The Lion And The Cobra

Sinead O'Connor

Ensign/Chrysalis, 1987

http://www.sineadoconnor.com

REVIEW BY: Benjamin Ray

ORIGINALLY PUBLISHED: 04/03/2006

In honor of the recent St. Patrick's Day holiday, I located an album that had remained in my consciousness despite my not having heard it for 10 years. Such is the power of Sinead O'Connor's debut The Lion And The Cobra, its title taken from the 91st Psalm.

Confessional female singer-songwriter albums tend to bother me, especially because I grew up in the age of Fiona Apple/Tori Amos/Alanis, but not once does Sinead stoop to obvious heartstring-pulling to gain her audience. A clear, Irish voice and urgent music carries these nine tracks, which are powerful and memorable and will stay in your head long after they finish.

Sinead introduces herself to the world with "Jackie," a semi-Irish ballad with the singer bemoaning her lover lost at sea. The entire song is carried by Sinead's thin yet powerful voice and a guitar fuzz that builds into a climax as the song continues, ending far too quickly.my_heart_sings_the_harmony_web_ad_alt_250

She then segues into the classic rock sound of "Mandinka," a typical rock song that Heart could have written, but delivered with a shiny innocence that does not sound like the same woman who sang "Jackie." The early highlight is "Jerusalem," delivered by an ethereal acoustic guitar and some insistent electric guitar picking, which eventually gives way to a spastic verse and Sinead's fearless vocals.

There is never a sense in the album that Sinead wants to sell records or make people feel bad. Her lyrics revolve around loss, love and religion -- typical fare for the genre -- but come across as more real than her counterparts. Of course, in 1987, there weren't many other artists making music like this, which is why the alternative underground latched onto Sinead long before the pop music masses heard of her.

The record sounds a bit dated in places, such as "Just Like U Said It Would B," an obvious nod to Prince and Peter Gabriel, both of whose influences pop up on the record. "Never Get Old" is one of the few stumbling blocks, where Sinead's wailing doesn't quite make sense and is mixed a little too loud to be enjoyable.

But she quickly redeems herself with "Troy," a haunting, stark seven-minute ballad backed up by only some strings and light percussion. It brings Madonna's "Like A Prayer" to mind, but Sinead has far more emotion and strength to her voice -- the point where she nearly screams "God, I love you / I'd kill a dragon for you / I'd die / But I will rise and I will return" to Troy sends a shiver up my spine every time.

From this, she goes back to sexy-bald-girl mode with the insistent erotic dance-inflected "I Want Your Hands On Me," easily the most infectious song here and one that could have been a hit in 1987, putting Madonna to shame. The album falters a bit on the last two tracks, although "Drink Before The War" explores a deep theme that most artists of the time wouldn't have touched.

The Lion And The Cobra stands out from its late 80s peers, not only for Sinead's singing power and charisma but for its excellent music and weighty lyrical topics. Easily one of the best debut albums of the 80s, if not the entire alternative movement, this disc is a treasure waiting to be re-discovered.

Rating: A-

User Rating: A-


Comments

This album is a really great lost treasure, and her later drama (SNL, Prince, priesthood) doesn't change the fact it's sadly overlooked.
 








© 2006 Benjamin Ray and The Daily Vault. All rights reserved. Review or any portion may not be reproduced without written permission. Cover art is the intellectual property of Ensign/Chrysalis, and is used for informational purposes only.