From jitr-request@presto.ig.com Tue Mar 27 17:05:45 1990 Received: by presto.ig.com (5.61/1.15) id AA24375; Tue, 27 Mar 90 17:05:27 -0800 Received: by presto.ig.com (5.61/1.15) id AA24364; Tue, 27 Mar 90 17:05:21 -0800 Message-Id: <9003280105.AA24364@presto.ig.com> Date: Tue, 27 Mar 90 17:05:16 -0800 From: mcb@presto.ig.com (Michael C. Berch) Subject: Welcome to JUMP IN THE RIVER To: jump-in-the-river Status: RO Welcome to Jump In the River, The Sinead O'Connor Mailing List. Your receipt of this message will confirm that you have been added to the list. In response to a few inquiries, the list will not initially be a digest but will be forwarded as individual messages. I have the digest software, and will put it up soon, and at that point you will be able to choose which version you get. If there is sufficient demand the list may also appear as an "inet" (Internet) newsgroup so that people can get the list without filling up their mailboxes. The list is up and available for posting of messages; the first one escaped, I'm afraid, while I was adding names to the list. Remember, the *posting* address is The Internet: jump-in-the-river@presto.ig.com jitr@presto.ig.com General UUCP: {apple,ames,rutgers}!bionet!ig!jump-in-the-river {apple,ames,rutgers}!bionet!ig!jitr UUNET members: uunet!presto.ig.com!jump-in-the-river uunet!presto.ig.com!jitr and the *administrative* address is "jump-in-the-river-request" or "jitr-request" at the same host. Please send all requests for addition, deletion, location of files, or anything else not intended for publication to this address. Archives will likely be available for anonymous FTP on the host presto.ig.com at a later date, plus other goodies like lyrics & tour info (cross your fingers!), but are not set up yet. So, without further ado, let's to our keyboards... Michael (personal mail) mcb@presto.ig.com (list stuff) jump-in-the-river-request@presto.ig.com From jitr-request@presto.ig.com Tue Mar 27 20:48:34 1990 Received: by presto.ig.com (5.61/1.15) id AA28645; Tue, 27 Mar 90 20:48:12 -0800 Received: from nova.cc.sunysb.edu by presto.ig.com (5.61/1.15) with SMTP id AA28641; Tue, 27 Mar 90 20:48:08 -0800 Date: Tue, 27 Mar 90 23:45 EST From: PBMANCHESTER@ccmail.sunysb.edu Subject: NEWSDAY Review 3/25/90 To: jitr Message-Id: X-Envelope-To: jitr@presto.ig.COM X-Vms-To: IN%"jitr@presto.ig.com" Status: RO Here's a review from NEWSDAY Sunday, March 25 (Part II, p. 11) Just Between You and Me by John Leland On Sinead O'Connor's new album, "I Do Not Want What I Haven't Got" (Chrysalis), every song has a "you" and an "I" and almost no other characters. There is O'Connor's child, and one passing image of Margaret Thatcher on television, a few references to false friends. But mostly, there are just O'Connor's intensely personal communiques, hurled like darts or diary entries at the forces in her life. Brimming with rage, the album plays as part confession, part argument in progress, part public resolution. O'Connor sings to her subjects, to us, and to herself, without ever breaking the album's uncomfortable sense of intimacy. On her first album, "The Lion and the Cobra," the Irish singer was mystical and aloof, a shaved head speaking in punk parables. On her new one, she is aggressively open: if not naked, at least exposed. Listening to "I Do Not Want..." is at times like watching a public marital argument that gets too personal; there's something squishy and compelling about so much private pain and anger flowing so uncontrollably. The album begins with the prayer, "God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference," and ends with her a cappella declaration, "I do not want what I haven't got." In between, there is only deliverance through pain, drawn in frank, evocative detail. "It seems like years since you held the baby," she sings on the song "Emperor's New Clothes," before continuing, "and I wrecked the bedroom." This is a crisp shapshot of a troubled life, one of many on the album, delivered in O'Connor's beautiful, soaring voice. She has the ability to sing like a child, but takes no refuge in a child's protection. The music throughout is austere and unforgiving, often just a church organ or an acoustic guitar, offering no easy emotional harbors for O'Connor's plaints. If she wants to wail, it's going to be a battle; if she wants to make nice, it's going to be just as difficult. What keeps this from being a vivid but ordinary document of rock and roll rage is the presence of the baby. Under his influence, O'Connor darts between irresponsibility--giving in to her rage--and responsibility. Transferring her turbulence momentarily to public life on "Black Boys on Mopeds," she sings, "I love my boy, and that's why I'm leaving [England]/I don't want him to be aware that there's any such thing as grieving." Unlike so many English bands that pour rage and despair over their synthesizers, playing the beautiful martyrs for thousands or millions of unhappy young fans, O'Connor demands some sort of resolution in her turmoil. At the end of the day, her world, unlike the others', must be livable. And it is this push, to accommodate an unaccommodatable rage, that makes the album so powerful. A document of immaturity, "I Do Not Want What I Haven't Got" is a stunning, mature work. /II Leland works hard enough in this review, to praise an album and singer that give him a lot of trouble, that I am just going to let it stand in this posting, and defer comment to a separate note. pmanches@sbccmail pmanchester@ccmail.sunysb.edu Peter Manchester From jitr-request@presto.ig.com Tue Mar 27 20:48:33 1990 Received: by presto.ig.com (5.61/1.15) id AA28640; Tue, 27 Mar 90 20:48:07 -0800 Received: from nova.cc.sunysb.edu by presto.ig.com (5.61/1.15) with SMTP id AA28636; Tue, 27 Mar 90 20:48:04 -0800 Date: Tue, 27 Mar 90 23:47 EST From: PBMANCHESTER@ccmail.sunysb.edu Subject: Comment on NEWSDAY review To: jitr Message-Id: X-Envelope-To: jitr@presto.ig.COM X-Vms-To: IN%"jitr@presto.ig.com" Status: RO Comments on John Leland's NEWSDAY review I loaned my new SPIN and ROLLING STONE magazines, with their Sinead material, to a friend, being too busy to read them myself, so my total impression so far of the album is just listening to it constantly, sometimes with my friend. I sure don't hear all that "private pain and anger," certainly not "flowing so uncontrollably." She has the *control* of blues singers so far as expression of difficult emotion is concerned. I think Leland spots his problem when he admit that for him she "gets too personal." *He* doesn't get personal enough, I'd say. He writes a bad sentence at a crucial moment: "What keeps this from being a vivid but ordinary document of rock and roll rage is the presence of the baby." He means, what *prevents* this from being (admittedly) vivid but (still) ordinary "is the presence of the baby." But he makes no room in his review for "Three Babies," which really ought to be at the center of his analysis! Sure, there's difficulty in there too--why for example are they "cold bodies" she has wrapped around her?--and Leland's generalization that for the album, "there is only deliverance through pain" is part of the truth in any mother's voice such as Sinead O'Connor finds for this song, but I still think he just plain gets a woman's openness wrong. Because men overreact this way, to women's freedom and ease about talking with emotional candor, they mostly get excluded from it, and women tend then to be open only among themselves. It's good practice for us to listen to singer-lyricists like Sinead O'Connor, and a compliment that she lets us. pmanches@sbccmail pmanchester@ccmail.sunysb.edu Peter Manchester From jitr-request@presto.ig.com Tue Mar 27 21:24:06 1990 Received: by presto.ig.com (5.61/1.15) id AA29255; Tue, 27 Mar 90 21:23:47 -0800 Received: from silver.ucs.indiana.edu by presto.ig.com (5.61/1.15) with SMTP id AA29251; Tue, 27 Mar 90 21:23:43 -0800 Message-Id: <9003280523.AA29251@presto.ig.com> Received: by silver.ucs.indiana.edu (5.61+/9.2jsm) id AA29008; Wed, 28 Mar 90 00:23:25 -0500 Date: Wed, 28 Mar 90 00:23:25 -0500 From: Elisabeth Freeman To: jump-in-the-river Subject: questions Status: RO > review for "Three Babies," which really ought to be at the center of his > analysis! I agree! I've only had the CD for a week, but this song has had the most effect on me emotionally. I really think Sinead is sharing something very personal with this song. > he just plain gets a woman's openness wrong. > Because men overreact this way, to women's freedom and ease about > talking with emotional candor, they mostly get excluded from it, and women > tend then to be open only among themselves. > Peter Manchester I agree with this too, but I won't get into a long speel about 'men' :-) Well, now that we have this great new list, lets have some details for those of us who know next to nothing about Sinead O'Connor. Pretty obvious she has a baby; is she married? Who are "My Johnny and My Jakey"? (maybe husband and baby?) And who is Colin Roach and what happened to him? I assume he is the black boy on a moped. Does she live in Ireland? How old is she? (or is that too personal! :-) Beth From jitr-request@presto.ig.com Wed Mar 28 08:34:29 1990 Received: by presto.ig.com (5.61/1.15) id AA09276; Wed, 28 Mar 90 08:34:10 -0800 Received: from ames.arc.nasa.gov by presto.ig.com (5.61/1.15) with SMTP id AA09274; Wed, 28 Mar 90 08:34:07 -0800 Received: by ames.arc.nasa.gov (5.61/1.2); Wed, 28 Mar 90 08:34:32 -0800 Received: by mailrus.cc.umich.edu (5.61/1123-1.0) id AA05606; Wed, 28 Mar 90 10:30:52 -0500 Received: from pdn.UUCP by uunet.uu.net (5.61/1.14) with UUCP id AA08880; Wed, 28 Mar 90 10:05:23 -0500 Received: by pdn.paradyne.com (/\=-/\ Smail3.1.17.5 #17.30) id ; Wed, 28 Mar 90 08:05 EST Received: by nike.paradyne.com (/\=-/\ Smail3.1.17.5 #17.36) id ; Wed, 28 Mar 90 08:04 EST Message-Id: Date: Wed, 28 Mar 90 08:04 EST From: locke@pdn.paradyne.com (Richard Locke) To: jitr Subject: Sinead in Spin Cc: locke@pdn.paradyne.com Status: RO There's a real interesting article about Sinead in the current issue of Spin magazine. To summarize for those, like myself, who haven't heard much about her story: She was Irish Catholic, her parents didn't get along, she used to shoplift and got caught. She was sent to some catholic reform school that also was some sort of hospice, and had to spend time in the "attic" where they stuck the dying. This appears to have given here some unusual fear of death, which is understandable. She's 23, and apparently accidentally got pregnant by the man who is now her husband. Her kid is 2 or 3 years old. She, in typical Catholic fashion, was really weird about her body, sex, etc. (She said her husband is the first man she ever got undressed in front of.) She also had a weird relationship with some married black preacher in London. The story about her going to New York and getting "tram lines" is really funny, I think. My advice is to shell out $2.95 (US) for the mag. -dick From jitr-request@presto.ig.com Wed Mar 28 06:36:32 1990 Received: by presto.ig.com (5.61/1.15) id AA07108; Wed, 28 Mar 90 06:36:00 -0800 Received: from STAR-TREK.BBN.COM by presto.ig.com (5.61/1.15) with SMTP id AA07104; Wed, 28 Mar 90 06:35:56 -0800 Message-Id: <9003281435.AA07104@presto.ig.com> To: jitr Subject: Re: Comment on NEWSDAY review In-Reply-To: Your message of Tue, 27 Mar 90 23:47:00 -0500. Date: Wed, 28 Mar 90 09:34:31 -0500 From: eboneste@bbn.com Status: RO > He writes a bad sentence at a crucial moment: > "What keeps this from being a vivid but ordinary document of rock and >roll rage is the presence of the baby." I'm curious: did he think "The Lion and the Cobra" was "vivid but ordinary"? I'll agree with him as far as acknowledging that the anger on "I Do Not Want..." is of a different character than the anger on "The Lion and the Cobra." The presence of the baby seems to bring the anger into focus, and give it a purpose. She's still got the idealism of a young person, though; on "Black Boys On Mopeds" (becoming my favorite song, I think) when she sings "I don't want him to be aware that there's any such thing as grieving", I get the sense that she really believes she can protect her child from the world. There is a ferocity about this protectiveness (and I think anyone put in the position of protecting a helpless creature that they also happen to love would feel the same way) that makes her sincerity a powerful, sad thing to listen to. Who is "Madame George"? Liz "How could I possibly know what I want when I was only 21?" From jitr-request@presto.ig.com Wed Mar 28 07:06:31 1990 Received: by presto.ig.com (5.61/1.15) id AA07301; Wed, 28 Mar 90 07:06:20 -0800 Received: from ugw.utcs.utoronto.ca by presto.ig.com (5.61/1.15) with SMTP id AA07293; Wed, 28 Mar 90 07:06:04 -0800 Received: from SASK.BITNET (stdin) by ugw.utcs.utoronto.ca with BSMTP id 57981; Wed, 28 Mar 90 10:03:26 EST Date: Wed, 28 Mar 90 09:55:00 EST From: Subject: Madame George To: jitr X-Original-To: jitr@presto.ig.com Message-Id: <90Mar28.100326est.57981@ugw.utcs.utoronto.ca> Status: RO With ref to posting From: eboneste@bbn.com Subject: RE: Comment on NEWSDAY review > >Who is "Madame George"? > >Liz ==================================================================== I take it to be a reference to Saint George (patron saint of England) with the roses (national flower of England). I take the 'madame' part to be a change to relate to Maggy Thacher (who seems to think she is either the patron saint, or queen of England)! These are what I think - does anyone know for sure? Terry Terry Maton | University of Saskatchewan | "Strange women lying in ponds distributing Saskatoon, Canada | swords is no basis for a system of government" BITNET: MATON@SASK | Monty Python UUCP: maton@herald.USask.ca | From jitr-request@presto.ig.com Wed Mar 28 07:50:04 1990 Received: by presto.ig.com (5.61/1.15) id AA07910; Wed, 28 Mar 90 07:49:47 -0800 Received: from att-in.att.com by presto.ig.com (5.61/1.15) with SMTP id AA07906; Wed, 28 Mar 90 07:49:45 -0800 From: boyle!eob@ohm.att.com Received: from boyle.att.com by ohm.att.com (3.2/SMI-3.2) id AA01912; Wed, 28 Mar 90 10:34:45 EST Received: by boyle.att.com (3.2/SMI-3.2) id AA06177; Wed, 28 Mar 90 10:34:44 EST Date: Wed, 28 Mar 90 10:34:44 EST >From: ohm!boyle!eob (Eamonn O'Brien) Message-Id: <9003281534.AA06177@boyle.att.com> To: jitr Subject: Madame George -- Re: Comment on NEWSDAY review Status: RO Date: Wed, 28 Mar 90 09:34:31 -0500 From: eboneste@bbn.com Who is "Madame George"? Perhaps it is Thatcher. Saint George is the patron saint of England. This could be an allusion to Thatcher's right-wing nationalist politics, as reflected in the Falklands/Malvinas War, in her European Community policies, and in her attitude to race-relations in Britain. Using "Madame" rather than "Mrs." satirizes her posturing as a senior statesman (statesperson?) on the world stage. BTW. Does "Black Boys On Mopeds" refer to a particular incident? Does anyone know the details? Is it the victim's family which is depicted on the sleeve and mentioned in the credits? Eamonn [ eob@ohm.att.com ] ~~~~~~ From jitr-request@presto.ig.com Wed Mar 28 08:19:22 1990 Received: by presto.ig.com (5.61/1.15) id AA08683; Wed, 28 Mar 90 08:18:59 -0800 Received: from STAR-TREK.BBN.COM by presto.ig.com (5.61/1.15) with SMTP id AA08669; Wed, 28 Mar 90 08:18:44 -0800 Message-Id: <9003281618.AA08669@presto.ig.com> To: jitr Cc: eboneste@bbn.com Subject: Re: Madame George... In-Reply-To: Your message of Wed, 28 Mar 90 16:01:00 +0000. <9003281551.AA07942@presto.ig.com> Date: Wed, 28 Mar 90 11:16:51 -0500 From: eboneste@bbn.com Status: RO The Fluffy Yog sez: >My, it's boring trying to be informative. I shall have to >try being opinionated instead sometime - trouble is, "I Do >Not Want What I haven't Got" hasn't done anything near as much >for me as "The Lion and The Cobra" did, maybe because it's so >restrained. So far, I have to agree with you on this, although it's grown on me considerably since the first time I heard it. "Restrained" is a good adjective - it occurred to me the other day that if one were to take out the lyrics, with a very few exceptions it would play like a folk music album. I like it very much, but it's a different animal from "The Lion and the Cobra." I miss the screaming (was listening to "Just Like U Said It Would B" this morning), and I miss the unrestrainedness. Then again, as I recall, it took a while for "The Lion and the Cobra" to get to me, too. An Unspecified Liz "I will learn how to sink and to swim" From jitr-request@presto.ig.com Wed Mar 28 12:14:22 1990 Received: by presto.ig.com (5.61/1.15) id AA16134; Wed, 28 Mar 90 12:13:51 -0800 Received: from ugw.utcs.utoronto.ca by presto.ig.com (5.61/1.15) with SMTP id AA16127; Wed, 28 Mar 90 12:13:41 -0800 Received: from SASK.BITNET (stdin) by ugw.utcs.utoronto.ca with BSMTP id 58665; Wed, 28 Mar 90 15:11:08 EST Date: Wed, 28 Mar 90 12:33:00 EST From: Subject: Lion & the Cobra - Lyrics To: jitr X-Original-To: jitr@presto.ig.com, MATON Message-Id: <90Mar28.151108est.58665@ugw.utcs.utoronto.ca> Status: RO Passing this on for those who have not seen it.... Hey folks i received this lyric listing from someone. Thanks eliz@world.std.com so very much for this list you have saved my reputation. Wish i could claim this but.... i bow to my superiors. So for all of you out there that wanted this. Someone tell me how to get into this lyrics server, please. Thanks and ENJOY iggi DRINK BEFORE THE WAR well, now you're tellin' us that we're wrong and you tell us not to sing our song nothing we can say will make you see you got a heart of stone you can never feel you say, oh I'm not afraid - it can't happen to me I've lived my life as a good man no you're out of your mind it won't happen to me 'cuz I've carried my weight and I've been a strong man but listen to the man in the liquor stor he yelling, anybody wanna drink before the war? and your parents paid you through you got a nice big car nothin' bothers you somebody cut out your eyes you refuse to see somebody cut out your heart you refuse to feel and you live in a shell you create your own hell you live in the past and talk about war and you dig your own grave but it's a life you can save so start gettin' fast it's not gonna happen and you'll cry but you'll never fall no, no, no you're building a world gotta break it down start again no, no, no - it won't happen to us we've lived our lives basically have been good men so stop talking of war 'cuz you know we're heard it all before why don't you go out there and do something useful but listen to the man in the liquor store he yellin', anybody wanna drink before the war? anybody wanna drink before the war? anybody wanna drink before the war? JACKIE Jackie left on a cold, dark night telling me he'd be home sailed the seas for a hundred years leaving me all alone and I've been dead for twenty years I've been washing the sand with my ghostly tears searching the shores for my Jackie-oh I remember the day the young man came said, your Jackie's gone, got lost in the rain and I ran to the beach and laid me down you're all wrong, I said and they stared at the sand that man knows the sea like the back of his hand he'll be back some time laughing at you and I've been waiting all this time for my man to come, take his hand in mine and lead me away to swanset shores I've been washing the sand with my salty tears searching the shore these long years and I'll walk the sea forever more 'til I find my Jackie-oh JUST LIKE U SAID IT WOULD B I will walk in the garden and feel religion within I will learn how to run with the big boys I will learn how to sink and to swim and there's talk in the houses and people dancing in rings ah, will you close my eyes, babe? I can see most everything I can see most everything just like u said it would b just like u said it would b it's just like u said it would b it's just like u said it would b I can see too many miles of them too many eyes closed, it's closed not enough minds open too many legs open tell me tell me tell me tell me, do why listen to it, why why I don't see why I listen why why When I've walked in the garden when I'm walking off stage when everything's quiet will you stay? will you be my lover? will you be my mama? I said will you be my lover? I said will you be my babe? When I lay down my head at the end of my day nothing nothing would please me better than I find that you're there When I lay down my head at the end of my day nothing would nothing would please me better than I find that you're there when I wake just like u said it would b just like u said it would b just like u said it would b just like u said it would b will you be my lover? will you be my lover? just like u said it would b just like u said it would b just like u said it would b just like u said it would b just like u said it would b JERUSALEM came down and the lady said it got tore down and the priest just said it got burned they give me five years five years it's my turn came down and the lady said it got tore down and the priest just said it got burned they give me five years five years it's my turn Jerusalem Jerusalem gettin' tired of you doing this to me I'm gonna hit you if you say that to me one more time I wanna see you and you're sayin' you're busy wanna stop it and you said it would be easy sure takes time probably next time aughta be the last time oh you don't two-time it'd be the best time never meaning next time short time hope you're doing what you said when you swore you'd make it better live on the letter on time Jerusalem Jerusalem Jerusalem Jerusalem MANDINKA I'm dancing the seven veils want you to pick up my scarves see how the black moon fades soon I can give you my heart I don't know no shame I think I'm playin' a game see the flame ... but I do know a Mandinka I do know a Mandinka I do know a Mandinka I do they're throwing it all this way dragging it back to the start and they say, see how the glass is raised? I have refused to take part I told them drink something new please let me pull something through I don't know no shame I think I'm playin' a game I don't know no shame I think I'm playin' a game see the flame but I do know a Mandinka I do know a Mandinka I do I do I said I do soon I can give you my heart I swear I do soon I can give you my heart I do Mandinka soon I can give you my heart soon I can give you my heart NEVER GET OLD young woman with a drink in her hand she like to listen to rock and roll 'cuz it never gets old it's the only thing that never gets old young man in a quiet place go hold on his arm lives in there never does no harm it's the only thing that never can do no harm must be the only thing that never can do no harm some say that on the avenue everyone was happy living life on the cover being alive being blind TROY I remember it it happened in a rainstorm sitting in the long grass in summer keeping warm I remember it every restless night we were so young then we thought that everything we could possibly do was right every move stolen from our very eyes I wonder where you went to and tell me when did the light die? you will rise you'll return phoenix from the flame and we will learn and we will rise you'll return being what you are there is no other Troy for you to burn and I never meant to hurt you I swear I didn't mean those things I said I never meant to do that to you next time I'll keep my hands to myself instead oh, and I should love you what do you want to do? does she need you like I do? do you love her? is she good for you? does she hold you like I do? do you want me? should I leave? I know you're always telling me that you love me but just sometimes I wonder if I should believe oh, I love you God, I love you I'd kill a dragon for you and die but I will rise and I will return the phoenix from the flame I have learned I will rise and you'll see me return being what I am there is no other Troy for me to burn and you should have left the light on you should have left the light on then I wouldn't have tried you'd never have known and I wouldn't have pulled you tighter no, I wouldn't have pulled you close I wouldn't have screamed now I can't let you go if the door wasn't closed no, I wouldn't have pulled you to me no, wouldn't have kissed your face you wouldn't have begged me to hold you if we hadn't been there in the first place but I know you wanted me to be there every look that you threw told me so but you should have left the light on you should have left the light on wouldn't have made it burn away but you're still spitting fire make no difference what you say you're still a liar you're still a liar you're still a liar Terry Maton University of Saskatchewan, Saskatoon, Canada BITNET: MATON@SASK UUCP: maton@herald.USask.ca.UUCP **** One Planet - One People - PLEASE **** From jitr-request@presto.ig.com Wed Mar 28 07:22:07 1990 Received: by presto.ig.com (5.61/1.15) id AA07503; Wed, 28 Mar 90 07:21:54 -0800 Received: from cunyvm.cuny.edu by presto.ig.com (5.61/1.15) with SMTP id AA07499; Wed, 28 Mar 90 07:21:51 -0800 Message-Id: <9003281521.AA07499@presto.ig.com> Received: from UKACRL.BITNET by CUNYVM.CUNY.EDU (IBM VM SMTP R1.2.2MX) with BSMTP id 1786; Wed, 28 Mar 90 10:20:10 EST Received: from RL.IB by UKACRL.BITNET (Mailer X1.25) with BSMTP id 4360; Wed, 28 Mar 90 14:22:26 BST Received: from RL.IB by UK.AC.RL.IB (Mailer X1.25) with BSMTP id 6840; Wed, 28 Mar 90 14:05:57 BS Via: UK.AC.BANGOR.VAXB; 28 MAR 90 14:05:53 GMT Date: Wed, 28 Mar 90 14:04 GMT From: The Fluffy Yog To: JITR Subject: Beth Freeman's message Status: RO >> Is [Sinead O'Connor] married? Who are "my Johnny and my >> Jakey"? She is married, and Johnny and Jakey are husband and son. (In fact she wasn't married to John [surname forgotten] when she had Jake; look at the credits on the first album. I don't know exactly what happened, but there was some sort of breach, which has now been repaired.) God, I sound like a gossip column. >> Who is Colin Roachand what happened to him?... Does she live >> in Ireland? How old is she? As I recall -- and this wasn't so recent or so well-publicised that I feel certain -- Colin Roach was a black youth who died under somewhat dubious circumstances while in police custody. The police exonerated themselves of all blame, but a lot of people remain unconvinced... :-) I think she lives in London now, and is in her early twenties. 23 or so -- she was about 21 when she made "The Lion and the Cobra". If you want to see interviews with her, look for British tabloids like NME (New Musical Express), Sounds and Melody Maker, or for the "yuppie" (i.e. more mature and informative, but a little staid) monthly Q. (Do these make it to the States?) ------------------------------------------------------------------ ** a F L U F F Y Y O G p r o d u c t i o n ** ** coming to you from Sunny Bangor: map009@uk.ac.bangor.vaxa ** ** economy-sized version: flufiyog@uk.ac.ed.cs.tardis ** ------------------------------------------------------------------ ** Heroin, I love you. You are God, heroin; without you I am ** ** nothing. ** ----------------------------------------- unidentified addict ---- From jitr-request@presto.ig.com Wed Mar 28 12:33:27 1990 Received: by presto.ig.com (5.61/1.15) id AA16698; Wed, 28 Mar 90 12:33:12 -0800 Received: from silver.ucs.indiana.edu by presto.ig.com (5.61/1.15) with SMTP id AA16694; Wed, 28 Mar 90 12:33:09 -0800 Message-Id: <9003282033.AA16694@presto.ig.com> Received: by silver.ucs.indiana.edu (5.61+/9.2jsm) id AA20154; Wed, 28 Mar 90 15:32:50 -0500 Date: Wed, 28 Mar 90 15:32:50 -0500 From: Jeffrey C. Burka Apparently-To: jitr@presto.ig.com Status: RO The "Black Boys on Mopeds" incident: _Please_ don't take me as gospel on this, as I heard it about 1.5 months ago and it was late at night. The Sunday night that "Nothing Compares 2 U" premiered on 120 minutes on MTV, they had a _short_ interview with Sinead (as well as a short clip of her performing BBoM on "MTV Unplugged", solo accoustic!). In this bit, Sinead spoke of an incident in which two...you guessed it...black boys who were riding mopeds got killed, I guess by an angry mob (a la Do The Right Thing?)...supposedly, the police were called and arrived too late to do anything: the boys were dead. However, people who were there say that there were, in fact, two policeman standing at the side of the mob, just kinda waiting to see what happened. I have no idea when this happened, nor do I have any idea why it wasn't news over on this side of the pond; it seems like the kind of thing Americans are fond of hearing about. So, that's the story. As to the album as a whole: I was listening to it yesterday (for the umpteenth time since I bought it), trying to figure out why I'd disliked it on first listen, and why I thought that she hadn't used her vocal skills to such amazing effect as she had on LatC. I'd been very disappointed that she didn't scream, wail, or otherwise sing in ways that hurt my throat to listen to! I had realized a few days later just how well she _does_ use her voice on this album, on such songs as "Three Babies" amongst others. The incredible emotional content of her voice is just as high as it was previously. The difference, I decided, was that Sinead is no longer _angry_. Look at things this way...compare "Troy" and "The Last Day of Our Acquaintance." They're both about breaking up. In "Troy," Sinead is _mad_, I mean _really pissed_, and I think I'd include scornful. She screams, she wails, she, well, hurts! In "LDoOA", she is sad, regretful. There's no anger there. It's like that on the other songs. Sinead expresses remorse, sadness, a desire to protect her child, to be satisfied and safe. Well, that's what I think, in any event. Jeff From jitr-request@presto.ig.com Wed Mar 28 07:51:38 1990 Received: by presto.ig.com (5.61/1.15) id AA07946; Wed, 28 Mar 90 07:51:28 -0800 Received: from cunyvm.cuny.edu by presto.ig.com (5.61/1.15) with SMTP id AA07942; Wed, 28 Mar 90 07:51:24 -0800 Message-Id: <9003281551.AA07942@presto.ig.com> Received: from UKACRL.BITNET by CUNYVM.CUNY.EDU (IBM VM SMTP R1.2.2MX) with BSMTP id 2212; Wed, 28 Mar 90 10:49:44 EST Received: from RL.IB by UKACRL.BITNET (Mailer X1.25) with BSMTP id 6684; Wed, 28 Mar 90 16:19:15 BST Received: from RL.IB by UK.AC.RL.IB (Mailer X1.25) with BSMTP id 0228; Wed, 28 Mar 90 16:02:51 BS Via: UK.AC.BANGOR.VAXB; 28 MAR 90 16:02:49 GMT Date: Wed, 28 Mar 90 16:01 GMT From: The Fluffy Yog To: JITR Subject: Madame George... Status: RO >> who is "Madame George"? asks an unspecified Liz. Double reference, I suspect - Boy George (ex Culture Club), who got hounded pretty unpleasantly by the tabloids here a while back for being (shudder) Sexually Naughty and (even bigger shudder) for having treatment for heroin addiction; and Van Morrison's Madame George, the transvestite who is the subject of the most moving song on the "Astral Weeks" album. My, it's boring trying to be informative. I shall have to try being opinionated instead sometime - trouble is, "I Do Not Want What I haven't Got" hasn't done anything near as much for me as "The Lion and The Cobra" did, maybe because it's so restrained. The honesty is still there but the anger and pain are reined back -- fair enough but doesn't really work for me. Nothing on the new album seems to me to have the same raw, touching quality as "Drink Before the War" or "Troy" -- or even "Jackie" or "Jerusalem". Maybe it's because she's slimmed down on things like tunes and backing music, and is relying on her voice to carry so much more. Or am I just being heretical? And if not, why not...? ------------------------------------------------------------------ ** a F L U F F Y Y O G p r o d u c t i o n ** ** coming to you from Sunny Bangor: map009@uk.ac.bangor.vaxa ** ** economy-sized version: flufiyog@uk.ac.ed.cs.tardis ** ------------------------------------------------------------------ ** Heroin, I love you. You are God, heroin; without you I am ** ** nothing. ** ----------------------------------------- unidentified addict ---- From jitr-request@presto.ig.com Wed Mar 28 19:29:14 1990 Received: by presto.ig.com (5.61/1.15) id AA29601; Wed, 28 Mar 90 19:28:09 -0800 Received: from BU.EDU by presto.ig.com (5.61/1.15) with SMTP id AA29597; Wed, 28 Mar 90 19:28:05 -0800 Received: by BU.EDU (1.97) Wed, 28 Mar 90 22:27:58 EST Received: by xenna.Xylogics.COM (4.12/4.7_jlv1/7/90) id AA04519; Wed, 28 Mar 90 22:24:28 est Received: by world.std.com (5.61++/Spike-1.0) id AA13304; Wed, 28 Mar 90 16:24:28 -0500 Date: Wed, 28 Mar 90 16:24:28 -0500 From: eliz@world.std.com (Elizabeth Lear) Message-Id: <9003282124.AA13304@world.std.com> To: jitr Subject: Re: Lion & the Cobra - Lyrics Status: RO To: jitr Subject: Re: Lion & the Cobra - Lyrics Status: RO Message-Id: <9003301002.AA12086@majestix.ida.liu.se> To: jump-in-the-river Cc: pesv@kps.se, tpe@ida.liu.se, les@ida.liu.se Subject: Dagens Nyheter Review 13/3/90. Reply-To: abj@ida.liu.se Status: RO The following review was published in Dagens Nyheter (one of the two largest Swedish newspapers), Wed 14/3/90. All grammatical, translation, or other errors are all my fault. Good things are also my fault. Here we go: -------------------------------------------------- PAINFULLY BEAUTIFUL SINEAD O'CONNOR Sinead O'Connor: I Do Not Want What I Haven't Got (Ensign/Chrysalis) Even when Sinead O'Connor first appeared she was all ready. Just 21 years of age she produced her first LP all alone, after she'd become dissatisfied with her producer, and created one of the most spectacular debuts in rock music. She was like a volcano. A tiny little girl in an aggressive outfit with a voice that one moment was small and fragile, and in the other could cut through rock. And the success came, with both gold and platinum sales, and an American Grammy nomination. She said that self-produced debuts were not that unusual, the special thing about her's was that it was good. That sort of self-confident attitude is now gone, nearly three years later. The new record is a work by a much more calm and mature woman, that rather whispers than roars. Most of the material is entirely quiet, and only adorned with single instruments, often bows or acoustic guitar. But it is not the polished she's searching for, more the simple, the direct and ingenuous. The first track is a meditative settlement with the woman who, against her will, notices she's changed --- only accompanied by bows. The title song is nearly six minutes long with her voice only, so alone and close it is nearly embarrassing to listen to it. The central piece is the now well-known single written by Prince "Nothing Compares 2 U", a painfully beautiful prayer from the abandoned part in a broken relationship, where her voice's sudden leaps and changes makes the melody's despair insistently vivid. Beside this, it is a more controlled singer that is heard. She keeps her voice back either she sings about English brutality or about her own bitter lessons. She doesn't let it flash and cut as before. With her long melodies, naked arrangements, and deep seriousness she is a definite counterbalance to all surface shining glamour pop. Though, in her restraint she is a bit less scorching than in her debut. NILS HANSSON (trans. from Swedish Andreas Bj{\o"}rklind) --------------------------------------------------- The article was accompanied by a 135 x 130 mm b/w-photo, with the following text: "More mature and calm. Sinead O'Connor, a volcano on her first LP, while she rather whisper than roar on the new record." From jitr-request@presto.ig.com Fri Mar 30 11:14:10 1990 Received: by presto.ig.com (5.61/1.15) id AA20627; Fri, 30 Mar 90 11:12:14 -0800 Received: from ATHENA.MIT.EDU by presto.ig.com (5.61/1.15) with SMTP id AA20610; Fri, 30 Mar 90 11:12:07 -0800 Received: from E40-008-9.MIT.EDU by ATHENA.MIT.EDU with SMTP id AA28583; Fri, 30 Mar 90 14:11:54 EST From: kyrlidis@athena.mit.edu Received: by E40-008-9.MIT.EDU (5.61/4.7) id AA14178; Fri, 30 Mar 90 14:11:50 -0500 Message-Id: <9003301911.AA14178@E40-008-9.MIT.EDU> To: jitr Cc: kyrlidis@athena.mit.edu Subject: MY Personal Review of "IDNWWIHG" Date: Fri, 30 Mar 90 14:11:49 EST Status: RO Hi, We have had so far copies of reviews that appeared in various magazines. How about everybody's opinion about "IDNWWIHG". The album is as good as "The Lion and the Cobra". However it lacks the aggressive vocals, the Celtic rythms, and the sense of urgency in Sinead's voice. "Jackie O", the first song on "TLATC", sounded like a cry of despair. "Troy" was full of rage and had hints of insanity. "Just like you said it would be" made me shiver from the first time I heard it. The new album starts with "Feel so different". The song is a statement of change. Sinead feels that she has grown and matured. She makes that clear in a mellow voice, that dominates the song. The music is not the main point, she just has to get it out of her system. That's fine with me. "I am stretched on your grave" is one of the highlights of this album. I think someone has already talked about this song. The background rythm is steady with a bass line that is tight. The vocals are magnificent. Anything with a celtic sound sung by her is amazing. Especially with lyrics like the ones found in this song that excite the imagination of the listener. The Fiddle near the end of the song has an amazingly haunting effect and breaks the monotony of the drum line. "Three babies" is a slow song that essentially is a repetition of the same tune over and over. It doesn't have the typical song structure (Refrain, Bridge etc). Lyrically it is the first of many references to BABIES in songs of this album. There must be a reason why there are "THREE" babies involved in this song, but I don't know it. I find it a remarkable song, that makes its presence felt mostly because of its very strong lyrics. "The Emperor's new clothes". Finally an upbeat song, where Sinead sings and raises hell. {The lyrics reminded me of Madonna's "til death do us part"}. I think this will probably be one of the next singles, and hopefully a big hit. "Black boys on Mopeds". THE BEST SONG OF THE ALBUM. A song about how Thatcher's politics have created a terrible mess in Britain, sung in a personal and not a "Tracy Chapmanesque" way by Sinead in her best voice so far in this album. "Nothing Compares 2 U". The first mega hit. I like it a lot. "Jump in the river". ????. Although it's an upbeat song, I don't get it. This must be the worst song on the album. "You cause as much sorrow". How can you listen to words such as: "you cause as much sorrow dead, as you did, when you were alive", without wondering what inspired her to write these words. She must have been hurt by someone as the RS critic said. But still, so much anger? In any case this is another slow song that is repetitive, but has a discomforting effect because of its lyrics. I like it a lot. "The last day of our acquaintance". Rage and anger continued. The song starts with a slow and repetitve structure (which is the rule in this album) but near the end builds up a tremendous finale. "I do not want what I haven't got". An a capella reading of a song that is monotonous and asphyxiating. I cannot stand this one. I'm sorry. So summarizing what I have written above. The album has its moments. But it is dominated by a very calm atmosphere that is broken only a couple of times. The listener will surely feel the monotonic repetition of a melody in most of the songs. In some cases it works favorably but in others it just destroys the song. By the end I'm sure that you will take out the Lion and the Cobra, and crank up the volume to hear the blast of "Mandinka" and "Troy". The songs in my order of preference are: Black Boys on Mopeds ***** I am stretched on your grave ***** Nothing compares 2 U ****1/2 You cause as much sorrow **** The last day of our acquaintance **** The Emperor's new clothes **** Feel so different *** Three Babies *** I do not want ... * Jump in the river * Angelos ============================================================================= e-mail to: |I LIKE MUSIC BY 10,000 Maniacs, V. Femmes, kyrlidis@athena.mit.edu |Lene Lovich, Kate Bush, Laurie Anderson, kyrlidis@jack.mit.edu |Sinead O Connor, Peter Gabriel, Lou Reed, ===================================|David Bowie, Velvet Underground, Fatme, U2, "When Tomorrow Comes..." |Eurythmics, Prince, Indigo Girls, Pixies ============================================================================= From jitr-request@presto.ig.com Fri Mar 30 17:13:30 1990 Received: by presto.ig.com (5.61/1.15) id AA02060; Fri, 30 Mar 90 17:10:32 -0800 Received: from uunet.UU.NET by presto.ig.com (5.61/1.15) with SMTP id AA02054; Fri, 30 Mar 90 17:10:27 -0800 Received: from edsr.UUCP by uunet.uu.net (5.61/1.14) with UUCP id AA14639; Fri, 30 Mar 90 19:30:16 -0500 Received: from tantalum.eds.com (abqtoalh) by edsr.eds.com id AA11978; Fri, 30 Mar 90 18:15:11 CST Received: from argon.eds.com by tantalum.eds.com (4.0/ALBUQUERQUE-1.1) id AA14618; Fri, 30 Mar 90 17:14:11 MST Received: by argon.eds.com (15.11/ALBSUB-1.3) id AA27076; Fri, 30 Mar 90 17:13:27 mst Date: Fri, 30 Mar 90 17:13:27 mst From: edsr!tantalum!cheeks@uunet.uu.net (Mark Costlow) Message-Id: <9003310013.AA27076@argon.eds.com> To: jitr Subject: Re: MY Personal Review of "IDNWWIHG" Status: RO > > "I am stretched on your grave" is one of the highlights of this album. > I think someone has already talked about this song. The background rythm > is steady with a bass line that is tight. Does anyone recognize the drum track on this song from anywhere else? I strongly suspect that it was lifted verbatim from another piece by someone else, but I'm not sure. It also has sort of a "static" feel ... like maybe it was sampled from vinyl or an old master ... that seems like it was left on purpose. Regardless of where the drum track came from, I agree that this is one of the best songs on the album. > > "Jump in the river". ????. Although it's an upbeat song, I don't get it. > This must be the worst song on the album. > This song was released as a single about a year ago. It was on the soundtrack for "Married to the Mob". I didn't see the movie, so I don't have any idea what the song has to do with it. I also don't know if it was written specifically for the movie or not. For those of you that really like "Screamin' Sinead", one of the mixes on the single has some real ear-splitters. > > "The last day of our acquaintance". Rage and anger continued. [...] > My current favorite. ('Course that could change next time I play it :-). > kyrlidis@athena.mit.edu > kyrlidis@jack.mit.edu cheeks@edsr.eds.com or ...uunet!edsr!cheeks From jitr-request@presto.ig.com Fri Mar 30 18:07:18 1990 Received: by presto.ig.com (5.61/1.15) id AA02941; Fri, 30 Mar 90 18:04:54 -0800 Received: from jade.Berkeley.EDU by presto.ig.com (5.61/1.15) with SMTP id AA02933; Fri, 30 Mar 90 18:04:50 -0800 Received: from xenon.Berkeley.EDU by jade.berkeley.edu (5.61.1/1.16.23) id AA07901; Fri, 30 Mar 90 18:02:50 PST Received: by xenon.berkeley.edu. (4.1/SMI-4.0) id AA08791; Fri, 30 Mar 90 18:04:32 PST From: mudie@xenon.berkeley.edu (David C Mudie) Message-Id: <9003310204.AA08791@xenon.berkeley.edu.> To: jitr Subject: Re: Jump in the River In-Reply-To: Your message of Fri, 30 Mar 90 17:13:27 mst <9003310013.AA27076@argon.eds.com> Date: Fri, 30 Mar 90 18:04:29 PST Status: RO >This song was released as a single about a year ago. It was on the >soundtrack for "Married to the Mob". I didn't see the movie, so I don't >have any idea what the song has to do with it.. Jonathan Demme, director of MttM, has a tendency to commission songs from his favorite new artists, and then use only a fragment of the result. I think JitR is played for a second or two at a dance club. "Married to the Mob" is a decent film, though not as good as Demme's earlier "Something Wild". Rockabilly star Chris Isaak has a few great moments as a drive-thru assassin. Both movies have good soundtracks, with tunes from quite a few up-and-coming "modern rock" artists. -D- From jitr-request@presto.ig.com Sat Mar 31 11:08:40 1990 Received: by presto.ig.com (5.61/1.15) id AA16446; Sat, 31 Mar 90 11:07:21 -0800 Received: from att-in.att.com by presto.ig.com (5.61/1.15) with SMTP id AA16442; Sat, 31 Mar 90 11:07:19 -0800 From: boyle!eob@ohm.att.com Received: from boyle.att.com by ohm.att.com (3.2/SMI-3.2) id AA11331; Sat, 31 Mar 90 13:45:08 EST Received: by boyle.att.com (3.2/SMI-3.2) id AA08092; Sat, 31 Mar 90 13:45:09 EST Date: Sat, 31 Mar 90 13:45:09 EST Original-From: ohm!boyle!eob (Eamonn O'Brien) Message-Id: <9003311845.AA08092@boyle.att.com> To: jitr Subject: Any info on SOC's tour of the States? Status: RO From: kyrlidis@athena.mit.edu Subject: Boston PHOENIX music Poll results 1990 Date: Sat, 31 Mar 90 02:05:40 EST In a few months O' Connor will begin a tour of the States Does anyone have details of this? Specifically, gigs in the NY/NJ/Philadelphia region, places, dates, where to buy tickets, ... Eamonn eob@ohm.att.com ...!att!ohm!eob ~~~~~~