Like a poorly crafted single, the true nature of a terrible song emerges with repeated exposure. While criticism isn’t enjoyable, ignoring musical missteps would be a disservice. This analysis will delve into songs, aiming to avoid the most obvious targets, and when necessary, critique even beloved tracks and artists, especially those overplayed to the point of exhaustion.
The Cranberries’ “Zombie,” which topped the Modern Rock chart in October 1994, stands as a significant moment in music history. The autumn of 1994 was indeed a tumultuous period, marked by political shifts and cultural trends. Amidst this backdrop, Dolores O’Riordan’s distinctive vocals and the song’s powerful chords became a resonant response to events like the Warrington bombings. “Zombie” quickly dominated MTV and college radio, propelling their second album, No Need to Argue, to over seven million sales. Ironically, this commercially successful song, a staple in any list of Zombie Songs -3, might have inadvertently hindered the band’s artistic trajectory.
The central question is how a song so successful could be detrimental. “Zombie” arguably pushed The Cranberries down a path that didn’t fully utilize their strengths. Earlier in 1994, “Linger” broke into the American top ten, drawing comparisons to bands like the Sundays. Fans of that ethereal, Cocteau Twins-influenced sound hoped for a broader mainstream acceptance of this style. The Sundays themselves had seen some crossover success with their cover of “Wild Horses.” Adding to this momentum was “Dreams,” another track that hinted at a more melodic, Stone Roses-esque direction. Notably, “Dreams” resonated with audiences, even appearing on the культовый TV show My So-Called Life, further cementing its cool factor in the cultural landscape of 1994.
While the subject matter of “Zombie” is undeniably serious and important, the song itself falls into a common pitfall of protest anthems. Echoing Yeats’ sentiment about rhetoric versus poetry, “Zombie,” despite its noble intentions, struggles to translate outrage into compelling art. The song’s heavy, plodding rhythm and arrangement feel overwhelming rather than impactful, failing to capture the true scope of the tragedy it addresses or provide a cathartic musical release. Furthermore, O’Riordan’s vocal performance, particularly the repetitive “zombie-EH zombie-EH” chorus, becomes a distraction. Instead of focusing on the song’s message about conflict and violence, listeners might find themselves questioning the vocal choices, detracting from the intended emotional impact. Stephen Street, known for his work with Morrissey and Blur on albums characterized by airy textures and acoustic elements, seems an odd choice as producer for this heavier sound. While conceptually, imagining The Cranberries channeling Nine Inch Nails’ The Downward Spiral is intriguing, the execution in “Zombie” doesn’t quite deliver.
Regrettably, the musical direction hinted at by “Zombie” seemed to worsen over time. Despite O’Riordan being credited as the sole writer of “Zombie,” she and Noel Hogan only co-wrote a fraction of the tracks on 1996’s To the Faithful Departed, leading to what some consider the nadir of their discography, Dolores Unbound. O’Riordan’s public persona shifted towards that of a geopolitical pundit, echoing opinions on world affairs in her lyrics. Tracks like “War Child” with lines like “At times of war we’re all the losers/There’s no victory/We’ll shoot to kill and kill your lover/Fine by me,” showcase a simplistic and somewhat cliché take on complex issues. Adding to the questionable songwriting choices was “I Just Shot John Lennon,” a song attempting to depict Mark David Chapman’s perspective, but lacking depth and nuance. The lyrics, as exemplified by the confusing verse “He had perceptively known that it wouldn’t be nice/because in 1980 he paid the price,” reveal a disconnect in both storytelling and lyrical construction.
In 1999, The Cranberries attempted a course correction with Bury the Hatchet, a less forceful album. However, its sales were significantly lower compared to their earlier double platinum successes, selling around half a million copies. The long-term damage inflicted by “Zombie” on their career remains debatable. Perhaps it was simply a case of shifting tastes and the unpredictable nature of fame. Yet, time has offered a gentler perspective on some of their earlier work. “Dreams” and “Linger” still find airplay on adult contemporary radio, while “Zombie,” despite its initial impact and place in discussions about zombie songs -3, is perhaps remembered more for its controversy than its musical merit. Even its less successful descendants, like the questionable collaboration between Brad Paisley and LL Cool J, serve as a reminder of its far-reaching, if not always positive, influence.
