The Plain Dealer
October 28, 1994 Friday, FINAL / ALL

By MICHAEL NORMAN


   Universal Mother

   Sinead O'Connor

   (Chrysalis/EMI)

   The poster child of politically correct pop, Sinead O'Connor certainly can be
obnoxious, overbearing and self-righteous. But "Universal Mother" doesn't sound
like it was made by the same angry, caterwauling young woman who ripped up the
pope's picture during an appearance on "Saturday Night Live."

   That's not to say that O'Connor has softened her stance on political and
social issues. "Universal Mother" begins with a snippet of a speech in which
feminist author Germaine Greer tells us that the prevailing patriarchal social
system is inherantly destructive and evil. O'Connor follows with lyrical
assaults on everything from the Catholic Church ("Fire of Babylon") to the
British government ("Famine") to abusive men ("Red Football.")

   This time, however, O'Connor has toned down the polemics, infusing "Universal
Mother" with a mixture of musical beauty and lyrical thoughtfulness.

   The combination is intoxicating and convincing. O'Connor drops the strident,
uncompromising stance she took in much of her previous work and reveals a more
delicate, human face. We see glimpses of her as a doting mother ("My Darling
Child"), a tender lover ("In This Heart), a grateful friend ("Thank You for
Hearing Me"), a grieving daughter ("Tiny Grief Song). The album is as much about
the search for love as the righting of social wrongs.

   The music reflects "Universal Mother's" range of emotions - moving from angry
hip hop-inflected pop ("Fire of Babylon") to gorgeous piano-and-strings folk
("My Darling Child). The cover of Nirvana's "All Apologies" - sung in an angelic
voice over a single, strumming guitar - is absolutely haunting. "Scorn Not His
Simplicity," a song about loving a disabled child, recalls the stark, sorrowful
beauty of Janis Ian's best work. "All Babies," a shimmering, ancient-sounding
lullabye, is the album's best track.

   O'Connor's wide-ranging alto is beautiful throughout "Universal Mother," with
none of the wailing and atonal posturing that characterized her recent live
performances.

   Two a cappella tracks are worth particular note. "In This Heart" and "Tiny
Grief Song" have that yearning, hymn-like quality that is the heart and soul of
"Universal Mother."