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RIP Sinead O'Connor / appreciation thread

"Sinéad O'Connor invites The Heaven and Earth Show's Alice Beer into her Monkstown home, for a chat about fame, singing, communication and the nature of an artist's job."

BBC broadcast 17 November 2002

11m 31s

 
Simple Minds & Sinead O' Connor / Belfast Child

Night of the Proms - Antwerp, Belgium, 2008

7m 34s

 
www.rollingstone.com

Phoebe Bridgers Remembers Sinéad O'Connor: 'It's Abuse to Be Told to Shut Up and Sing'

The singer-songwriter on how O’Connor taught her — and so many others — to stand up for what’s right, even as she got a raw deal from the music industry
www.rollingstone.com www.rollingstone.com

"That is so exemplified in “Black Boys on Mopeds.” It’s such a simple recording. The thing about covering her is that she makes the hardest things to sing sound so easy. I had to practice “Black Boys on Mopeds” so much to even do a for-idiots version of it. Her vocal styling is like unlike anything else. She does that Irish folk thing with her voice, the same way Dolores O’Riordan did, that is just so hard to do. I think you have to grow up doing it, and it’s fucking incredible."
 
"After the early sessions for her debut album, Sinead O'Connor went home and studied the peak meter on her personal recording device, singing to herself, alone. The green light meant she was in the proper range to be recorded; yellow meant she was in danger of clipping; red meant she was too loud. Because the label had paired her with a producer she did not trust, or particularly like, the teenage songwriter from Dublin realized she would have to internalize these metrics in order to preserve her music the way it sounded in her head. “So I’ve made my voice into its own master fader,” she wrote in her memoir, Rememberings.

Even after she fired the producer and took his place—scrapping the sessions and starting over, putting herself in a hundred-thousand pounds of debt before the album’s release in November 1987—this would be an important lesson in control and self-reliance. These were songs that lived in extremes. The accompaniment was often barely there: a wash of ambience, layered acoustic guitars, a Bible passage recited in Gaelic by Enya. Or it was a full-on attack: shoegaze drones, blaring strings, military drums, and dance beats."

pitchfork.com

Sinéad O’Connor: The Lion and the Cobra

Read Sam Sodomsky’s review of the album.
pitchfork.com pitchfork.com
 
Awesome opening lines from The Emperor's New Clothes:

"It seems years since you held the baby
While I wrecked the bedroom"
(lyrics by Sinead O' Connor)
 
“If I hope for anything as an artist, it’s that I inspire certain people to be who they really are. My audiences seem to be people who have been given a hard time for being who they are. It ain't easy being green - maybe they don't know they are the reason I get to be who I really am. Onstage, I can always be who I really am.

Offstage, not so much. I never made sense to anyone, even myself, unless I was singing."
(Page xiii)



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