Pop & Miscellaneous

Sinead O'Connor - Faith and Courage (2000)

2012-03-12T15:02:16Z

Sinead O'Connor - Faith and Courage (2000)


1 Healing Room s
2 No Man's Woman
3 Jealous
4 Dancing Lessons
5 Daddy I'm Fine		play
6 'Til I Whisper U Something
7 Hold Back the Night
8 What Doesn't Belong to Me
9 State I'm In
10 Lamb's Book of Life
11 If U Ever
12 Emma's Song See All 2
13 Kyrie Eleison		play

Sinéad O'Connor - vocals, backing vocals
Skip McDonald - guitar, bass, keyboards
Carlton "Bubblers" Ogilvie - bass, reggae piano
Professor Stretch - drum programming, keyboards
Rusty Anderson - guitar
Scott Cutler - guitar
Paul Bushnell - bass
Scot Coogan - drums
Jeff Turzo - drum programming
David Campbell - strings arrangement, viola
Joel Derouin - violin
Larry Corbet - cello
Dave Stewart - guitar
John Reynolds - drums
Jah Wobble - bass
Kieran Kiely - low and high whistles
Caroline Dale - strings
Blandinna Melky Jean - additional vocals on track 4
Chris Sharrock - drums
Chucko Merchan - additional bass on track 6
Little Roy - backing vocals on track 6
Zac Rae - keyboards
David Levita - keyboards
Anne Preven - backing vocals on track 9
Derek Scott - guitar
Lil John - drums
Karren Berz - orchestral arrangement
Simon Mundey - programming
Bonjo I Abinghi Noah – percussion

In Faith and Courage, her fifth studio album, Sinéad O'Connor sounds both lonely and afraid ("Jealous," "Dancing Lessions") and fiercely confident ("No Man's Woman"). The sorrowful "Hold Back the Night" and the Celtic reggae of "The Lamb's Book of Life" -- the latter a slap against her native Ireland -- are among her most honest songs. Despite the spiritual content, O'Connor's bitterness prevails. --- Stephen Thomas Erlewine, Rovi

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Sinead O'Connor - Sean-Nos Nua (2002)

2011-06-18T08:25:12Z

Sinead O'Connor - Sean-Nos Nua (2002)


01. Peggy Gordon
02. Her Mantle So Green
03. Lord Franklin
04. The Singing Bird		play
05. Oro Se Do Bheatha 'Bhaile
06. Molly Malone
07. Paddy's Lamnet		play
08. The Moorlough Shoer
09. The Parting Glass
10. Baidin Fheilimi
11. My Lagan Love
12. Lord Baker
13. I'll Tell Me Mama

Personnel
* Sinéad O'Connor - vocals
* Dónal Lunny - acoustic guitar, bouzouki, keyboard, bodhran, bodhran bass
* Steve Wickham - fiddle (except tracks 7, 12 and 13), mandolin, banjo
* Sharon Shannon - accordion
* Alan Branch - percussion on track 12
* Abdullah Chhadeh - Quanun
* Nick Coplowe - Hammond organ
* Pete Lockett - percussion (except tracks 1, 9, 12 and 13)
* Cora Venus Lunny - violin on tracks 1, 3, 5, 6 and 7
* Kieran Kiely - whistle on tracks 2, 3, 8, 9, 10, 12 and 13, accordion on 9
* Skip McDonald - electric guitar
* Christy Moore - vocals on track 12
* Rob O Geibheannaigh - flute, strings, whistle on 5 & 10, piano on 9, guitar on 3, banjo on 1 & 4
* Carlton "Bubblers" Ogilvie - drums, bass, piano
* Bernard O'Neill - acoustic bass

After facing her personal demons on 2000's Faith and Courage, Sinead O'Connor seeks to make peace with her country. But, just as her relationship with Ireland has been one fraught with deep affection and passionate scorn, her interpretation of these traditional Irish songs - embracing subtle nods to reggae and electronica - is set against the conflicting agendas of history and personal belief.

O'Connor has chosen songs usually sung by men, subverting brazen confidence into a tender examination of loss and separation. Her Mantle So Green is brisk with joy, but tells of a young soldier testing his lover by pretending to be dead. Though Molly Malone is sung with quiet dignity, O'Connor's trademark ferocity bubbles under the placid surface.

Most poignant is Paddy's Lament, describing how starvation sent hopeful Irishmen to America. "When we got to Yankee land, they put guns into our hand," O'Connor spits, her venom tangible. Despite the whistles and fiddles, and sudden flash of Def Leppard style guitar, O'Connor's attempt to wrestle Irish lyricism away from Daniel O'Donnell can only be welcomed. ---Betty Clarke, theguardian.com

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Sinead O'Connor - So Far...The Best Of (1997)

2012-03-08T14:15:53Z

Sinead O'Connor - So Far...The Best Of (1997)


01. Nothing Compares 2 U
02. Mandinka
03. The Emperor's New Clothes
04. The Last Day Of Our Acquaintance	play
05. Fire On Babylon
06. Troy
07. I Am Stretching On Your Grave
08. Success Has Made A Failure Of Our Home
09. John I Love You
10. Empire - Bomb The Bass	play
11. I Want Your (Hands On Me)
12. Heroine (Theme From Captive)
13. Don't Cry For Me Argentina
14. You Made Me The Thief Of Your Heart
15. Just Like U Said It Would B

So Far...The Best of Sinéad O'Connor is a missed opportunity, failing to deliver a comprehensive overview of the first part of O'Connor's career, or an adequate hits collection. Part of the problem is the fact that O'Connor is an album artist that happens to deliver great singles as well, which means there will be essential tracks missing from a collection, even if it relies solely on the singles. So Far decides to circumvent this problem by combining album tracks with singles, but that doesn't work, since it gives the patchy Universal Mother preference over the excellent The Lion and the Cobra and omits such singles as "Three Babies." Things are further muddled by the inclusion of the non-LP rarities "Heroine," "You Made Me the Thief of Your Heart," and "Empire." All three songs are worthy, but they would make more sense on a rarities collection, which could also feature B-sides and non-LP singles like "Silent Night" and "My Special Child," which have never appeared on an album. Their inclusion was designed to convince hardcore fans into buying this album, but they make the collection less appealing to casual fans. In a way, that's not a bad thing, since So Far doesn't provide a good introduction to O'Connor, even if it does contain such essential songs as "Mandinka," "Troy," "Nothing Compares 2 U," "I Want Your (Hands on Me)," "I Am Stretched on Your Grave," and "The Emperor's New Clothes." However, those moments of brilliance sound awkward when put in a collection as poorly conceived as this. Only extremely casual fans, those that just want the hits on one disc, need this, since most listeners with a passing interest in O'Connor are much better served by the original albums. --- Stephen Thomas Erlewine, Rovi

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Sinead O’Connor - Am I Not Your Girl (1992)

2012-02-29T19:24:13Z

Sinead O’Connor - Am I Not Your Girl (1992)


1 Why Don't You Do Right
2 Bewitched Bothered And Bewildered
3 Secret Love
4 Black Coffee		play
5 Success Has Made A Failure Of Our Home
6 Don't Cry For Me Argentina
7 I Want To Be Loved By You	play
8 Gloomy Sunday
9 Love Letters
10 How Insensitive
11 Scarlet Ribbons
12 Don't Cry For Me Argentina (Instrumental)

Personnel:

Sinéad O'Connor (vocals); Joanie Madden (whistling, tin whistle); Ira Siegel (guitar); Gloria Agostini (harp); Lamar Alsop, Julien Barber, Jesse Levine (viol, viola); Barry Finclair, Donna Tecco, Gerald Tarack, Nancy McAlhany, Marti Sweet, Alan Martin, Arnold Eidus, John Pintavalle, Concert Master, Elena Barere, Charles Libove, David Nadien, Matthew Raimondi, Laura Seaton, Richard Sortomme, Jan Mullen (violin); Dennis Anderson (fiddle, flute, alto saxophone); Frederick Slotkin, Richard Locker, Charles McCracken (cello); Dave Anderson, David Tofani (flute, alto saxophone); Jerry O'Sullivan (pipe); Jerry Niewood, Gerry Niewood, Ted Nash (clarinet, tenor saxophone); Shelley Woodworth (oboe, English horn); Ted Nash (tenor saxophone); Ronnie Cuber (baritone saxophone, clavichord); Brian O'Flaherty, Bob Milikan, Joseph J. Shepley, Alan Rubin, Lew Soloff, Joe Shepley (trumpet, flugelhorn); Fred Griffin, Bob Carlisle , Jon Clarke (French horn); George Flynn (trombone, bass trombone); Kim Cissel, Jim Pugh , Keith O'Quinn, Birch Johnson (trombone); Dave Braynard (tuba); Richard Tee (piano); Dave Lebolt (synthesizer); Chris Parker , John Reynolds (drums).

Based on Sinéad O'Connor's version of "You Do Something to Me" (a highlight on the Red Hot + Blue album), an album of pop standards performed with a big band might have actually worked. At times, such as on "Success Has Made a Failure of Our Home" and "Don't Cry for Me Argentina," Am I Not Your Girl? does work. However, O'Connor runs into trouble with acknowledged standards and songs heavily identified with other vocalists. She doesn't offer a new perspective on these songs, and her airy voice is buried by overwrought string arrangements. Plus, there's O'Connor's bizarre two-minute rant on love, hatred, herself, and the Catholic Church. --- Stephen Thomas Erlewine, Rovi

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Sinead O’Connor - Gospel Oak (1997)

2012-03-05T12:09:10Z

Sinead O’Connor - Gospel Oak (1997)


1 This Is to Mother You
2 I'm Enough For Myself
3 Petit Poulet
4 My Love
5 This Is a Rebel Song		play
6 He Moved Through the Fair

Sinéad O'Connor - vocals, electric guitar on track 5
John Reynolds - drums, bass, programming
Clare Kenny - bass
Justin Adams - guitar
Caroline Dale - cello
Carol Issacs - piano, accordion
Ian Stanley - key sounds
Davy Spillane - low and high whistle
Jah Wobble - bass on track 3
Andy Wright - programming on track 3
Dónal Lunny - bozouki
Graham Henderson - keyboards

Sinead fans were perplexed when, suffering a six-year hiatus between full original albums, Mizz Banshee released this vicious teaser. It turns out to be, perhaps, one of the greatest *incomplete* artistic canvases ever proffered by a recording "star." Gospel Oak, though an EP, is easily Sinead O'Connor's most realized, honest, defining, and elemental work. Owing to her intriguing behavior as an artist, she toured the world to support this teeny little acoustic, made-in-the-bedroom record, while she refused to tour behind Atlantic's multi-million dollar "Let's Re-invent Sinead!" whopper in 2000...the expensive 'Faith and Courage' album. However, this little forgotten piece of brilliance is the record where she truly rediscovered her jaw-droppin' chops as a songwriter, after the hell America put her through in 1992. Turns out that America learned a bit more about the Pope's organization in the meantime, and Sinead, who had effectively squelched her mainstream career, will never recover while the papacy will continue to drag on. But... every song on this record is a vocal masterpiece, a gem of poignant-yet-incisve songwriting, and sheer genius that, for a change, makes somebody actually proud to be a member of the human race. If you can get a copy of this widely shifted disc...do it. Don't put it off. You want real magic in your tired life? Look no further. I am not remotely using hyberbole here. 'Gospel Oak' is *that* good. --- "troytron", amazon.com

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Sinead O’Connor - The Lion And The Cobra (1987)

2011-02-28T19:42:17Z

Sinead O’Connor - The Lion And The Cobra (1987)


1. Jackie 2:29   
2. Mandinka 3:47                     play
3. Jerusalem 4:20   
4. Just Like U Said It Would B 4:32   
5. Never Get Old 4:37 
6. Troy 6:35   
7. I Want Your (hands On Me) 4:43    play 
8. Drink Before The War 5:25   
9. Just Call Me Joe 5:54

Personnel
* Sinéad O'Connor – vocals, electric guitar, producer, Audio mixing, arranger
* Marco Pirroni – electric and acoustic guitars
* 'Spike' Holifield – bass
* Rob Dean – electric and acoustic guitars
* John Reynolds – drums, programming
* Mike Clowes – synthesizer, keyboards, string arrangements on "Troy"
* Kevin Mooney - All Guitars & Bass Guitar on "Just Call Me Joe"
* Gavyn Wright – orchestra director

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, AllMusic Review

The Lion and the Cobra - debiutancka płyta irlandzkiej piosenkarki Sinéad O'Connor z roku 1987. Tytuł płyty nawiązuje do biblijnego Psalmu 91 (werset 13).

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Sinead O’Connor - Universal Mother (1994)

2012-03-02T19:33:30Z

Sinead O’Connor - Universal Mother (1994)


1 Germaine 
2 Fire on Babylon 
3 John I Love You 
4 My Darling Child		play 
5 Am I a Human?
6 Red Football		play 
7 All Apologies 
8 Perfect Indian 
9 Scorn Not His 
10 All Babies 
11 In This Heart 
12 Tiny Grief Song 
13 Famine 
14 Thank You For Hearing Me

Personnel:
    Sinéad O'Connor - vocals, piano
    John Reynolds - drums, bass, keyboards, programming
    Dave Clayton - keyboards
    Marco Pirroni - guitar
    Tim Simenon - programming
    Ivan Gilliland - guitar
    Nicky Scott - bass
    Phil Coulter - piano
    John O'Cane - cello
    Clare Kenny - bass
    Voice Squad - backing vocals
    Irish Chamber Orchestra - strings

Sinéad O'Connor's first album of original material since her breakthrough I Do Not Want What I Haven't Got is nearly as confused as her big-band album, Am I Not Your Girl? O'Connor has lost her sense of conceptual unity, which makes her most extreme moments quite embarrassing ("Red Football" and the white hip-hop of "Famine"). Every so often, she manages to pull off a number that shows why her first two albums were so startling and captivating, but through most of Universal Mother, O'Connor sounds lost and confused. --- Stephen Thomas Erlewine, Rovi

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Sinead O’Connor – Essential (2011)

2011-12-28T09:36:36Z

Sinead O’Connor – Essential (2011)


01 – Mandinka								play
02 – Troy
03 – I Want Your (Hands on Me)
04 – Just Call Me Joe
05 – I Am Stretched on Your Grave
06 – Three Babies
07 – The Emperor’s New Clothes
08 – Nothing Compares 2 U
09 – Jump in the River
10 – Last Day of Our Acquaintance
11 – I Do Not Want What I Haven’t Got
12 – Success Has Made a Failure of Our Home
13 – Don’t Cry for Me Argentina
14 – Jerusalem
15 – Black Boys on Mopeds					play

Sinéad O'Connor ranked among the most distinctive and controversial pop music stars of the 1990s, the first and in many ways the most influential of the numerous female performers whose music dominated airwaves throughout the decade. Brash and outspoken -- her shaven head, angry visage, and shapeless wardrobe a direct challenge to the popular culture's long-prevailing notions of femininity and sexuality -- O'Connor irrevocably altered the image of women in rock; railing against long-standing stereotypes simply by asserting herself not as a sex object but as a serious artist, she kick-started a revolt which led the way for performers ranging from Liz Phair to Courtney Love to Alanis Morissette.

O'Connor was born in Dublin, Ireland, on December 8, 1966. Her childhood was often traumatic: her parents divorced when she was eight, and she later claimed that her mother, who was killed in a 1985 automobile accident, frequently abused her. After being expelled from Catholic school, O'Connor was arrested for shoplifting and was shuttled off to a reformatory; at the age of 15, while singing a cover of Barbra Streisand's "Evergreen" at a wedding, she was spotted by Paul Byrne, the drummer for the Irish band In Tua Nua (best known as protégés of U2). After co-writing the first In Tua Nua single, "Take My Hand," O'Connor left boarding school in order to focus on a career in music, and began performing in area coffeehouses; she later studied voice and piano at the Dublin College of Music, and supported herself delivering singing telegrams.

Upon signing a contract with Ensign Records in 1985, O'Connor relocated to London; the following year she made her recorded debut on the soundtrack of the film The Captive, appearing with U2 guitarist the Edge. After scrapping the initial tapes for her debut LP on the grounds that the production was too Celtic, she took the producer's seat herself and began re-recording the album, dubbed The Lion and the Cobra in reference to Psalm 91; the result was one of the most acclaimed debut records of 1987, with a pair of alternative radio hits in the singles "Mandinka" and "Troy." Almost from the outset of her career, however, O'Connor was a controversial media figure; in interviews following the LP's release, she defended the actions of the IRA, resulting in widespread criticism from many corners, and even burned bridges by attacking longtime supporters U2, whose music she declared "bombastic."

However, O'Connor remained a cult figure prior to the release of 1990's chart-topping I Do Not Want What I Haven't Got, a harrowing masterpiece sparked by the recent dissolution of her marriage to drummer John Reynolds. Boosted by the single and video "Nothing Compares 2 U," originally penned by Prince, the album established her as a major star, but again controversy followed as tabloids took aim at her romance with black singer Hugh Harris while continuing to attack her outspoken politics. On American shores, O'Connor also became the target of derision for refusing to perform in New Jersey if "The Star Spangled Banner" was played prior to her appearance, a move which brought public criticism from no less than Frank Sinatra, who threatened to "kick her ass"; she also made headlines for pulling out of an appearance on the NBC program Saturday Night Live in response to the misogynist persona of guest host Andrew Dice Clay, and even withdrew her name from competition in the annual Grammy Awards despite four nominations.

O'Connor also continued to confound expectations with her third album, 1992's Am I Not Your Girl?, a collection of pop standards and torch songs that failed to live up to either the commercial or critical success of I Do Not Want What I Haven't Got. However, any discussion of the record's creative merits quickly became moot in the wake of her most controversial and damaging action yet: after finally appearing on Saturday Night Live, O'Connor ended her performance by ripping up a photo of Pope John Paul II, resulting in a wave of condemnation unlike any she'd previously encountered. Two weeks after the SNL performance, she appeared at a Bob Dylan tribute concert at New York's Madison Square Garden, and was promptly booed off the stage.

Now a virtual pariah, O'Connor's retirement from the music business was subsequently reported, although it was later claimed that she had merely returned to Dublin with the intent of studying opera. She kept a low profile for the next several years, starring as Ophelia in a theatrical production of Hamlet and later touring with Peter Gabriel's WOMAD festival. She also reportedly suffered a nervous breakdown and even made a half-hearted attempt at suicide. In 1994, however, O'Connor returned to pop music with the LP Universal Mother, which, despite good reviews, failed to relaunch her to superstar status; the following year she announced that she would no longer speak to the press. The Gospel Oak EP followed in 1997, and in mid-2000 O'Connor issued Faith and Courage, her first full-length effort in six years. Sean-Nós Nua followed two years later, and was widely hailed for its return to the Irish folk tradition as its inspiration.

O'Connor used the press exposure from the album to further assert her pending retirement from music. In September 2003, the two-disc She Who Dwells... appeared through Vanguard. It collected rare and previously unreleased studio tracks, as well as live material culled from a late 2002 date in Dublin. The album was positioned as O'Connor's swan song, though official word was not forthcoming. Collaborations followed in 2005, a compilation of appearances on other artists' records throughout her long career. Later that year she released Throw Down Your Arms, a collection of reggae classics from the likes of Burning Spear, Peter Tosh, and Bob Marley that managed to reach the number four spot on Billboard's Top Reggae Albums chart. O'Connor returned to the studio the following year to begin work on her first album of all-new material since Faith and Courage. The resulting Theology, inspired by the complexities of the world post-9/11, was released in 2007 through Koch Records on the artist's own imprint, That's Why There's Chocolate and Vanilla. ---Jason Ankeny, AMG

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Sinead O’Connor – How About I Be Me (And You Be You)? (2012)

2012-03-14T13:52:54Z

Sinead O’Connor – How About I Be Me (And You Be You)? (2012)


01 – 4th & Vine
02 – Reason with Me
03 – Old Lady		play
04 – Take Off Your Shoes
05 – Back Where You Belong
06 – The Wolf Is Getting Married
07 – Queen of Denmark
08 – Very Far from Home		play
09 – I Had a Baby
10 – V.I.P.

"I bleed the blood of Jesus over you," declares Sinéad O'Connor on "Take Off Your Shoes," a gospel-rock indictment targeting the recent Catholic Church child-abuse scandals. From a singer who tore up the pope's photo on Saturday Night Live and who tends to get filed under "bat-shit crazy," the viscera isn't surprising. What may be is the empathy, wit and beauty on this focused LP. The naughty reggae-folk "4th and Vine" channels the Dixie Cups' "Going to the Chapel," and "Queen of Denmark" is a wickedly hilarious lover's rant. On the power ballad "I Had a Baby," O'Connor cops, "I was always crazy" – true, perhaps. But it's a condition still fueling fierce art. ---Will Hermes, rollingstone.com

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Sinead O’Connor – I Do Not Want What I Haven’t Got (2009)

2009-10-13T21:34:14Z

Sinead O’Connor – I Do Not Want What I Haven’t Got (2009)

DISC 1: 
1. Feel So Different 6:48 
2. I Am Stretched On Your Grave 5:33 
3. Three Babies 4:46 
4. The Emperor's New Clothes 5:16 
5. Black Boys On Mopeds 3:54 
6. Nothing Compares 2 U 5:10 
7. Jump In The River 4:11 
8. You Cause As Much Sorrow 5:01 
9. The Last Day Of Our Acquaintance 4:41 
10. I Do Not Want What I Haven't Got 5:48 

DISC 2: 
1. Night Nurse (Previously Unreleased) 4:54 
2. My Special Child 4:48 
3. Damn Your Eyes 4:46 
4. Silent Night (Long Version) 4:44 
5. You Do Something To Me 2:34 
6. Mind Games (Previously Unreleased) 5:26 
7. What Do You Want 2:57 
8. I Am Stretched On Your Grave (Apple Brightness Mix) 5:36 
9. Troy (Recorded 'Live' In London) 6:41 
10. I Want Your Hands On Me (Live At Hammersmith Odeon) 3:52

I Do Not Want What I Haven't Got is the second album by Sinéad O'Connor. It was released in 1990 on Chrysalis Records.

The critically-acclaimed album contains her most famous single, "Nothing Compares 2 U", and was one of the best selling records in the world in 1990, topping the charts in many countries, including the US, UK, and Canada. The single "Emperor's New Clothes" found more moderate success, although it did top the Modern Rock Tracks chart in the US. The album includes O'Connor's rendition of "I Am Stretched on Your Grave", an anonymous 17th century poem, originally written in Irish and translated into English by Philip King. The first song, "Feels So Different", starts with The Serenity Prayer by Reinhold Niebuhr. The inner sleeve notes acknowledge Kabbalah teacher, Warren Kenton: "Special thanks to Selina Marshall + Warren Kenton for showing me that all I'd need was inside me."

In 2003, the album was ranked number 406 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2009, released of a deluxe anniversary edition of the album, with an extra CD of unreleased tracks, B-sides and hard-to-find mixes.

-----------------------------------------------------------------------------------

I Do Not Want What I Haven't Got – album irlandzkiej piosenkarki Sinéad O'Connor wydany w 1990 roku, zawierający jej najbardziej znany utwór "Nothing Compares 2 U". Płyta ta była jednym z najlepiej sprzedających się na świecie albumów wydanych w 1990 roku. Album w 1991 roku dostał 4 nominacje do Nagród Grammy zdobywając nagrodę w kategorii Best Alternative Music Album. O'Connor odmówiła przyjęcia nagrody.

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