#mandinka

Happy 31st anniversary to this masterpiece of an album!

The following commentary is from Richard McDuffie, a super cool music historian who writes in the Facebook page Music is My Boyfriend:

November 4, 1987. The Lion and the Cobra, the debut studio album by Sinéad O'Connor, is released. O'Connor, age 20, recorded the album while heavily pregnant with her first child. The photograph of O'Connor on the album cover was taken by Haysi Fantayzee member Kate Garner. The covers of the United States and Canada issues differed from the European release, as it was decided a more subdued pose would present a “softer” image of O'Connor. The first single, “Troy”, was released in 1987. It peaked at #8 in the Netherlands and #12 in Belgium. The second single was “Mandinka”. The video for “Mandinka” was shown heavily after debuting January 24, 1988 on 120 Minutes on MTV. The single was a mainstream pop hit in the UK, peaking at #17 in the singles chart, as well as #6 in her native Ireland. “I Want Your (Hands on Me)” debuted in May 1988 on the same show, featuring a rap interlude by MC Lyte. The album charted worldwide, reaching #27 in the United Kingdom for 20 weeks, #4 in New Zealand for 13 weeks, #37 in Australia for 21 weeks, #12 in Switzerland for 6 weeks, #52 in Germany for 3 weeks, #37 in Sweden for 2 weeks, #4 in The Netherlands for 43 weeks and #36 on the US Billboard Top 200, staying on the charts for 38 for weeks. The album featured prominent session musicians John Reynolds on drums, former Adam and the Ants guitarist Marco Pirroni, former Japan guitarist Rob Dean and Mike Clowes from Friction Groove on keyboards. The title of the album is from Psalm 91:13 “you will tread upon the lion and cobra”, and the track “Never Get Old” opens with an Irish language recital of Psalm 91 by singer Enya. Sinéad O'Connor’s debut, The Lion and the Cobra, was a sensation upon its 1987 release, and it remains a distinctive record, finding a major talent striving to achieve her own voice. Like many debuts, it’s entirely possible to hear her influences, from Peter Gabriel to Prince and contemporary rap, but what’s striking about the record is how she synthesizes these into her own sound – an eerie, expansive sound heavy on atmosphere and tortured passion. If the album occasionally sinks into its own atmospheric murk a little too often, she pulls everything back into focus with songs as bracing as the hard-rocking “Mandinka” or the sexy hip-hop of “I Want Your (Hands on Me).” Still, those ethereal soundscapes are every bit as enticing as the direct material, since “Troy,” “Jackie,” and “Jerusalem” are compelling because of their hushed, quiet intensity. It’s not a perfect album, since it can succumb to uneven pacing, but it’s a thoroughly impressive debut – and it’s all the more impressive when you realize she only topped it with its immediate successor, before losing all focus.