "Still Can't" and "How", and later reaching full potency in "Zombie"), following influences elsewhere in pop, but the debut remains the Cranberries' unsurpassed achievement. \n\n\nAMAZON.COM CUSTOMER REVIEW\nLovely..., October 6, 2000 \nBy Eik Nyl "E"\nThis, by far, is my favourite Cranberries album. There is nothing inherently wrong with subsequent releases, and the Cranberries have grown lyrically and musically and explored new sounds in the years since this album was released. However, there was a certain style and charm here that has not been duplicated. O'Riordan's soaring vocals, sometimes floating above all the other music, and sometimes barely whispering; touching and often quite melancholy lyrics (usually lyrics to which any person who has been in love or jilted can relate, which is a part of the charm); and beautiful, even ethereal arrangements of these songs. The Cranberries can be a little bit repetitive, but overall this is an excellent album. The album begins "I don't want to leave you, even though I have to. I don't want to love you, oh, I still do..." about a person asserting herself, trying to find out what she needs for herself. (Obviously describing songs and their meaning is a lot less effective than actually listening to the song itself). The overplay of track two, "Dreams" is a bit sad (I cannot even listen to that track anymore). Otherwise the entire album is lovely and listenable. My particular favourites are "Linger" (which has nearly suffered the overplay of "Dreams"), "Put Me Down", "Not Sorry", and "I Will Always". \n\n\nHalf.com Details \nProducer: Stephen Street \n\nAlbum Notes\nThe Cranberries: Dolores O'Riordan (vocals, acoustic guitar); Noel Hogan (guitar, background vocals); Mike Hogan (bass); Feargal Lawlor (drums, percussion).\nAdditional personnel: Mike Mahoney (background vocals).\n\nRecorded at Windmill Studios, Dublin, Ireland.\nAll tracks have been digitally remastered.\n\nThe Cranberries, more so than almost any contemporary group now coming out of Ireland, translate the lyric delicacy and metaphorical melancholy of Gaelic folk music to a rock format. The Cranberries are a tight little band with a sound all their own, though at times many of their songs do suggest some sort of strange communion between U2 and Bjork.\nHow so? The gossamer strains of Noel Hogan's electric guitar recall The Edge's spacy chording, but Hogan's rhythmic focus tends more towards eclectic folk stylings (a la Richard Thompson) than the arena gestures of rock. Which isn't to say that his dancing interplay with bassist Mike Hogan and drummer Feargal Lawlor lacks impact. Quite the contrary. Songs such as "Dream" and "Waltzing Back" illustrate the band's special chemistry and harmonic buoyancy, as airy chording gives way to punchy riffs and gruff power chords.\nBut it is The Cranberries remarkable vocalist Dolores O'Riordan who defines the band's unique sound and broad appeal. O'Riordan has an eccentric, emotive style and a stunning vocabulary of guttural whoops and throttled cries (to particular effect on "Pretty"). On "I Still Do" she doubletracks her breathless voice (as she does throughout EVERYBODY ELSE...), creating a mournful melodic ambience as the band rises to match her emotional peaks in a tale of a played out love that will not die.\nThis plaintive tone of O'Riordan resonates throughout EVERYBODY ELSE IS DOING IT, SO WHY CAN'T WE? "You mystify me, you mystify me" she intones dimly as if in a haze on "Sunday" as the band tolls away behind her, while on "Waltzing Back" her yodeling cries and muttered grace notes impart tremendous power to each phrase in this clannish dance.\n\nIndustry Reviews\nIncluded in Rolling Stone's Essential Recordings of the 90's.\nRolling Stone (05/13/1999)\n\n...what really makes the Cranberries stand out is singer Dolores O'Riordan...a Stephen Street production job which makes even the Smiths seem uncompromisingly dense....A remarkable album by a remarkable band...\nAlternative Press (07/01/1993)\n\n...The Cranberries are Quiet Storm music for the alternative-rock generation... - Rating: B\nEntertainment Weekly (06/04/1993)\n\n4 Stars - Excellent - ...softly stroked guitars tenderized by a female voice of exceptional merit....deliciously spine-shivering moments....the melodies are festooned with dreamy hooks...\nQ (04/01/1993)\n\nIncluded in Q's list of 'The 50 Best Albums Of 1993' - ...creeps up on your consciousness and stubbornly refuses to leave....\nQ (01/01/1994)\n\n...entrancing tunefulness [with] Dolores O'Riordan's vocal audacity...they've accomplished a sharp, self-aware debut....\nRolling Stone (12/23/1993)\n\n\nROLLING STONE REVIEW\nIn the hands of smart guys, trebly, chiming guitars and spare, certain melodies took divergent paths in ancient days -- toward the Byrds' clear skies and the Velvet Underground's blue-lit alleys. R.E.M., of course, fused the directions in the '80s, creating a freeway that soon became crowded. Arizona's Gin Blossoms approach the Athens, Ga., demigods with the reverence popsters used to accord the Beatles, but so smartly have they absorbed the influence that "New Miserable Experience" sounds both fresh and highly personal. Robin Wilson's a confident, engaging singer; "Hey Jealousy" is manna for radio; and the ease with which this quintet casts hooks suggests that there's plenty more in store. Ireland's Cranberries share a similar gift for entrancing tunefulness but with Dolores O'Riordan's vocal audacity (catch her quasi-Moroccan moaning on "Dreams"). They're the deeper, dreamier unit. "Linger" and its orchestration hint at the group's musical ambition; guitarist Noel Hogan is a resourceful melodist; and by (Posted: Feb 2, 1998) YEAR: 2002
This rock cd contains 18 tracks and runs 59min 36sec.
Freedb: 1b0df612
Buy: from Amazon.com

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