Borrowed Heaven

Four years is a hell of a long time in pop music – the fact that The Corrs could afford to lay low for such an extended period is a testament to the band’s confidence in their audience. Not that they’ve been totally absent during all that time, but the twin demands of marriage and parenthood (on the part of at least some band members) meant such a lay-off was inevitable. Besides, they’d worked virtually non-stop for the previous six years. The question on some minds was, would they ever return to the dizzy heights they’d enjoyed for most of the second half of the 1990s? On the evidence produced here, the answer has to be that they certainly intend giving it their best shot – and then some. And, already they've got the show on the road in style ...
The first studio album since 2000’s In Blue sees the Dundalk siblings picking up pretty much where they left off, with another strong collection of memorable melodies. If there is a subtle change in emphasis here it’s the fact that at least some of the rhythms are a shade more r'n’b in approach – the current single, ‘Summer Sunshine’ is just one example, the clubby ‘Humdrum’ another. The former is in fact one of their strongest ever melodies with an irresistibly addictive chorus, which has landed them back in the charts at the first attempt.
First impressions, meanwhile, may be misleading: the album actually encompassess a much wider range of styles and genres than they’re often given credit for. The trip-hoppy ‘Angel’ suggests they’ve been listening to Dido of late (though the uniquely Corrs-like fiddle solo puts paid to any suggestion of emulation on their part). The Euro-Disco of ‘Baby Be Brave’ recalls the classic 1970’s outfit Silver Convention (remember ‘Fly Robin Fly’ anyone?), while ‘Hideaway’ boasts the kind of ambient beats and syncopated bleeps more associated with hard-core electronica. Meanwhile, the world-music strains of ‘Borrowed Heaven’ go even further stylistically with a vocal appearance from South African accapella legends Ladysmith Black Mambazo.
But it’s the anthemic pop numbers that will doubtless prove to be the most popular with the more mainstream among their international audience, and songs like the mid-tempo ‘Goodbye’, the catchy ‘Even If’ and the oddly-titled, ‘Confidence For Quiet’ stand up with the best of their past hits. Vocally, Andrea has rarely sounded better and sings with a breezily carefree confidence, while the playing and production is pristine – perhaps a tad too polished for some ears, though that'll undoubtedly increase its appeal Stateside.
The only cover on the album is ‘Time Enough For Tears’ written by Bono, Gavin Friday, and Maurice Seezer, which was originally performed by Andrea Corr on the soundtrack of Jim Sheridan’s 2003 film, In America. Not surprisingly, given the complex nature of the song, which is almost Broadway in style, it stands slightly apart from the overall sound on the album, which ends on a fairly subdued note with a typically ethereal, traditionally-based instrumental, ‘Silver Strand’. To some this might seem like a superfluous afterthought – but to others it will undoubtedly underline the inherent musical instincts that are at the heart of The Corrs appeal.