DOCSLIB.ORG

Melody Maker (1993.11.06)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melody Maker (1993.11.06) The Cranberries hit the jackpot heard of television ." are takingAmerica by storm! I tell him about the largely Polish/ltalian House O f Pain, whose mainman, DJ Everlast, has "Sinn Fein" tattooed on Yes, that Cranberries - the bandwe've variously described as his chest. "Jesus! Most of these people haven't got a clue what's going on. But a lot of people back home told us, 'Oh, these Americans aren't well', but a lot of people we've met have Sundays' - are currently doinge th e re a l been grand." Does it bother you that bands like Radiohead and yourselves have to succeed over here before anyone thingsto theUS public. SIMONPRICE (w ords) takes notice back home? "Yeah, it's a shame. If we can do it here," he says, a n d I i g a s paraphrasing his album title, "why can't we do it there?" Still, are you homesick yet? - V " ESSS!!!" DOLORES O'RIORDAN "Oh Christ, yes, it's nice to visit.. f crashes through the doors of the tour A waitress brings us Cokes, and barks "Enjoy!" in a tone ------ —L bus, punching the air. which bears the unmistakeable sub-text: "Obey!" " W e sold more T-shirts than Suede!Gigolo Aunts Fergal sighs: "But I wouldn't live here, though..." sold more T-shirts than Suede! I mean, I like 'em and everything,but..." J THE qigaftheHuntridqe Theater isanother She takes me aside. I effortless Cranberries conquest: mass singalongs, "I like men to be a bitmore... a bit less girly-girly, you j handclaps in the air, showers of flowers, rosaries, know? Because I'm a bit of a tomboy and I challenged and marriage proposals. The girl with the Peruvian him to a fight, but I don't think he was up to it." pipeswedged in her throat has done it again. W ith that, she punches my arm (hard), snatches Phil Tne night having gone so well, Dolores consents to Nicholls' camera, drags her drummer, Fergal, outside, a quick interview. W hy does she think the Americans and vanishes. Nicholls later tells me his film contains love her so much? inexplicable shots of a man's arse against a steel "Because our music has a lot of culture in it. Not necessarily radiator grill. Irish culture: a lot of people think we're So much for the blushing faerie princess of music B BB B | | | | | h M ^ ^ English anyway. But Americans press myth. j j J desire culture, because their I'M hiding from the 102 degrees midday sun - so I own culture is so new. AH,Vegas, my old friend. Vegas, where everything is bigger,hot you have to run from it, as if it were a hailstorm - "They see us as a in one of the many cafes in the 2,400-room (about especially food. Must be something to do with the nuclear tests ® Dolores gets floweredB up i, genuinethins" out in the Nevada desert. Dolores, however, has a conspiracyaverage for Las Vegas) Sahara hotel with bassistk jjjk regardless of whether theory that goes like this: restaurateurs are in collusion withMike Hogan, whose reticence is only rivalledJ B B we're trendy in Health Clubs, giving you enormous helpings, turning you byinto his abrother, the near-silent guitarist Noel, j H B l England," she fat bastard, thereby forcing you to and the far m JR B B I pointedly adds. work out at an expensive fitness centre. loquacious drummer, Here, everything is bigqer. Not least Fergal Lawler. >• The Cranberries. Since tneir debutIP, So what do the "Everybody Else Is Doing It So Why Americans see in you? f f l l l l l Can't We?", was released in May, "A lot of them seem to be B it's sold 320,000 copies. into the Irish thing," says B | The breakthrough came when the Fergal, "but I don't see our single, "Dreams", spread like word- music as very Irish." of-mouth wildfire through Modern Not all of it, sure, but stuff Rock Radio (a weird American I i ke "W altzing Back" isvery programming concept spanning Celtic and it'steen a while since i Pearl Jam/Belly/Faith No More to Sinead had a recordout... Big Country/Tom Petty/The Beat), "Dolores can't help her accent when B "And they don't then Mainstream FM stations. The she sings: it's only natural. But they seem have a big indie follow-up, "Linger", is poised on the to notice it more over here." B scene here, so we edge of the Billboard Top 40. Do you get a large Irish-American B must sound pretty They' with The following? B unique on the radio The, and when Suede (their current "W e get all sorts, from college guys, with W next to Madonna and co-headliners) pulled the first three the baseball caps and the shorts, to thirty- W v all that AOR crap". gias of the tour, The Cranberries fortysomethings. But we do get a lot of B B Despite the passion sold out ] ,000-seater theatres on shamrock tattoos and Irish flags. Nearly of her words, and her their own. Next month, they'll be every second American we meet says, ^ new boisterous, grrrlish filling stadia with Duran Duran. Viva Las Vegas! 'Oh, I'm half-Irish'. Yeah, tell me something confidence (see the first Yes, I'm talking about the same I don't know. They have some weird paragraph), her voice is barely Cranberries: pleasant, ethereal types preconceptions, too.lot Aof them say, audible above the air-conditioning. from Limerick who were briefly hip in 1991. Remember them?'What's if like there? Is there a war going on?' Well, maybe W hat has America taught you? (This particular media perception, I soon discover, is a sorein the North there is, but they seem to think it's like Bosnia or"I'm amazed by the materialism of it all. And I was point). So how in God's name have they, of all people (andLebanon. Either that or they think we're quaint little leprechaunsfascinated by New Orleans, all that voodoo stuff. It's ahead of Britpop's more happening stars), struck Yankee Dollars?who live in cottages, drive donkeys and carts and have neverhelped my songwriting. W e're trying to write songs during soundcnecks for an album in January, ana they're a lot more mature than the old ones, which w ere.. " Well, they all described the cruel games that lovers play. "Exactly. Teenager talk. But, when you get older," continues the 20-year-old Dolores, "you've seen a bit more, and the relationship side of your life calms down . We've learned to rock as well. "W hat did you expect us to be like? More restrained?" w % So Why Can't We?', already available an CD and cassette, is finally released on vinyl this week by island.
Load more

Recommended publications
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Melody-Maker-1969-0301.Pdf
    I / . THE MAGIC OF JIMI HENDRIX part two of the MM's great series on page 14 WOODS: for Ronnie's EUROPEAN BY LAURIE HENSHAW RHYTHM TOP American stars are being lined up for British appen­ MACHINE ances later in rhe year. Current Pop 30 art­ COMING ists Martha and the AMERICAN altoist Phil Vandellas and Canned Woods has been booked Heat will be back in into London's Ronnie Britain in 1969. Scott Club for a two­ CANNED HEAT MARTHA AND VANDELLAS week season commen­ DATES tour later this year three-week tour plus TV dates cing March 31. He will appear with h11 European Rhythm Muh,ne, Martha, whose cur­ joins forces with the 1;omprilin1 Daniel Hu,nair rent chart hit " Dancing Count Basie Orchestra (drs), C.Or1e Grunts (pno) In The Street'' is a Canned Heat again for a package u1d Henri T .. ier (lta•t) . " revived 45 ", will which kicks off at the start a three-week tour Hammersmith Odeon this month. later in year on April 19. Dates are being set in London and through­ Howes also has high European tour later this TREK out the country between hopes that Aretha month. Full details of March 17 and April 12. Franklin will top a dates are on pace 2. The Basie band has The tour will also mammoth concert bill take in TV appearances On the iazz front, four dates on its own, at London's Royal Al ­ the Harold Davison beginnin1 at the Wake­ on ATV's This Is Tom bert Hall in November.
    [Show full text]
  • Inside the Cages of the Zoo
    The Library of America • Story of the Week From Shake It Up: Great American Writing on Rock and Pop from Elvis to Jay Z (Library of America, 2017), pages 151–65. Originally published in Trips: Rock Life in the Sixties (1973). Copyright © by Ellen Sander. ▼ Ellen Sander Ellen Sander (b. 1944) was The Saturday Review’s rock critic in the mid- to late sixties and also wrote on rock for Vogue, The Realist, Cavalier, The L.A. Free Press, the Sunday New York Times Arts & Leisure section, and many other venues. She is the author of Trips: Rock Life in the Sixties (1973), an important source for those seeking to understand the texture and allure of 1960s rock culture. A unique aspect of that culture was captured in Sander’s piece “The Case of the Cock- Sure Groupies” (1968), a remarkably clear- eyed and nonjudgmental account of one of rock’s less celebrated scenes. After her years of rock writing, Sander worked in various capacities in the software industry, from tech writing to computational linguistics. She then returned to her first love, poetry; most recently she served as the Poet Laure- ate of Belfast, Maine (2013–2014). Several collections of her rock journalism are available as Kindle ebooks. ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ Inside the Cages of the Zoo Some years later, a group called Led Zeppelin came to America to make it, taking a highly calculated risk. The group had been put together around Jimmy Page, who had a heavy personal following from his previous work with the Yardbirds, an immensely popular British group that generated a great deal of charisma in the States.
    [Show full text]
  • Mediated Music Makers. Constructing Author Images in Popular Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew.
    [Show full text]
  • How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City
    Journal of Popular Music Studies, Volume 25, Issue 1, Pages 56–76 How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City Leonard Nevarez Vassar College Manchester, England, is among the most well-known cities today for the creation and celebration of popular music, thanks in no small part to the group Joy Division. Among the first bands to be associated with a postpunk aesthetic, Joy Division eschewed punk’syouthful rage and unrelenting din for an expansive, anthemic sound distinguished by its dynamic scope, machinic pulses, and by singer Ian Curtis’ssonorous baritone and existential lyrics. As the first significant band to sustain a career in Manchester, thus bypassing the music industry headquartered in London, Joy Division is also recognized as pioneering the DIY tradition that has famously characterized Manchester’s musical economy over the last four decades. The group didn’t achieve this alone; the role of Manchester label Factory Records is well documented, as, increasingly, is the foundation laid by the city’s networks of musicians, scene participants, and cultural institutions (see Crossley; Botta).´ Yet these local facts don’t quite explain the contemporary resonance of Joy Division’s Manchester roots for music fans and city boosters today. Perhaps more than any other Mancunian band, Joy Division are claimed to sound like Manchester, at least the Manchester of a certain era. That is, the group did not just originate from the late 1970s Manchester of deindustrialization, carceral housing estates, Thatcherism, and punk’s youthful refusal; nor do they simply illustrate a recurring Mancunian ethos of creative pluck and insouciant disregard for London’s cultural hegemony (Haslam, Manchester, England).
    [Show full text]
  • Led Zeppelin
    For Linda, Evie, Mollie and Michael – always. Author’s Note While I have been fortunate over the years to have enjoyed the company of various ex-members and/or former employees of Led Zeppelin, it should be born in mind at all times that this is an unauthorised biography, written objectively and with no undue pressure from any outside influence to do anything other than tell the story as I honestly see it. It should also be clearly understood that the italicised ‘flashback’ passages of the text are not the actual words of Jimmy Page, Robert Plant, John Bonham, John Paul Jones and Peter Grant, nor are they actual quotes. Whilst they are all based on thorough biographical research, the facts of which can be found in the Notes & Sources section at the end of this book, the words themselves are the product of my imagination. Contents Prologue – Heaven Part One: Ascension! 1. The Dawn of Now 2. Daze of My Youth 3. Light and Shade 4. Going To California 5. High in the Sky 6. Cannons! 7. Cracking the Whip 8. A Bustle in Your Hedgerow Part Two: The Curse of King Midas 9. So Mote It Be 10. All That Glitters 11. We Are Your Overlords 12. The Golden Gods 13. The Devil in His Hole 14. Caesar’s Chariot 15. The Outhouse 16. To Be A Rock… Epilogue – Gone, Gone, Gone… Notes and Sources Index Acknowledgements Prologue Heaven It could happen anywhere but it always happened best in America. Land of milk and honey, world of infinite possibility.
    [Show full text]
  • The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSIC OF THE GOTH SUBCULTURE: POSTMODERNISM AND AESTHETICS By CHARLES ALLEN MUELLER A Dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2008 Copyright 2008 Charles Mueller All Rights Reserved The members of the Committee approve the dissertation of Charles Allen Mueller defended on June 12, 2008. __________________________ Charles E. Brewer Professor Directing Dissertation __________________________ Barry Faulk Outside Committee Member __________________________ Denise Von Glahn Committee Member __________________________ Douglass Seaton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOLEDGEMENTS I would like to extend my most sincere gratitude to the Presser Foundation who funded my research in Great Britain. I would also like to thank journalist Mick Mercer and the staff at Rough Trade in London who provided me with important insights into the development of goth music. All of the past and present goth participants and musicians who took the time to share with me their passion for music and life experiences also
    [Show full text]
  • What Is Post-Punk? Genre and Identity in Avant-Garde Popular Music, 1977-82
    What Is Post-Punk? Genre and Identity in Avant-Garde Popular Music, 1977-82 Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant- garde industrial sounds, and reggae beats, and thus is not an easily definable musical category. What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and the NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto- industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins. “Mimi Haddon expertly unpicks the tangled threads of cynicism, noise, disco, dub and decay which are woven together in post-punk. A compelling portrait of an intoxicating musical moment and a significant contribution to genre theory.” —Caspar Melville, SOAS, University of London March 2020 Available to order at “Haddon provides keen insights into the interplay of images, sounds, words, and performance in post-punk.
    [Show full text]
  • What Is Post-Punk?
    What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style ..........................................................................................................
    [Show full text]
  • 1970.11.28, Melody Maker.Jpg
    Pagt! 16-MELODY MAKER, November 28, 1970 CAUGHT IN THE ACT Matchless and if you want you can shake Don Rendell's mournful, wildly your head. Seems funny that keening soprano. the basis for sttme of the most The consort stormed through FLEETWOOD MAC necessary blues actually stems "SanCtus," "Psalm 73" in from happiness. which Errol Garnerish blues No one could surely boast piano suddenly popped up over 1 that Faces are musically revolu­ some heavy rhythmns and FL· EE:"::s~~n ~:c m'::~:ia~ :hei~ tionary, because they ain't, " Salvation March " which I by a comparatively unknown they are just pure rockers Peter Mount conducted with a group at their concert here last superbly sure touch. Finillly. It Miss Tuesday, Warm Dust, grossly that'll get you shakln' and your hand clapping and your was ••Behold the Pale Horse," underrated In England but big head heady. , the horse of death from the on the Continent, opened the A more than full house went - Book of Revelation. Garrick show with some of the most In­ wild and shook. and the gig played a brilliantly menacing teresting sounds, an unusual went on and on. " Cut Across solo and leapt up to stir the feature being the use on some Shorty," the lot, honky-tonk, choir into a climax of big band numbers of two organs. Par­ clanging guitar, thick vocals. vocal space music behind the ticularly outstanding were the Fabulous, gay and yet bluesy. soloists. two reedmen, John Surgery and - ROY HOLLINGWORTH ... Throw away your Led Zep­ Mitchell Alan Solomon.
    [Show full text]
  • Stockhausen's Influence on Popular Music
    STOCKHAUSEN’S INFLUENCE ON POPULAR MUSIC: AN OVERVIEW AND A CASE STUDY ON BJÖRK’S MEDÚLLA by Claire Elizabeth Richardson, B.M. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a Major in Music May 2015 Committee Members: Kevin E. Mooney, Chair Ludim Pedroza Nico Schüler COPYRIGHT by Claire Elizabeth Richardson 2015 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Claire Elizabeth Richardson, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS First, I thank the faculty of the School of Music and the Graduate College of Texas State University for providing me the resources and knowledge that have been indispensable for my research and writing. I owe much gratitude to my advisor, Dr. Kevin Mooney, for his exceptional guidance during my work on this thesis. His incisive feedback and endless support have driven me to continue to work diligently and think critically. The enthusiasm in his words “I like it!” continues to serve as one of my best motivators. I also want to thank Dr. Ludim Pedroza and Dr.
    [Show full text]
  • Simon Frith PLAYING with REAL FEELING
    new formations NUMBER 4 SPRING I 988 Simon Frith PLAYING WITH REAL FEELING: MAKING SENSE OF JAZZ IN BRITAIN Britain has several languages and a multiplicity of accents, but the voice that dominates British pop is a commercial construct, a phoney diction that says more about our slavish relationship to America than it does about popular expression.1 So writes Stuart Cosgrove in a 1987 City Limits feature on rock's thirty-sixth birthday. 'It was only with the emergence of Rock'n'Roll', explain Trevor Blackwell and Jeremy Seabrook, 'that the full impact of American culture thrust to the very heart of working-class experience',2 and the search for a surviving British pop voice has been an obsessive theme of left cultural criticism ever since. But even before the impact of Elvis et al., there was recurring anxiety about the effect of American music on working-class expression. Richard Hoggart brooded in his 1957 The Uses of Literacy on the decline of 'the open- hearted and big-bosomed' songs and singers of his pre-war childhood, while in 1946 Vaudeville historian Ernest Short noted that popular songs dating back to the turn of the century reflected the humorous outlook of the Cockney, the Lancashire lad, the Yorkshire lassies, the Tynesider, and the factory hand from 'Glasgie' rather than that of some alien with no firmer hold upon a traditional social atmosphere than an East Side New Yorker in the pay of Tin Pan Alley, as is so often the case today.3 For Mass-Observation in 1939 the Lambeth Walk was thus remarkable as a revival of community
    [Show full text]