The San Diego Union-Tribune March 18, 1990, Sunday Sinead O'Connor still has a lot to say Sinead O'Connor, "I Do Not Want What I Haven't Got" (Ensign/Chrysalis) *** 1/2 -- First things first. On her second album, Sinead O'Connor does live up to the promise of her extraordinary debut, although not in the ways you'd expect. On 1988's "Lion and the Cobra," the Irish singer/songwriter made a dazzling first impression with a collection of songs that examined love and loss in minute, impassioned detail in a voice that swooped from a whisper to a Banshee scream. But a few things happened between albums one and two. The 21-year-old grew up, became a mother and, shortly thereafter, a media darling. On "I Do Not Want What I Haven't Got," O'Connor follows up the level-headed title with an album that trades the drama of the debut for a frank look at fame, responsibility, betrayal, and finally, acceptance. As in most journeys, a few things were lost on the road to maturity. In an admirable effort not to repeat herself, O'Connor has lost some of her original fierce drive and focus. Many of the new songs are pretty but shapeless tunes that throw a pastel wash of strings and acoustic guitars over the often harsh and intensely personal lyrics. And with the exception of her stunning version of Prince's "Nothing Compares 2 U," O'Connor's vocals are much more restrained this time around. More often than not, O'Connor sings in a dreamy murmur that barely hints at the firepower underneath. Some people will see these as signs of regression, an indication that "The Lion and the Cobra" was a one-time-only offer. But on songs like "Black Boys on Mopeds," "Feel So Different" and "Three Babies," the thoughtful lyrics and understated vocals promise much more than they deny. On "I Do Not Want What I Haven't Got," Sinead O'Connor proves she has more to say and many different ways to say it. One album just wasn't enough.