Sinéad O'Connor Albums (9)
What The Critics Say
Theology is an enigmatic double-disc collection of original recordings and covers. The songs on both discs are nearly identical, the difference is that on the versions Sinéad O'Connor recorded in Dublin she is accompanied solely by her own and Steve Cooney's acoustic guitars, and on the latter set, recorded in London, she was backed by a rotating band full of studio musicians who include everyone from bassist Robbie Shakespeare and drummer Matthew Phillips, to pianist Toby Baker, guitarist Mark Gilmour, and strings. The sheer minimal approach of the Dublin set carries within it a kind of authority, in her own elegant yet poignant tunes such as "Something Beautiful," "Out of the Depths," the tender "Dark I Am Yet Lovely," the minimal waltz that is "If You Had a Vineyard," and the nearly whispered "Whomsoever Dwells," (a kind of title track for her rarities, B-sides and live collection of the same name in 2003 called She Who Dwells...), and a truly moving reading of "By the Rivers of Babylon." The London Sessions are no less eerie, but they are, in essence, different songs when filled out by a larger group of players. Here, "Something Beautiful," with its strings and slippery drum kit, is nearly a processional. The reading of Curtis Mayfield's "We People Who Are Darker Than Blue" has a 21st century soul vibe without losing the author's soulful spirit of brokenhearted frustration moved to anger. It's a unity hymn, and O'Connor's voice underplays the words as the music, in semi-hushed tones -- the strings and a wah-wahed electric guitar -- drive the track, but it's the synth bassline that grabs the attention. There is a greater drama and a subdued ferocity in its groove. O'Connor also covers "I Don't Know How to Love Him" from the musical Jesus Christ Superstar, with a slinky reggae backbeat, dramatic strings and drum loop, it's theatrical, but she's got the voice for the tune and there isn't a hint of irony in her delivery; it would have been so naked on the acoustic record, so she wisely left it off. For "Glory of Jah," a harp and organ paint her vocal introduction before the cut moves into a reggae bubbler with keyboards, strings, metronomic backbeats and big fat power chords, which push it into the red. Ultimately, this will appeal to O'Connor's fans, more than anyone coming to her work for the first time. Theology is aptly named in that it sets out, however loosely, to offer the views and passions of a spiritual pilgrim effectively and passionately. ~ Thom Jurek, All Music Guide
'Throw Down Your Arms'
Release Date 9/27/2005
Tracks 14
Label Rocket Science
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What The Critics Say
There's no debating that Sinéad O'Connor is one of the great singers to come from the pop world in the late 20th century. Her recordings and live performances have underscored her reputation in spades. Throw Down Your Arms is her first official outing since her "retirement" three years previously. Despite the cover photo of O'Connor as a young communicant, the set here is strictly hard reggae -- all the cuts are covers of classic reggae tunes. Recorded at Tuff Gong and Anchor Studios in Kingston, Jamaica, and produced by Sly & Robbie -- who are also the key rhythm section on the disc -- it stars some of the cream of the scene's elder crop, from guitarist Mikey Chung to Sticky Thompson, Dean Fraser, and many others. Beginning with the a cappella "Jah Nuh Dead" by Winston Rodney (Burning Spear), O'Connor does reverential readings of these canonical reggae classics. She takes no liberties, the band is mixed right up front with her voice, and she gets deep into the dread groove from Burning Spear's "Door Peep" and the title cut to Peter Tosh's "Downpressor Man" and Lee Perry's "Curly Locks" and "Vampire." O'Connor is a great interpreter of these songs because she understands they need nothing to be complete. They stand the test of time simply because they are great songs. She wraps herself in the rhythm and the spiritual groove and lets them cover her, saturate her, and come through her into the air where she separates God from the religions of men. Dynamite singing, a killer band, and wonderful material do a fine album make. Welcome back, Sinéad. ~ Thom Jurek, All Music Guide
'She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the'
Release Date 9/9/2003
Tracks 32
Label Vanguard
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What The Critics Say
She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty (yeah, it's a mouthful, but at least it's not Fiona Apple's monolith), was reportedly Sinead O' Connor's final album -- it wasn't -- as she seeks another way of life as a spiritual pilgrim, O'Connor delved deep into her rare, B-side, unreleased, and compilation tracks and gives listeners a live album to boot over two discs. Released stateside on Vanguard, this is, despite its disparate nature, one of the most satisfying recordings she's ever delivered -- the previous year's Sean-Nós Nua, her traditional album, was a knockout and perhaps her finest studio moment, but it went unnoticed here because Americans can't seem to forgive O'Connor for exercising her right to free speech (the audience at Bob Dylan's 30th anniversary concert should be especially ashamed). The studio sides released on disc one include her collaborations with everyone from Adrian Sherwood to the Asian Dub Foundation to Massive Attack to Roger Eno. Her covers of Dan Penn's "Do Right Woman," Boudleaux Bryant's "Love Hurts," and the B-52's' "Ain't It a Shame" are highly original, deeply moving, and satisfying. Her originals, such as "No Matter How Hard I Try," "Love Is Ours," "This Is a Rebel Song," and "Emma's Song," are eclipsed only by her readings of traditional Gaelic material. Her arrangements and those of her collaborators are top-flight. There are 19 cuts in all on disc one, and not a moribund moment in the bunch. The live show on disc two is riveting; it is revelatory for its deep emotional commitment to the performance of the material at hand. On material such as "Molly Malone," "I Am Stretched on Your Grave," and "You Made Me the Thief of Your Heart," Celtic, reggae, and modern dance music come together in a singular mix of O'Connor's own design. Bottom line: it kicks ass. And the performance of Prince's "Nothing Compares 2 U" blows away the studio version with its searing sense of loss and grief. O'Connor's professionalism as a bandleader is not to be eclipsed by anyone. This 13-track set was simply the best record of 2003 at the time of its release. Her manner of getting inside the material is uncanny as she transforms herself with that gorgeous voice from track to track. Her protagonists and characters are people of this world to be sure, but they are also angels and haunted spirits, children, and broken lovers who have been laid waste by their honesty, much like the singer herself. O'Connor is easily the most misunderstood artist of her time, and her willingness to allow her restless spirit to seek happiness and indulge her emotions clearly makes people -- particularly Americans -- very uncomfortable and angry. If you cannot get past the person to appreciate the voice, it's your loss, as this is quite simply a presentation of pop culture that translates itself into high (yet very accessible) art for anyone with ears that are open. ~ Thom Jurek, All Music Guide
What The Critics Say
With all 13 tracks on Sean-Nós Nua drawn from traditional Irish repertoire, Sinéad O'Connor reclaims that combination of fragility and strength that distinguishes her from virtually every other singer of her age and background. Supported by an assembly of brilliant musicians, O'Connor follows the two paths most traveled by modern interpreters of these songs. One, represented on tracks like "Peggy Gordon," evokes misty pictures of mystic Eire by drenching strings, acoustic guitars, and her own voice in the kind of echo normally associated with whale songs; by reading the lyric with minimal and only idiomatic adornment, O'Connor turns these clichéd arrangements into compelling narratives. The other approach is drier, with the instruments more clearly articulated, yet here she excels as well; a hard edge cuts through tunes like "Her Mantle So Green" and even on the whispered "Lord Franklin" and "Lord Baker" to emphasize the tragic flavors that sweeter singers often miss. Throughout Sean-Nós Nua the production treats O'Connor's voice like a canvas on which to paint vivid images. At times the result is distracting, with far too much slap-back, but it also scores on songs like "Molly Malone," where vocal and instrumental textures together trace the tale through poignant light and ominous shadow. It is likely no coincidence that the album ends with "I'll Tell Me Ma," which closes with the teasing line, "Please won't you tell me, who is she?" The answer is clear: it is Sinéad O'Connor, ascendant again. ~ Robert L. Doerschuk, All Music Guide
What The Critics Say
Sinéad OConnor will not be taken in the midst of headlining controversy. She was informerly appointed a Catholic priest in 1998, soon after her traumatic scenes of attempted suicide and custody battles over her daughter, Roisin. Former colleague and friend, ex-Pogues frontman Shane McGowan lashed back at OConnor after she publicly criticized his wild drinking behavior. She should be down and out, ill-fated from making her signature political accusations and illustriously raw life songs, but OConnor will not be tested. Her fifth studio release of original material since 1994's Universal Mother, Faith and Courage is obviously OConnor's umpteenth disposition of reclaiming self-definition. She sounds lonely and afraid in songs like "Jealous" and "Dancing Lessons," yet her fierce confidence overpowers such insecurity on the pinch-hitting "No Man's Woman." Don't be too fooled, for OConnor only lasts so long, regardless of her insisting nature to be on top of her game. She is a sensitive person and her most honest work shines on the sorrowful "Hold Back the Night" and on Celtic-rock "The Lamb's Book of Life," a brandish slap against her native Ireland. Emotionally spiritual and artistic, Faith and Courage tries so hard to take control as Sinéad OConnor refrains from being taken, but her bitterness prevails. ~ MacKenzie Wilson, All Music Guide
'Universal Mother'
Release Date 9/13/1994
Tracks 14
Label Ensign/Chrysalis
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What The Critics Say
Like her big-band album, Am I Not Your Girl?, Sinéad O'Connor's first album of original material since her breakthrough I Do Not Want What I Haven't Got lacks conceptual unity. She does manage to pull off a number or two that show why her first two albums were so startling and captivating. ~ Stephen Thomas Erlewine, All Music Guide
'I Do Not Want What I Haven't Got'
Release Date 11/17/1992
Tracks 10
Label Ensign/Chrysalis
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What The Critics Say
I Do Not Want What I Haven't Got became Sinéad O'Connor's popular breakthrough on the strength of the stunning Prince cover "Nothing Compares 2 U," which topped the pop charts for a month. But even its remarkable intimacy wasn't adequate preparation for the harrowing confessionals that composed the majority of the album. Informed by her stormy relationship with drummer John Reynolds, who fathered O'Connor's first child before the couple broke up, I Do Not Want What I Haven't Got lays the singer's psyche startlingly and sometimes uncomfortably bare. The songs mostly address relationships with parents, children, and (especially) lovers, through which O'Connor weaves a stubborn refusal to be defined by anyone but herself. In fact, the album is almost too personal and cathartic to draw the listener in close, since O'Connor projects such turmoil and offers such specific detail. Her confrontational openness makes it easy to overlook O'Connor's musical versatility. Granted, not all of the music is as brilliantly audacious as "I Am Stretched on Your Grave," which marries a Frank O'Connor poem to eerie Celtic melodies and a James Brown "Funky Drummer" sample. But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent. ~ Steve Huey, All Music Guide
'Am I Not Your Girl?'
Release Date 1/1/1992
Tracks 12
Label Ensign/Chrysalis
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What The Critics Say
Based on O'Connor's version of "You Do Something to Me" (a highlight on the Cole Porter tribute album Red Hot & Blue), an album of pop standards performed with a big band might have actually worked. At times, Am I Not Your Girl? does work. "Success Has Made A Failure of Our Home" is quite chilling, and "Don't Cry For Me Argentina" doesn't deserve O'Connor's sympathetic reading. However, O'Connor runs into trouble with acknowledged standards such as "Bewitched, Bothered and Bewildered" and songs heavily identified with other vocalists ("Gloomy Sunday"). She doesn't offer a new perspective on these songs, and her airy voice is buried by overwrought string arrangements. Am I Not Your Girl? would be just an admirable failure if it wasn't for the presence of O'Connor's bizarre two-minute rant on love, hatred, herself, and the Catholic Church, making an already strange album one of the weirdest releases by a major artist in years. ~ Stephen Thomas Erlewine, All Music Guide
'The Lion and the Cobra'
Release Date 1/1/1987
Tracks 9
Label Ensign/Chrysalis
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What The Critics Say
Sinéad O'Connor's debut, The Lion and the Cobra, was a sensation upon its 1987 release, and it remains a distinctive record, finding a major talent striving to achieve her own voice. Like many debuts, it's entirely possible to hear her influences, from Peter Gabriel to Prince and contemporary rap, but what's striking about the record is how she synthesizes these into her own sound -- an eerie, expansive sound heavy on atmosphere and tortured passion. If the album occasionally sinks into its own atmospheric murk a little too often, she pulls everything back into focus with songs as bracing as the hard-rocking "Mandinka" or the sexy hip-hop of "I Want Your (Hands on Me)." Still, those ethereal soundscapes are every bit as enticing as the direct material, since "Troy," "Jackie," and "Jerusalem" are compelling because of their hushed, quiet intensity. It's not a perfect album, since it can succumb to uneven pacing, but it's a thoroughly impressive debut -- and it's all the more impressive when you realize she only topped it with its immediate successor, before losing all focus. ~ Stephen Thomas Erlewine, All Music Guide
