THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

2024 is the 30th anniversary of the Sinead O'Connor Single, You Made Me the Thief of Your Heart. The track was written by Bono, Gavin Friday and Maurice Seezer for the soundtrack to the 1993 film In the Name of the Father. The song was produced by English musician Tim Simenon (Bomb The Bass) and Gavin Friday and does not appear on any of OíConnorís studio albums, but in 1997, it was included on her first compilation album, So FarÖ The Best Of.In the Name of the Father is based on the true story of the Guildford Four, four people falsely convicted of the 1974 Guildford pub bombings that killed four off-duty British soldiers and a civilian. OíConnorís heart wrenching, powerful vocal was the perfect way to deliver the trackís devastating emotional message with lyrics written by Bono. In a 2023 interview with Steve Pafford, Gavin Friday talked about the recording of the track: ìWe showed SinÈad a rough edit of the film, after which I spent sometime with her going through the lyrics the next day in STS Studios in Dublin. And with the phenomenal talents of producer Tim Simenon we recorded SinÈadís breathtaking vocals. All she asked for was the room to be candlelit, and within two takes she had made her magical mark on the songÖÖ. what SinÈad captured within that song spoke as loud as the bombs that opened the film and as deep as the pain The Troubles had wounded our nationî This exclusive release for Record Store Day 2024 is on clear vinyl and pulls together the versions of the track released in 1994 as well as the B-Side, The Father and His Wife The Spirit performed by SinÈad and Gavin Friday.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in September 1994, Universal Mother was described by Sinead as "the first attempt to try to expose what was really underneath a lot of the anger of the other records". The album features sparse, striking but delicate arrangements on intense and honest songs. Standout moments include the singles 'Thank You For Hearing Me' and 'Fire On Babylon', along with contributions from Germaine Greer (opening track 'Germaine'), and Sinead's son Jake Reynolds ('Am I A Human?'), plus a cover of Nirvana's 'All Apologies'.

TRACK LISTING

Germaine
Fire On Babylon
John I Love You
My Darling Child
Am I A Human?
Red Football
All Apologies
A Perfect Indian
Scorn Not His Simplicity
All Babies
In This Heart
Tiny Grief Song
"Famine"
Thank You For Hearing Me

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

The follow-up album to the hugely successful I Do Not Want What I Haven't Got album, Am I Not Your Girl? was released in September 1992 and features Sinead performing a collection of songs that she had grown up listening to and which had inspired her to become a singer. It was during the promotional campaign for the album when Sinead made a controversial appearance on Saturday Night Live.

Am I Not Your Girl? features Sinead's unmistakable voice accompanied by an orchestra, performing big- band arrangements of tracks such as the single 'Success Has Made A Failure Of Our Home' (a Top 20 hit), 'Don't Cry For Me Argentina', and 'Why Don't You Do Right?'.

TRACK LISTING

Why Don't You Do Right?
Bewitched, Bothered And Bewildered
Secret Love 
Black Coffee
Success Has Made A Failure Of Our Home
Don't Cry For Me Argentina
I Want To Be Loved By You
Gloomy Sunday
Love Letters 
How Insensitive
Scarlet Ribbons
Don't Cry For Me Argentina (Instrumental)

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in November 1987, Sinead's striking debut album The Lion and the Cobra was met with critical and commercial success. The album synthesises several of Sinead's influences into a diverse array of sounds and styles, from the hushed, atmospheric 'Troy' and 'Jackie' to the pop-rock hit single 'Mandinka', and the hip-hop inspired 'I Want Your (Hands on Me)'. The album also includes 'Drink Before The War', a song written by Sinead about her experiences at the Catholic reform school she attended, and was recently featured in the HBO series Euphoria.

The album remains a high point.

TRACK LISTING

Jackie
Mandinka
Jerusalem
Just Like U Said It Would B
Never Get Old
Troy
I Want Your (Hands On Me)
Drink Before The War
Just Call Me Joe

VERY LIMITED SIGNED EDITION.

This Woman's Work: Essays on Music is edited by Kim Gordon and Sinead Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.

Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman's Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story - like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.

This Woman's Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.

This Woman's Work: Essays on Music is edited by Kim Gordon and Sinead Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.

Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman's Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story - like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.

This Woman's Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.

Communing at the triangulation of words, music and image, O’Brien has always conjured powerful worlds: but none more powerful, or as immersive, than on her debut record. In the space that exists between her delivery – at once wry, silky, vicious, and self-assured – and the music – a dynamic, dancing call-and-response from her collaborators, guitarist Julian Hanson and drummer Oscar Robertson – lies a productive tension. Using a method of creating on-instinct, in constant communication with multisensory cues, O’Brien is carving out a space as a musical oracle for an ever-shifting era. The 11-track album was produced by indie super-producer Dan Carey (Fontaines DC, Squid, Black Midi, Kae Temptest, Bat For Lashes, Hot Chip, Franz Ferdinand) and recorded in his south London studio Mr Dan’s in late 2021.

“The story of the album is built up in layers; one song giving context to the next” explains Sinead; “I thought about becoming undressed; testing my ideas, my voice. Working myself out across themes of identity, curiosity, creative process. Experimenting with the form and shape of language, using tone and delivery to get to the immediate centre of what I am saying. The record opens and closes with poems, these tracks have a really clear direction - a form which is set apart from the ‘songs’. I hold stops in different places, moving emphatically through the lyrics, changing the meaning. No punctuation - only the voice mapping out the way.”

“The album title “Time Bend and Break The Bower”, from the song ‘Multitudes’, came into my head and made its demands, an idea that pressed on me throughout the record. It has a very active role. The clock symbol is enlarged, it looms like a moon over my activity watching, counting me down to zero. Dripping with self-sabotage and the feeling of being chased; it pulls and pushes against the verses which talk of ’Multitudes’; the things that faithfully come back - the images, the words, creativity. It is creativity itself.”

Since 2020, O’Brien has garnered international critical acclaim from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her US support from the likes of Seattle’s KEXP alongside appearances at SXSW – in virtual form in 2021, and live with her band in Texas later this spring.

With a background on the design teams for John Galliano and, later, Vivienne Westwood, it’s no surprise that raven-haired O’Brien’s cultural touchstones also span a rich history of art, photography, film, dance and movement: from Helmut Newton femme fatales and Henri Cartier-Bresson’s bleak landscapes to modern performance by Michael Clark and Michael Laub companies, to the writings of Virginia Woolf and Samuel Beckett. Recently tapped by Alessandro Micele’s Gucci to perform, it’s clear that O’Brien’s esoteric instincts will continue to inspire those beyond the industry as well as within it.

TRACK LISTING

1. Pain Is The Fashion Of The Spirit
2. Salt
3. Girlkind
4. End Of Days
5. Like Culture
6. The Rarest Kind
7. Holy Country
8. Spare For My Size, Me
9. There Are Good Times Coming
10. Multitudes
11. Go Again