Sinead O'Connor-I Do Not Want What I Haven't Got (1990)
Artist: Sinead O'Connor
Title: I Do Not Want What I Haven't Got
Label: Ensign/Chrysalis
Format: CD
Catalog Number: F2 21759
Sell Date: 10/14/26
Condition: VG+/VG+
Discogs Last Sold: 10/26/26 VG+/NM $4.00
Low: $0.01
Median: $2.96
Average: $3.15
High: $11.46
Current low price: $0.89 G/VG
Current Number on Sale at Discogs: 76
Have/Want: 2335/197
Where Sold: Mill Valley, CA
Time It Took To Sell: 11 years
Where and When Bought: half.com mid aughts .75
Gwiz-gau Letter Grade: B+
Sad To See It Go: No
From "Mandinka" to "Am I Not Your Girl?" there always seemed to be a Sinead song that would jump out of the noise wash of mainstream media for me to like subliminally. In the early 90's that was grudgingly, but time heals all wounds, so now I can say I like these songs outright even if the act of actively listening to them is an exercise in forced exposure to something over and underheard at one point in time. On what is supposed to be her ultimate artistic set of songs, I preferred "Black Boys On Mopeds" to the Prince-penned pathos of "Nothing Compares 2 U." A blind man can see how Sinead's version was definitive and the signature song of her career. All the eccentricacies and Gospel had been whited out, yet that Black eccenticism that created the lyric stood out against any other pop ballad out there in 1990. Sinead could hit those high notes that make the earworm something one tries to sing when they mimic the song, whether they are capable of doing it or not. It's a subiminal triumph of the will of Sinead to feminize that man's story and take it away.
Sinead took on a quasi-religosity that separated her at a young age. The media ate it up and gladly made her a whipping girl. I Do Not Want What I Haven't Got was the breakthrough that enabled her to have this platform. She wasn't able to sustain pop level success doing that but she managed to soldier along until death did she part. Looking back at the videos of the "other singles" we see Sinead trying to shake off confessionalism in "The Emporers New Clothes" and become a three headed hydra in "Three Babies."
The rest of the album grew on me a bit a after a few listens. Sonicly it doesn't live in the same place every song so you get a hip hop drum machine capped off with an Irish fiddle on one song and more trad alt rock backings whether electric or acoustic on other songs. It's bit of a statement record whether spitting on the grave as someone that caused much sorrow in life, as well as death, or awashed in strings on her opening mission statement "Feel So Different."
Does anybody remember laughter?
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