Covering herself in glory
Having taken some time off from the music biz, Andrea Corr is back with a personal collection of musical reinterpretations, which cover pain, loneliness and overcoming grief. She discusses tackling such unlikely artists as Daniel Johnston, Nick Drake and Lou Reed.
Peter Murphy, 14 Jun 2011
Like most good ideas, it was a simple one. Andrea Corr, exhausted from nearly two decades of roadwork, recording and nonstop promo duties with The Corrs, and latterly as a solo artist, took a couple of years off to get married, pursue a parallel career as a stage actress, and generally rest, recuperate and recharge.
Enter John D. Reynolds, best known for his production work and rhythm science with Sinéad O'Connor, Jah Wobble, Brian Eno, Damien Dempsey and on his own Ghostland project. Reynolds, always an admirer of Corr's voice (weirdly enough, 'Faith In Love' from the Ghostland album Interview With The Angel sounded like the best song The Corrs never wrote) suggested that she might rekindle her appetite for music by way of interpretive therapy. The result, Lifelines, featuring compositions by Nick Drake, Daniel Johnston, Lou Reed, The Blue Nile, Harry Nilsson and others, sounds like the youngest Corr has finally found her musical home.
"He's such a special man and feels so lucky that he gets to do what he does as a job, it's inspiring to be with him," Corr said on a recent May afternoon in the Four Seasons Hotel in Ballsbridge. "He feels we have a blessed existence to get a chance to do what we love, and I believe that too. Through a mutual friend he got in touch and wanted to work with me, particularly my voice."
Unsurprising, given that Reynolds and his partner-in-crime Brian Eno are staunch
'voice' men.
"Completely. All those vocals on 'Pale Blue Eyes' and 'State Of Independence', that's Eno. He's mad into it, he goes to a vocal group at the weekend. It almost sounds doo-wop at the bottom, his bass range. Brian and John are really good friends, John walks with him every morning. Me and John called around to Brian one day and he started putting on records, just like when you get all excited putting records on for somebody else. I hadn't done that for years, I had lost that lovely moment. Anyway, he put on Donna Summer's 'State Of Independence', which I had listened to growing up, and he was saying it's probably the best choir ever on that Quincy Jones production: Michael Jackson,
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