Bury the Hatchet [Explicit Lyrics]

Editorial Reviews

Barnes & Noble - Marie Elsie St. Léger
BURY THE HATCHET marks the Cranberries' return to excellent form and the hopeful spirit of their 1993 debut, EVERYBODY ELSE IS DOING IT, SO WHY CAN'T WE? The strident feel of BURY's first single, "Promises," one of the few (and slight) missteps on an otherwise intelligent and warmly produced album, is misleading, given the band's renewed commitment to melody and cleaner arrangements. On songs like "Fee Fi Fo" (about child molestation), anger's sharp edges are honed rather than dulled by acoustic guitars and O'Riordan's toned-down vocals. But on this fourth album, love rules: O'Riordan sings "You and Me" and the sweet but not cloying "Saving Grace" with her baby...
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Editorial Reviews

Barnes & Noble - Marie Elsie St. Léger
BURY THE HATCHET marks the Cranberries' return to excellent form and the hopeful spirit of their 1993 debut, EVERYBODY ELSE IS DOING IT, SO WHY CAN'T WE? The strident feel of BURY's first single, "Promises," one of the few (and slight) missteps on an otherwise intelligent and warmly produced album, is misleading, given the band's renewed commitment to melody and cleaner arrangements. On songs like "Fee Fi Fo" (about child molestation), anger's sharp edges are honed rather than dulled by acoustic guitars and O'Riordan's toned-down vocals. But on this fourth album, love rules: O'Riordan sings "You and Me" and the sweet but not cloying "Saving Grace" with her baby boy firmly in mind; the nostalgic "Just My Imagination" recalls a relationship in the first blushes of discovery; and "Copycat" hints at the sense of humor buried somewhere in the band's still-earnest lyrics. With BURY THE HATCHET, the Cranberries have created something that is increasingly hard to find these days: a good pop album.
All Music Guide - Stephen Thomas Erlewine
The Cranberries stumbled with their move toward heavier, politically fueled modern rock on To the Faithful Departed, losing fans enamored with their earlier sound. Like many groups that see their stardom fading, the band decided to return after a short hiatus with a mildly updated, immaculately constructed distillation of everything that earned them an audience in the first place. It's immediately apparent that Bury the Hatchet has retreated from the ludicrous posturing that marred To the Faithful. There are no blasts of distorted guitar -- as a matter of fact, there are no songs that even qualify as "rockers" -- and there is little preaching, even on Dolores O'Riordan's most earnest songs. Every note and gesture is pitched at the adult alternative mainstream, which is a good thing. Though they ran away from the dreamy jangle of their first hits, the Cranberries never sounded more convincing than on mid-tempo, folky pop tunes with polished productions. Sonically, that's precisely what Bury the Hatchet delivers, complete with little flourishes -- a Bacharachian horn chart there, cinematic strings there -- to illustrate that the band did indeed know what was hip in the late '90s. All this planning -- some might call it calculation -- shouldn't come as a surprise, since Bury the Hatchet is essentially a make-or-break album, but what is a surprise is that the end result is the most consistent record of their career. It's not necessarily their best -- it lacks the immediate singles of their first two records -- but all the songs work together to form a whole; not even embarrassments like the skittering "Copycat" interrupt the flow of the record. True, the album never challenges listeners, but it delivers on their expectations -- and after To the Faithful Departed, that comes as a relief.
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Product Details

  • Release Date: 4/27/1999
  • Label: Polygram Records
  • UPC: 731452461148
  • Catalog Number: 524611

Tracks

Disc 1
  1. 1 Animal Instinct (3:31)
  2. 2 Loud And Clear (2:45)
  3. 3 Promises (5:27)
  4. 4 You And Me (3:35)
  5. 5 Just My Imagination (3:41)
  6. 6 Shattered (3:42)
  7. 7 Desperate Andy (3:44)
  8. 8 Saving Grace (3:08)
  9. 9 Copycat (2:53)
  10. 10 What's On My Mind (3:12)
  11. 11 Delilah (3:32)
  12. 12 Fee Fi Fo (4:47)
  13. 13 Dying In The Sun (3:31)
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Album Credits

Performance Credits
The Cranberries Primary Artist
Technical Credits
Dolores O'Riordan Composer
Mike Hogan Composer
Noel Hogan Composer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Dull Blade

    Ireland has a long, rich history of spawning cantankerously idiosyncratic rock stars. Gavin Friday. Sinéad O¿Connor. Shane MacGowan (England-borne, but bears his Irish ancestry like a stout-soused shamrock badge). Hell, even U2, at their propulsively slinky best, have an ¿Edge¿ to them. And then there are the Cranberries. The three lads and a lass from Limerick have been manufacturing dependable, solidly melodic pop since 1993¿s multi-platinum Everybody Else is Doing It, So Why Can¿t We. Of course, dependability has its detriments ¿ the most damning of which is its tendency to repress the sort of spontaneous surprises and unmannered accidents that can elevate ephemeral fluff to lasting, classic status. The title of their fourth album, Bury the Hatchet, may or may not reflect the Cranberries¿ determination to cast 1996¿s For the Faithful Departed¿s spectacularly shallow stabs at social consciousness into the abyss of the forever unrecoverable. Abandoning its ill-suited illusions of grandeur, the band gets back to doing what it has always done best: crafting three-and-a-half minute hook-driven ditties with all the lyrical significance of a child¿s knackered nursery rhyme (¿Ra la la la la¿/¿Eh-ee-eh-ee-oh¿/¿Ma-na-na-na-na¿, indeed). Alas, radio-friendly singles ¿Animal Instinct¿ and ¿Just My Imagination¿ are not quite up to the stuff of ¿Linger¿ and ¿Dreams¿ ¿ the former running desperately short of petrol with its endlessly repetitive outro; the latter just a smidge too suggestive of 10,000 Maniacs covering Sixpence None the Richer covering New Order. Which is to say: a palatable pastiche, but pastiche all the same. On the album¿s two token attempts to crank up the amperage (¿Promises,¿ ¿Delilah¿), singer Dolores O¿Riordan comes off more ¿de-clawed kitten¿ than ¿ticked-off tigress¿ ¿ more pretty purr than raucous roar. And while there is little doubt the woman possesses a very pleasant set of pipes, must those pipes be multi-tracked in the same unimaginative ways on every bloody number? In the final analysis, Bury the Hatchet, like the bulk of the Cranberries¿ canon, is simply too timid and smoothly produced to make any kind of lasting impact. No friction: no heat. Not near enough tartness to temper the sweet. Where¿s that rotter MacGowan when you need him?

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