NOTHING COMPARES 2 HER
By Mark Edwards
Sinead O'Connor has put notoriety
behind her, but she
isn't making any apologies, says
Mark Edwards
When is an apology not an apology?
Try this for size.
It's from The Lamb's Book of Life,
a song on Sinead
O'Connor's new album, Faith and
Courage. "I know
that I have done many things/To
give you reason not to
listen to me/ Especially as I have
been so angry/ But
if you knew me, maybe you would
understand me/
Words can't express how sorry I
am/ If I ever caused
any pain to anybody/I just hope
that you can show
compassion/ And love me ... "
So then, is this an apology for all
the behaviour that
earned O'Connor, 33, the soubriquet
"Mad Bad Sinead" -
the woman who ripped up a picture
of the Pope on
American network television, that
kind of thing?
Sinead herself is having none of
that. "Certainly not,
it's not an apology at all," she
says, as we sip tea
in a London hotel, while O'Connor
gives half her
attention to me and half to her
mobile phone ("I know
I look as though I'm not listening,
but I am," she says,
as she alternately punches keys
in search of a text
message or stares at it, willing
it to ring.)
"The 'I' in that song isn't me,"
she explains. "It's
Ireland. People would love me to
apologise. But I'm
not sorry. I'm very proud of what
I did." And then at
least I get an apology for the lack
of an apology. "I'm
dreadfully sorry to disappoint you,"
she adds, with a grin.
No regrets then? "No, no regrets.
Except ... well ...
I regret that I didn't dress more
sexy."
This afternoon, O'Connor is in the
smartest-of-smart
grey suits. Only the trademark crop
prevents her from
looking more like a successful businesswoman
than one
of the few genuine rebels left in
rock music. "I
always write in the first person,
even if the song
isn't about me," she continues.
"It can be someone
else, or it can be what I imagine
God would say, or it
can be Ireland talking. There is
a tradition among Irish
poets or songwriters of referring
to Ireland as a woman,
or a lost heifer,because it used
to be illegal to write
songs about Ireland."
O'Connor notices the well-practised
look of English
historical guilt forming on my face.
"Ah, don't feel bad,"
she says. "The English did worse
to their own people than
they did to anyone else."
Some would suggest that O'Connor
has done a lot of
harm to herself over the years.
Within months of her
hit version of Prince's Nothing
Compares 2 U propelling
her to worldwide stardom, the anger
that suffused her music
bubbled over into her on- and offstage
life. How apt that
she ripped up the Pope on Saturday
Night Live, a show where
the cast were dubbed "the Not Ready
for Primetime Players".
O'Connor herself wasn't ready for
prime time, muttered
industry cynics, as they watched
her record sales dip.
O'Connor disagrees with this scenario.
She was never
going to be able to match the "freakish"
success of
that one single, and besides, she
still sells a couple
of million copies of each album
she puts out. The truth,
however, is that she has never made
a record as good
as I Do Not Want What I Haven't
Got, the album that
spawned Nothing Compares 2 U. Until
now, that is.
Faith and Courage is as good; maybe
better. And
Jealous, which is released tomorrow,
is the best
single she's released since that
Prince song; a mellow
ballad - already playlisted on Radio
2 - with a beauty that
belies its slightly shocking origins.
"It is about a
mutual friend of mine and (co-writer
and producer)
Dave Stewart's," O'Connor explains.
"A man who after about
five years of being divorced decided
to get married
again, and his ex-wife came round
and beat him up so
badly that she put him into hospital."
Stewart is just one of several A-list
producers who
worked on Faith and Courage, alongside
Wyclef Jean,
Adrian Sherwood and Brian Eno. Between
them, they
provide a backdrop for O'Connor's
first successful
attempt to reconcile the two madly
conflicting sides
of her personality; the compassionate,
caring Sinead
of recent releases, and the angrier
Sinead of her early
work.
Except, I probably shouldn't have
used the term
"angrier". "I don't think there
is anger on this
record at all," says O'Connor (clearly
rather angry).
"There is determination and self-belief.
Testosterone.
Balls. I don't believe in angry
for the sake of being angry.
There is a lot of fake anger around
in the music business.
What was powerful about my first
record was that it was
real.
"I never set out to change the world,
I set out to
change myself and Ireland, and I
think I have been
pretty successful in both departments.
I was trying to
change myself and the obstacles
and difficulties that I
had to carry as a result of growing
up as I did. And that
involved expressing some things
that were difficult to
hear. The subject of child abuse
at the time was a hot
potato and was difficult to talk
about. Abuse of any kind -
you always saw the victims as shadows,
and I was very
interested in breaking down the
walls of shame that
surround child abuse.
"I was the living embodiment of what
happens to
someone who has been through that
kind of stuff and,
understandably, people found it
difficult to see or
hear. But one thing I did do was
to create conversation in
Ireland where it needed to be created,
and that's the
job of artists."
Faith and Courage offers ample evidence
that O'Connor
has extinguished a lot of her inner
demons, originally
caused by her mother's violence
towards her. The
track 'Til I Whisper U Something
is O'Connor's riposte
to Stewart's suggestion that she
write some sad songs.
"I'm really talking to him in the
song, saying I don't
want to write sad songs. It is about
a journey into
happiness. I have moved on from
wanting to do that
'woe is me' thing. It has been my
intention always to
make the journey into joy."
How far have you got, I ask? "I'm
there," she says,
quietly.
Among the more extreme moments of
this long and
frequently bizarre journey, was
O'Connor's surprise
announcement that she had become
a priest - Sister
Bernadette Maria - thereby reconciling
herself with
the church that she had so openly
attacked, albeit in
her own particular way. "I would
consider myself a
strange mixture of Rasta, Hindu
and Catholic," she says.
The reason she took orders was because
she wants to
care for the terminally ill. "I'm
interested in
working around death, helping people
into death
without fear and helping the bereaved.
I have always been
fascinated with the way the human
world looks on death as a
terrible thing, a tragedy, an awful
loss. I believe that
only the body goes, the person is
still around and is quite
easy to communicate with if you
want to."
As if on cue, O'Connor's mobile phone
rings. She picks
it up, but hits the wrong key. "Shit.
I've turned it
off." But the mood is broken, and
we leave our
investigation of the spirit world
for lighter matters.
The song Dancing Lessons, I wonder,
is it really about dancing
lessons?
"It is about my boyfriend," says
O'Connor. "It is
about being in a relationship and
how it is very much
like learning to dance. But yes,
it's also about
actual dancing lessons. It's something
we haven't got
around to yet, going for dancing
lessons together, treading
on each other's feet. I'd like to."
Boyfriend? Hang on. Last time O'Connor
was in the
public eye, she was declaring herself
both celibate
and a lesbian. Surely several inconsistencies
here? "I
haven't been celibate for a long
time," she says. "And
I'm not a lesbian. I'm someone who
doesn't believe in gay
or straight. I think that if you
fall in love with
someone, it doesn't matter if it
is a man or woman or alien.
At the moment, it's somebody male."
O'Connor senses my slight professional
disappointment
at being the one journalist who
interviewed Sinead
O'Connor when she was in a conventional
relationship.
"He is a very feminine man," she
adds, "if that
helps."
WWW
www.sinead-oconnor.com
Enter her "healing room" for enlightenment
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