Taylor Parkes interviews Pizzicato Five, 1st April 1995

Taylor Parkes interviews Pizzicato Five, 1st April 1995. Photos by Pat Pope.

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Andrew Mueller interviews Teenage Fanclub, 1st April 1995

Andrew Mueller interviews Teenage Fanclub, 1st April 1995. Photos by Matt Bright.

In the same issue Taylor cracks his Teenage Fanclub who’s who gag there’s this from Mueller! Which begs a bigger question – who’s right? Runaround now!

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David Bennun interviews The Prodigy - part 1, 1st April 1995

David Bennun interviews The Prodigy - part 2, 1st April 1995

With typical tongue in cheek aplomb, David Bennun interviews The Prodigy, 1st April 1995. Photos Pat Pope
14 years ago before the Appletons, the tattoos and the drugs. Yeah ok…maybe not before the drugs.

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David Stubbs interviews The KLF, 16th February 1991

David Stubbs interviews (and gets arrested with) The KLF, 16th February 1991. Photos by Kevin Westenberg

This is the original article that David Stubbs wrote an update/remembrance piece on over at The Quietus in 2008

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David Stubbs interviews Simon and Chris Donald of Viz Magazine, 12th December 1987

David Stubbs interviews Simon and Chris Donald of Viz Magazine, 12th December 1987. Photos by Phil Nicholls

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The Stud Brothers interview Sinead O'Connor, 12th December 1987

The Stud Brothers interview Sinead O’Connor, 12th December 1987. Photos by Paul Rider

The problem with having supermodel good looks is that it’s impossible to make yourself unattractive however much you might want to. And crucially, although Sinead shaved off her hair, wore doc marten boots and generally did everything to divert attention away from her looks, she never tried to conceal her intelligence, and there’s rarely anything more attractive than an intelligent, feisty woman.

When you look like that and have a voice like this it’s a staggering combination.

The Troy video probably cost quite a bit of cash back in 87 but it’s horribly dated now.  The overexposed, revolving alabaster-like bust of Sinead recalls nothing so much as one of those alien shape-shifters you’d occasionally have turn up in an episode of Star Trek to seduce Captain Kirk.

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Everett True interviews The Cranberries on the release of their debut single, 26th October 1991. Photo Joe Dilworth

Compare and contrast the obsequious piece above with this below (taken from this forum), originally printed in the Melody Maker, April 27, 1996. Proof that 5 years is a long, long time in pop and that you can disappear up your own arse in the blink of an eye.



Reasons to hate The Cranberries.

1) Dolores O’Riordan. Her arrogance. Her petty small-mindedness. Her redneck worldview. Her incessant preaching. The fact you can actually see the mean-spiritedness of her thoughts imprinted on her pinched little face. Those American flag jumpsuits. Her cold love of money. The way she’s Sinead O’Connor for people who can’t confront even elementary contradictions. Her anti-abortion stance. Her absolute lack of self-irony. The way she makes even the most fundamental and wonderful emotions sound trite. The way America loves her cliched, stereotypical take on Ireland. Her reduction of serious political issues to 10-second sound-nibbles. Her dress sense. The obscene way she made legions of students slow-dance to the most crushingly banal political lyric (“And their tanks and their bombs and their tanks and their guns…”) since Paul McCartney’s “Give Ireland Back To The Irish”. That wedding.

2) Dolores O’Riordan. Her smug conceit masquerading as concern for all mankind.

3) Dolores O’Riordan. Her lyrics. The fact that no one in her obviously highly technological camp has bothered to buy her anything more than a Second Year rhyming dictionary. The fact that she sees fit to write a song about John Lennon – a bigoted, misogynistic, self-loathing, tantrum-prone asshole who also happened to write some great songs – 15 years after the event, and gloss over all his faults. The fact that she does so by writing the infantile lines, “It was a fearful night of December 8th/He was returning home from the studio late/He had perceptively known that it wouldn’t be nice/Because in 1980 he paid the price…With a Smith & Wesson 38/John Lennon’s life was no longer a debate.” The fact that every person in her camp is clearly so in awe of her (temper? Power? Capacity for retribution? Fragile ego?) that they didn’t take her gently to one side and go, “Er, Dolores, perhaps it’d be better if someone else wrote the lyrics…”

4) Dolores O’Riordan. Her videos. You know how much Dolores hates to be typecast as a “thick Paddy”? Has she actually watched any of her own videos? The way they reinforce received notions of Ireland as a backwards country populated entirely by broken-toothed, bowl-headed, crying schoolkids in grey V-neck jumpers dancing around streets lit by the occasional Armalite flare? And the odd horse – y’know.

5) Dolores O’Riordan. Her lyrics. Guess whose only contact with “real life” has been MTV news and the occasional venture onto the street outside the Four Seasons? Check “War Child”: “I spent last winter in New York and came upon a man/He was sleeping in the streets and homeless, he said ‘I fought in Vietnam’…” You ****ing patronising, prematurely middle-aged cow.

6) Dolores O’Riordan. Her music. The opening song here (“Hollywood”) starts like Stiltskin. Only not as good. Then we’re onto Foreigner territory. With the odd mandolin thrown in, for “local” colour.

7) Dolores O’Riordan. Her lyrics. Check “I’m Still Remembering”: “They say the cream will always rise to the top/They say that good people are always the first to drop/What of Kurt Cobain, will his presence still remain?/Remember JFK, ever saintly in a way….” (Yeah, and an adulterous ego-maniac who started the Cuban Missile Crisis and the Vietnam War, in another way.) Check: “Bosnia” (no, seriously, folks) – “Bosnia was so unkind, Sarajevo changed my mind…Rummmpatitum, rummmpatitum/Traboo, traboo, traboo…” (We’re quoting from the official lyric sheet.) The theremin and musical box used (spookily!) to spice up the music have the unfortunate effect of making the song sound like something from “The Twilight Zone”.
The situation in the former Yugoslavia seems to have particularly troubled Dolores while she was writing the songs for this album (what’s wrong, dearie? Nothing better on TV?). After all, as she helpfully points out in the heady, emotive (all right: we’re lying) “Free To Decide”, “You must have nothing more with your time to do/There’s a war in Russia and Sarajevo too.” This is, incidentally, the most perceptive insight she offers throughout. (Who are the people who take this woman seriously? Where do they live? Where do they go to at night? Please don’t invite us.)

8) Dolores O’Riordan. Her voice. The way she turned what was a dazzling, intoxicating gift into an atonal corncrake skree by infusing it with her personality. Now it emparts no emotion of any kind, save for pettiness, bitterness, self-righteousness. She tries to suggest such broad sweeps of emotion with her songs but, somehow, they always end up sounding so ****ing small.

Not that we’d want to belittle her.

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