Particularly, I guess, Dolores and the way she sang. Her style of singing, there were definitely traits of old Irish music in there. So, it definitely played a part. You do your version of that and, obviously, the Irish influences then are in there in the back of your head somewhere.
Fergal: It was through a friend of ours. There was a guy that sang in the band for a while and then he was in another band so he was concentrating on that full-time. So, we asked him if he knew of any singers and his girlfriend at the time was in school with Dolores.
He got a message through to her that we were looking for a singer and then, you know, she was looking for a band that did original stuff. So, she came up on a Sunday afternoon and we rehearsed.
She played a few songs that she had and we played some music we had. We gave her a cassette tape, she took it away with her and came back the next week with lyrics.
So, that was the start of it. Noel: I think we just clicked straight away. Dolores wanted to be in a band that did original songs. At the time, it was quite popular—there were a lot of original bands around Limerick but there were also a lot of cover bands that did weddings and bars and things like that because, obviously, that paid.
Whereas being in a band where you sang your own songs, not so much. So, there was that. We, like her, wanted to do our own thing, create our own sound and songs. And we found that she just became our sister all of a sudden. It grew between the four of us. It just seemed effortless. Dolores grew up with a lot of brothers, so it felt very natural for her to just be there in the room with us.
At the time, a lot of our friends would hang around where we rehearsed, as well. So, there were a lot of males floating around the place. But it never bothered her. Then we went in and recorded the first demo with her. We could kind of hear her—we could hear the melody more than the lyrics. But when we went into the studio for that first time, it was really one of those moments where the hairs on the back of your neck stood up. It was amazing.
And then it just—especially those early years. It went from strength to strength. We believed in what we were doing. Noel: We were very excited to actually hear that it sounded professional, I suppose. Because it was done in a recording studio and you could hear everything clearly. That was our first time hearing ourselves, The Cranberries, the proper sound. In rehearsal, it sounded rough enough because the equipment was so bad. I think we were very excited. How did the bond amongst the band solidify?
Noel: I think we all grew. Dolores definitely had been playing music and singing since she was very young. Whereas, the three of us, we bought instruments and started a band, more or less. For us, it was a massive learning curve. But I think the more we played live we all started to know that it was clicking better. And we would get stuff down really, really quickly compared to the, you know, the first two times we went in when we were learning how to play, use the studio.
So, it was great and we, as the years went by, you could walk into a room and you may not have been in the same room for years but after an hour it was like we never left. You know no matter what you can go back to that at some point—then. It was great that we all grew and at a certain point we all started to grow at the same pace.
Obviously, being thrown into the fame side of it was a bit bizarre for us, being so young, as well. Fergal: Yeah, the fame thing was strange. We tried to avoid it as much as possible. But, I mean, Dolores, being the front person, being a girl in a band with three guys, got more attention. But we tended—when we were on the road, especially—to bunch together and stick together as a family.
The crew guys that worked with us were there from the start. We were like a family heading around the world playing gigs. We were in the bubble, almost.
That protected us, I think, to stay in that bubble and not go off to after show parties or anything like that. And there were a lot of songs at that time.
I want the sound to be heavier. To us, they were just songs in the set that we liked. When she brought in a new song or new sound, was that jarring at all?
But at the time, she suggested getting heavier with that song. It suited us perfectly. We felt it was natural. How did get you get the news that Dolores had passed? Especially on that first day. She was the same age as us. But certainly that was just like another day until that point and then everything, for all of us, changed. These images also appeared in the album's booklet. The disc itself featured a photo of just the sofa in the same room.
The sofa later appeared in the video for " Alright " by the British band Supergrass in Yadav described that the "rustic upbringing" of O'Riordan's childhood—reflected on "Ode to My Family", "gives credence to the rest of the album and it's personal, grassroots presence". He finished the retrospective review by stating that "the Cranberries turned their struggles to art in No Need To Argue , an album that helped bring to light what the culture of Ireland was.
Dolores O'Riordan made it all happen with her voice, and that's not to discredit the rest of the band; but that voice is what made the Cranberries stand out amongst the rest. She voiced the struggle of a whole country". Considine wrote that some songs reminded the vocal styles of other artists like "Ridiculous Thoughts" recalling Sinead O'Connor , "particularly the way O'Riordan handles the phrase 'Twister, aow' and "Zombie" is a bit too much like early Siouxsie and the Banshees ".
Though Considine positively added, "neither song makes that debt seem especially problematic". The reviewer praised O'Riordan for her performance; "the most memorable thing about her delivery is its unvarnished emotionality". However, reviewer Ned Raggett stated; "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," [ On 5 August , Billboard stated that No Need To Argue was the largest seller of albums since its release, with 5,1 million copies sold in six months.
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