The Cranberries just shared a short video on their socials ahead of the release of “Everybody Else Is Doing it So Why Can’t We? 25th Anniversary Edition” out on 19 October 2018.

Video is entitled “Fergal Lawler – Quote”

Pre-order the “25th Anniversary Edition” by clicking this link.

As announced earlier today on Twitter, Professor Eoin Devereux of the University of Limerick will present an illustrated talk about The Cranberries early days, the making of their debut album, its influences and artwork at the Vinyl Festival that takes place in Dun Laoghaire (near Dublin) on November 17th 2018.

Click here to buy tickets to attend.

Dún Laoghaire Vinyl Festival – Twitter

As a reminder, Professor Devereux’s 12,000 words essay “Waltzing Back: The Cranberries 1989-1993” will be published as part of 4 CD Box Set edition of “Everybody Else Is Doing It, So Why Can’t We? 25th Anniversary Edition” that is to be released on October 19th.

Thanks to doloresoriordanspain.com who just published the lyrics of “Íosa” with the English translation.

Dolores O’Riordan Spain thanks Sanela Nesensohn and Bitesize Irish Gaelic (https://www.bitesize.irish) for “an approximation to the lyrics of the song and its translation in English”.

Our ‘Song List A-Z’ page has now been updated with Íosa

ÍOSA

Suite ar chathaoir mhaorga ag smaoineamh …(?)…
Anois ar a laethanta saoire
Na blianta crua curtha síos
Seanathair, a sheanathair
(líne dothuigthe)
Saol le chéile le do chéile
Blianta caite ón am sin
Nócha trí bliain, nócha trí bliain

A Íosa
Cad é  …(?)…
A Íosa
Go dtaga do riocht
A Íosa
Cad é  …(?)…
A Íosa
Go dtaga do riocht

Suite ar an gcathaoir shoilseach
D’fhéach sé orm, cád é a dheir mé
Na laethanta crua curtha síos
Seanathair, a sheanathair
Mise …(?)… ar sheanathair
Suí/saol le chéile le do …(?)…
Blianta caite ón am sin
Nócha trí bliain, nócha trí bliain

A Íosa
Cad é  …(?)…
A Íosa
Go dtaga do riocht
A Íosa
Cad é  ...(?)…
A Íosa
Go dtaga do riocht

A Íosa
Cad é  …(?)…
A Íosa
Go dtaga do riocht
A Íosa
Cad é  ...(?)…
A Íosa
Go dtaga do riocht

__________________________________

JESUS

Sitting on a majestic chair (throne) thinking …(?)…
Now on his holidays
The hard years put down
Grandfather, oh grandfather
(Unintelligible line)
Life together with your spouse/companion
Years spent since then
Ninety three years, Ninety three years

Jesus
What is …(?)…
Jesus
May Your Kingdom come
Jesus
What is …(?)…
Jesus
May Your Kingdom come

Sitting on the luminous chair
He looked at me, what did I say
The hard days put down
Grandfather, oh grandfather
Me …(?)… grandfather
Sit/life together with your …(?)…
Years spent since then
Ninety three years, Ninety three years

Jesus
What is …(?)…
Jesus
May Your Kingdom come
Jesus
What is …(?)…
Jesus
May Your Kingdom come

Jesus
What is …(?)…
Jesus
May Your Kingdom come
Jesus
What is …(?)…
Jesus
May Your Kingdom come

UPDATE #1 – OCTOBER 4 – 8:45 PM (UTC)

English translation updated with the help of our Irish friends Kevin and Caroline.

Sitting on a lordly/majestic chair
Thinking back on his holidays
Difficult years put down
Grandad, oh Grandad
(Unintelligible line)
Life together with your wife
Years spent from that time
Ninety three years, Ninety three years

Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come

Sitting on a glittering chair
He looked at me, what did I say
The tough years put down
Grandad, oh Grandad
Me and my Grandad
Life together with your wife
Years spent since then
Ninety three years, Ninety three years

Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come

Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
What is the end Thy kingdom come

UPDATE #2 – OCTOBER 4

Thanks to Aileen for her help. “Thy Kingdom Come”. Edited!

UPDATE #3 – OCTOBER 6 – 9:00 AM (UTC)

“Íosa” lyrics almost completed + PHONETIC TRANSCRIPTION added.
Special thanks to Sue Shearer and Dearbhail O’Mahoney, you rock!!

GAELIC

Suite ar chathaoir mhaorga ag
Smaoineamh anois ar a laethanta saoire
Na blianta crua curtha síos
Seanathair, a sheanathair
(líne dothuigthe)
Saol le chéile le do chéile
Blianta caite ón am sin
Nócha trí bliain, nócha trí bliain

A Íosa
Cad etá le rá
A Íosa
Go dtaga do riocht
A Íosa
Cad éta le rá
A Íosa
Go dtaga do riocht

Suite ar an gcathaoir shoilseach
D’fhéach sé orm, cád é a dheir mé
Na laethanta crua curtha síos
Seanathair, a sheanathair
Mise …(?)… ar sheanathair
Saol le chéile le do chéile
Blianta caite ón am sin
Nócha trí bliain, nócha trí bliain

A Íosa
Cad etá le rá
A Íosa
Go dtaga do riocht
A Íosa
Cad etá le rá
A Íosa
Go dtaga do riocht

A Íosa
Cad etá le rá
A Íosa
Go dtaga do riocht
A Íosa
Cad etá le rá
A Íosa
Go dtaga do riocht

ENGLISH TRANSLATION

Sitting on a lordly/majestic chair
Thinking back on his holidays
Difficult years put down
Grandad, oh Grandad
(Unintelligible line)
Life together with your wife
Years spent from that time
Ninety three years, Ninety three years

Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come

Sitting on a glittering chair
He looked at me, what did I say
The tough years put down
Grandad, oh Grandad
Me and my Grandad
Life together with your wife
Years spent since then
Ninety three years, Ninety three years

Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come

Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come
Oh Jesus
What is there to say
Oh Jesus
Thy kingdom come

PHONETIC TRANSCRIPTION

Sitter er-a car-hear wer-ga
Smee-noff arnish lenta seera
No bleeanta cru-a cur-ha sheese
Shana-hear, a yhana-hear
…(?)…
Syal la khayla leh doh khayla
Bleeanta car-ter ohn om shin
No-kha tree blee-an, no-kha tree blee-an

A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt
A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt

Sitter er-a car-hear oilsha
Dechk shay orum, card er year meh
No lenta cru-a cur-ha sheese
Shana-hear, a yhana-hear
…(?)… er yhana-hear
Syal la khayla leh doh khayla
Bleeanta car-ter ohn om shin
No-kha tree blee-an, no-kha tree blee-an

A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt
A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt

A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt
A Eesa
Card aytar leh rah
A Eesa
Guh dag-uh duh rochkt

UPDATE #4 – OCTOBER 7 – 0:30 AM (UTC)

(Unintelligible line) could be in Gaelic “Croí sin an a sheanmháthair” (no 100% garantee!) which possibly means “Grandmother’s heart” in English. Phonetic transcription: “Cree shin an ar yhanmo-hear”.

Full lyrics + full translation + full phonetic directly on our “Íosa” page by clicking this link.

Please understand all those different translations/transcriptions might still include a few mistakes!

The photo was posted yesterday on Instagram by user joanna.cran.pic

We’re delighted to find out that the “Everybody Else Is Doing It, So Why Can’t We? 25th Anniversary Edition” 4 CD boxset due for release on October 19th will feature a 12,000 words sleeve note essay from Professor Eoin Devereux (University of Limerick) : “Waltzing Back: The Cranberries 1989-1993”!

Quite exciting as fans shall expect to discover interesting anecdotes, as well as never seen before pics and memorabilia.

Eoin Devereux’s tweet this morning

As a reminder, you can preorder the boxset on this link.

Rare audio from the audience. “False” recorded live in concert on 23 February 1993 in Portsmouth at Portsmouth Pyramids Centre. The Cranberries were opening for Belly. Thanks to Luis Hernández for sharing.

History: clashmusic.com just released for the first time ever the studio version of “Íosa” as a teaser of Everybody Else Is Doing It, So Why Can’t We? 25th Anniversary Edition.

Known as the only track written by Dolores O’Riordan in Irish Gaelic, “Íosa” had only been known through 1990s live recordings of Cranberries performances that did not enable lyrics to be deciphered. It was unknown whether the song had ever been recorded in studio or not… Today is thus a day to be remembered!

For those who are ready to get spoiled and be overwhelmed, here is the MASTERPIECE:

Click here

:’-(

EDIT#1: Available on Spotify and Apple Music from Sept 28th on… meaning if it’s not midnight yet in your country, you’ll have to wait a couple of hours more!

EDIT#2: Official release date: September 28, 2018
Now midnight in Ireland, it’s available on the official The Cranberries account on YouTube/VEVO:

The upcoming month edition of Q magazine (Q391 / November 2018 / order here), out tomorrow Tuesday 25 September, will apparently be featuring a 2-page interview of the boys as The Cranberries are about to release next month the 25th anniversary edition of their debut album.

“You remember what she was like then, what we were like, and that sometimes is more difficult than remembering her later on in life.”
– Noel Hogan

Thanks to The Cranberries Newspaper for the info!

“I Heart the Cranberries raises fund in aid of Adapt House and Limerick Mental Health Association” article published on ilovelimerick.ie today.

ilovelimerick.ie

We may know Olivier Dahan as the director of La Vie en Rose, Le Petit Poucet or Grace de Monaco, but to us, he is the iconic director of four music videos for The Cranberries as well as one from Dolores O’Riordan’s first solo album.

A few weeks ago, Olivier Dahan was kind enough to answer our questions and revisit his fruitful collaboration with The Cranberries.

Cranberries World: First, let’s start by talking about your first project with the band, how was your first collaboration in 1996, on Salvation?

Olivier Dahan: I worked at the time at ‘Bandits’, the production company owned by JB Mondino. The band contacted me and left me carte blanche for this clip. Dolores had sent me the lyrics telling me about the main theme: a song against drugs. At the time I would always start working with preparatory drawings: so I began drawing this scary clown, then other characters that I placed in some frames that made sense with the lyrics of the song.

Two of Olivier Dahan’s drawings he kindly agreed on sharing with us
(More drawings to be uploaded soon on our “Salvation” video page)

CW: How was your work received by the band, specifically Dolores?

OD: Dolores was more involved than the rest of the band, because she was the one writing the lyrics – but also because of her strong personality. At the end of the day, most of my exchanges at the time of the development of the concept were almost exclusively with her. She would then debrief the rest of the band on the ideas that she and I were contemplating.

CW: What were her expectations for the Salvation video?

OD: Beyond the anti-drug theme, one of the first things that she told me when we talked about the concept of Salvation‘s video was that she wanted her bones to be seen. She liked provocative or disturbing things sometimes. I understood that she was ready to go far and, as a matter of fact, our video was censored in some countries: we thus released a “light” version where scenes of violence, like the scene where the parents are tied on a chair, were blurred.
In general, Dolores was very attentive and wanted her clips not to be formatted. She always tended to want to go beyond mainstream.

CW: Your second collaboration with The Cranberries was in 1999 for the video for their fourth album’s first single, Promises. How was this concept born? Tell us about the idea of having the ‘Robins des Bois’ in the casting.

OD: I wanted a gap between the seriousness of the lyrics and an almost burlesque visual. The Cranberries did not know the ‘Robins des Bois’ and, as far as I’m concerned, I had only seen some of their sketchs. I believe they were only starting out back then, but I thought they could fit what I had in mind. That being said, I have been able to work again with Jean-Paul Rouve or Maurice Barthélémy since, who I both really appreciate. Maïwenn is also featured in this video. She plays the role of the scarecrow.

CW: And what about the atmosphere on the set with the band?

OD: The atmosphere was always very pleasant. I was given lots of freedom for creation; and the band would place their entire confidence in me. Their success, at the time, would allow them to be granted significant budgets for their clips and therefore to have lots of fun. They were always very enthusiastic and excited about our projects. We would get along quite well actually, each of them were very friendly. We spent a fair amount of time together later in Toronto when shooting the video for Animal Instinct. We would go out, attend gigs together, etc.

CW: Animal Instinct is quite different from the two other clips we’ve discussed so far. Where did you get the inspiration for that video?

OD: On this third collaboration with the band, I wanted to do something much more down to earth, with a direct link to the lyrics. This time, the shooting lasted for almost a week, in similar conditions to that of a movie, in Toronto. We worked out an entire story, set up a casting to find the actors… I wanted something that looked realistic. When it was broadcasted, we had to submit an alternative edit of the videoclip, a version that did not feature the intro, for MTV. This story with those kids who are removed from their mother was obviously something somehow too harrowing for them!

CW: At last, the band called on you once again in 2002 to work on the This Is The Day videoclip. What was the idea behind this?

OD: The goal was clearly to make a spectacular video with powerful images. In the end, it was not the link with the lyrics that mattered most here, but the aesthetic side with a rather baroque universe.

Preview of the storyboard of “This Is The Day” that Olivier Dahan kindly shared with us
(See more images taken from “This Is The Day” storyboard on the video page by clicking here)

CW: Dolores would always have those looks, and different haircut in your videoclips…

OD: Something was very clear on each of our collaboration: she had to be transformed, change her appearance. These transformations would motivate her a lot. On each of our collaborations, she wanted her look to be completely different from all the previous ones. Actually, among the first questions she would ask whenever we would start working on a new video concept was: “Alright, so what’s my look on this one? Which costume? Which make-up? Which hairstyle?” That would amuse her a lot. Gigi Lepage, the designer I work with, loved working with her.

CW: In 2007, you worked on the videoclip of When We Were Young, from Dolores’ first solo album. How was this collaboration different from those you had experienced with the band?

OD: Actually, it was not any different. The one main difference was the budget! The challenge here was to find some aesthetic ideas that could fit within this limitation. We shot the video in Paris, with sequence-shots, within a day. We made several sequence-shots this way, and chose the right shot together, there was no montage. Shooting started in the morning, and by the end of the day, the clip was done.

CW: Throughout all of these years, did you ever get to see the band play live?

OD: I did, several times! They had even asked me to film one of their concerts back then, though, unfortunately, I was already working on other projects at that time.

CW: Last question, which of these videoclips would you consider your favourite among all of those that we’ve discussed?

OD: The one that marked me most is probably Salvation, because it was our first collaboration and the concept worked very well. This Is The Day was also a beautiful collaboration: I produced this clip with Hervé Humbert, and worked with a graphic designer, Marc Latil, who I appreciate a lot; and I think the result is very powerful, visually speaking. The concept actually evolved throughout the process. During the shooting, we had not yet considered projecting images in space. We only got to improvise this later.

“Dreams (Pop Mix)” demo is premiering these days on Apple Music.

If you’re an Apple Music suscriber you can already listen to the full track by searching for “Everybody Else Is Doing It, So Why Can’t We? (Super Deluxe) Edition”.

For all others, here’s a 30 sec preview of this gem:

As a reminder, “Everybody Else Is Doing It, So Why Can’t We? 25th Anniversary Edition” will be released on October 19th 2018.
Preorder the album on this link.

The Guardian just edited their online version of their interview with the lads as there were a few mistakes. Read below the notification added in the very last lines:

This story was updated to correct two errors. The Aer Lingus incident occurred in 2014, not 2016. At the time of her death, O’Riordan was in London to mix a record with her side project D.A.R.K, not to record vocals for Bad Wolves.

Furthermore, the article now features another amendement regarding the name of the album. “THIS IS THE END” has now been replaced by “IN THE END”… Could that be another mistake that hasn’t been listed in their “update list”?

Let’s not numerous fans have already been commenting on how heartbreaking “This Is The End” sounds, so let’s hope this time The Guardian got the title right…

1st version with “This Is The End”

2nd version with “In The End”

UPDATE – SEPTEMBER 14 – 3:30 PM (UTC)

The guardian edited their online article for the second time, again amending errors, although this time the name of the album hasn’t changed. So now looks very likely that “In The End” will be the title of the ultimate album.

We may thus wonder if this was a mistake from the journalist – as we can imagine that The Guardian would have listed this error on their “update list” while amending the article for the 2nd time – or if the band has decided to change the title between Sept 3rd and yesterday, thus requiring an amendment once the article was already printed.

3rd version still with “In The End”

Here’s also below the hard copy of the newspaper, shared by ‘The Cranberries Newspaper’ on Facebook, thanks to them. It appears that the printed paper features a different photo of the lads and the first version of the article, meaning the album title mentioned is “This Is The End”.

A never seen before pic from the photo shoot in Cancún, Mexico in February 2017 was shared yesterday by The Cranberries on Facebook.

The Cranberries posted a small video on Instagram today to announce they were currently mastering the new Cranberries album, that is to be released in 2019, in Metropolis Studios, London.
More info about this upcoming album can be found on this link.

View this post on Instagram

Today we master the new Cranberries album.

A post shared by The Cranberries (@thecranberries) on Sep 7, 2018 at 3:40am PDT

One may imagine we should get some more glimpse of their studio work in the upcoming days.

Stay tuned!

Yesterday, September 6th, RTÉ published an apology regarding the ‘Joe Jackson tapes revisited’ show which aired last week on Radio 1.
As pointed earlier by our team and other fans, the broadcast appeared to feature a ten minutes interview of Sinead Lohan from 1998 that was incorretly attributed to Dolores O’Riordan. Moreover, “there was a clear inference that the members of The Cranberries band had used drugs”.
A correction and apologies from RTÉ were thus in order.