Through all of the controversy and scorn she's endured for her beliefs and public behaviour, Sinead O'Connor remains a formidable talent, and in the end, her music should always be the focal point. Her 1990 release _I Do Not Want What I Haven't Got_ was her biggest breakthrough, and what's astonishing is how well it holds up nearly a decade and a half since it's release.
Sinead also possessed one of the most powerful and moving voices in all of rock music: beautiful and ethereal, and at other times, frightening and disturbing. This album is a perfect showcase for that, as well as her most introspective, soul-searching lyrics. These lyrics mostly deal with Sinead's relationships, failed and/or unfailed, her strength to preservere through hardships, and ultimate resolution.
"Feel So Different" opens up with a spiritual soliloquy before turning into a slow, moody orchestral ballad. Sinead's vocals slowly and steadily progress from hushed and calm, to climactic cathartic releases. The strings, which steadily increase in dynamics during these vocal progressions, add a sense of drama to the whole thing. The orchestral arrangements in general are lovely and elegant.
"I Am Stretched On Your Grave" is mostly a Frank O'Connor poem set to music, but arranged by Sinead herself. A progressive mix of exotic, Gaelicesque vocal musings with a funky, hip-hop drum beat, along with a steady, one-two note bassline sandwiched inbetween. Later in the song, there are some violin scrapes which add an extra dose of atmosphere.
"Three Babies" is an acoustic-folk track with subtle use of orchestration. On here, particularly, Sinead serves up her chameleonic vocal ability - ranging from hushed voicings, to near-possessed, upper register wailings, to disturbing, echo-filled, cathartic yellings, so to speak. Sinead herself strums the acoustic in quite an introspective manner. A very beautiful track.
"The Emperor's New Clothes" has a wonderful melody drenched in it's bouncy rhythm. The lyrics are intensively open and confessional, showcasing Sinead's defiant and determined nature when facing odds. She also mentions her children, and the effects of being pregnant in a few of the tracks here. These lyrics here seem written to a former lover, exhibiting reflection, but not necessarily regret, and the sense of moving on, with, or without the protagonist's presence.
"Black Boys on Mopeds" was Sinead's take on British policemen chasing down an African-American who they suspected of a crime he didn't commit, and was killed during the chase. Sinead offers up some scathing lyrics on Margaret Thatcher, and England in general. The music is low-key and melodic, and in particular, the melody and Sinead's smooth, yet grave and powerful way in delivering the vocal is painfully affecting.
"Nothing Compares 2 U" is the big hit of the album, of course. Though written by Prince, it was Sinead's version of the song which became popular. Though I liked this song when it first came out, it wasn't until a few years ago that I really began to love and appreciate it's beauty very deeply. The lush, achingly beautiful strings and Sinead's haunting voice blend nicely to create this autumnal and monumental beauty. Stands the test of time.
"Jump In The River" is a hard-driving rocker, and probably the edgiest track on this otherwise, mostly low-key album. The lyrics on here obviously deal with one of Sinead's love relationships, and the lyrics are quite open. Sinead is credited as playing the crunching electric guitar parts.
"You Cause As Much Sorrow" contrasts low-key ambience with more pronounced acoustic strumming. Whispery vocals give way to more pronounced vocal atmospherics. A mostly low-key track, Sinead tells a certain protagonist, as well as her audience, that she's really a sweet, gentle and caring soul underneath her apparent brash exterior.
"The Last Day of Our Acquaintance" is a slow, absorbing, hushed number with Sinead exhibiting a naked vocal performance alongside her acoustic guitar. This song, like others on here, deals with a relationship, and as the title of this track suggests, it's based on a relationship that has ended. The lyrics, Sinead's emotive vocals, and the smooth, low-key atmosphere make this song very poignant, and almost painful to listen to at times. By the track's end, it becomes more upbeat, as if the pained atmosphere of the first half -- and in Sinead's soul -- has disappeared, and Sinead has found the strength to heal herself.
The title track is an a capella soliloquy, and is extremely affecting, especially in some of the lyrics addressed. Very personal, spiritual and forward-looking, it's basically Sinead saying she doesn't know exactly what lies ahead for her, but whatever it may be, she's willing to face it.
An excellent album from an excellent artist. This is an album that will age very well. It's held up nicely for the past decade plus, and will only continue to do so in the future. Introspective, intelligent and moving, this album is recommended to all with a taste for human emotion expressed frankly and unflinchingly.
"...That All I'd Need Was Inside Me"
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10 tracks
