The Cranberries: No Need To Argue (Island: 1994)
I am young enough that most of my parents music collection was in C·D format, altho they did keep a small number of cassettes. I first encountered No Need To Argue in this latter collection, long after my parents had mostly transitioned to exclusively playing from their C·D cabinet. I went many years without listening to it during the iPod era (not having a digital copy), but I returned to it with newfound appreciation once I finally secured a digital version in college. While my parents did have Stars: The Best Of 1992–2002 on C·D, I honestly didn¦t listen to it much; No Need To Argue is The Cranberries¦s best album, and it is best listened to as an album, so the greatest‐hits collection always left me feeling disappointed (not that it doesn¦t have some bangers).
After the cover art, which definitely ranks among the top 20 album covers from the 90s in my opinion, what attracted me most as a kid in the early naughts was the albums opening track, “Ode To My Family”. While it is normally not trivial to cue up individual tracks on cassette, the leading track on the tape is the exception to this rule, and I definitely did rewind and replay it multiple times in my childhood. I was enamoured with the way Dolores O¦Riordan pronounced “mother” and “father”, and I was mystified by the content—my naïve expectations regarding an “ode” were of positive emotions, and yet it confronted me repeatedly with the phrase « Does anyone care? ». At that time in my life, I had been taught to think of swearing as rude and hostile, but the line « Where¦s when I was young, and we didn¦t give a damn? » felt sweet, melancholic, and longing. I didn¦t know how to resolve these tensions as a young child, but I was fascinated by them.
It is incredibly difficult to describe the complicated feelings associated with a break·up in terms that an 8‐year‐old, unable to fathom dating, can understand, but I think O¦Riordan managed it in “I Can¦t Be With You” with « I wanted to be the mother of your child, and now it¦s just farewell », a line which will never be topped despite not even coming from the best break·up song on the album. Motherhood is a concept that artists tend to shy away from, and when artists do depict it, it usually takes on a privatizing manifestation—songs written to or about ones own children, divorced from society at‐large. In contrast, motherhood saturates No Need To Argue unapologetically, socially, and almost virginally: “I Can¦t Be With You” mourns the loss of possibility of being a mother; “The Icicle Melts” empathizes with other mothers after their children suffer violence; “Dreaming My Dreams” portrays the perspective of falling in love with some·one who already has a child. These tracks collectively form the basis of a different kind of ethic than one traditionally finds in punk scenes, and a different conception of love than is typically found in pop. It is profoundly and intimately feminine with·out depending on recourse to either patriarchal tropes or bio·essentialism; this is a fount of motherhood that all women can draw upon, regardless of whether they personally have carried a child to term.
Most of the remaining tracks exhibit a similar fusion of intensely personal emotion and a social awareness, and conscious social positioning, which is broad, feminine, and coalition‐building. Altho some of these songs do make good singles (nothing more needs to be said about “Zombie”), I¦m of the opinion that they all land their hardest in and with the context of the greater whole.
Favourite track: In the context of the album, I think the final track, “No Need To Argue”, is perfect in its minimalism. “Daffodil Lament” stands a bit better on its own.