{^Gospel Oak}'s first track, {&"This Is to Mother You,"} amounts to both a repentant self-explanation and an earnest, melodic lead into one of {$Sinéad O'Connor}'s best recordings. The humble, yet still defiant {$O'Connor} doesn't bury her convictions on this 1997 EP as much as she employs empathy to explain herself and try to reestablish her tattered bonds with friends and fans. During the early '90s, after coming out, she tossed political, sexual, and religious taboos into the sun and fermented the flesh of the sanctimonious, which proved to be a dangerous exercise that heavily taxed all parties involved. The increasingly corporate information state, and the media tools and junkies, all had their histrionic fill. So like tired lovers, sick of each other's breathing, a contemptuous fracture ensued, resulting in {$O'Connor}'s withdrawal from the scrutiny and abuse that plagued her. Returning with {^Gospel Oak} -- its gentle, organic instrumentation setting a quiet stage for silky, subtly challenging vocals -- the singer executed her cautious public re-entry with precision and grace. On this six-track release, {$O'Connor} isn't interested in complaints or accusations, but instead, she yearns to make real a universal personal respect, and perhaps forgiveness for her myriad of abstract -- or even imagined -- betrayals. These are the statements of a repressed, discounted martyr, and there is not a woman more qualified to recite them. [This edition features the bonus track {&"Fire on Babylon [Eternal Recurrence Mix]."}] ~ Vincent Jeffries, All Music Guide