Thursday, February 17, 2011

The Corrs' Borrowed Heaven review

Last semester, my last assignment for my Advanced Writing course was to write an Art Review, so I wrote a review on one of my favorite music albums, Borrowed Heaven by The Corrs, my favorite group. I've been asked to post it by several people, mostly fellow fans:


Nearly four years after the release of their last studio album, the very poppy In Blue (whose quality was recognized with Grammy nominations in 2001 for Best Pop Performance by a Duo or Group with Vocals for “Breathless” and Best Pop Instrumental Performance for “Rebel Heart”), Irish sibling group The Corrs, known for striking good looks and incredible talent to match, returned to their original Celtic folk sound with the release of their fourth studio effort Borrowed Heaven in May 2004.  The album showcases The Corrs in what they do best—catchy mainstream pop that is top notch—and as a concept album, it sticks to the experience of loss and coping—realizing life is a borrowed heaven.

With ex-Eurythmics drummer Olle Romo at the production helm, the album maintains a consensual pop appeal through its near electronica, over-produced tracks in the most airy fashion ever to come from Corr-land.  Lead singer Andrea has been known for her sultry, light vocals, but this collection of tunes, despite being their most intimate projection, presents the feel of something you would listen to while drying off in the Sun, after you had just run through the sprinkler as you listened to their other works, save Talk on Corners (being a wine-and-dine ambient).  Borrowed Heaven’s sound still works splendidly for The Corrs, although it completely avoids any punk or hip hop influences rampaging U.K. radio of the time, as seen from artists like Avril Lavigne and Destiny’s Child.  However, the album is nothing to shy away from.


Borrowed Heaven takes you on a journey through the feel of its sound and lyrically explores handling loss.  It begins with the bright and upbeat lead single “Summer Sunshine” (ironically bonded to dark lyrics) and the celebratory second single “Angel.”  The mood shifts with the more sober “Hideaway” and continues its sullen mood until picked back up with the funky “Humdrum.”  It continues its ascension till the instrumental closer “Silver Strand” travels to a point of transcendence.

Likely, this journey is reflective of their own experience with their late mother’s passing during the production of In Blue.  In fact, two of the tracks overtly address the issue, picking up where they left off with In Blue’s “No More Cry,” which they wrote to help their father cope.  “Angel” is a conversation of the afterlife with the late Jean Corr, confessing, “I hope they love you like we do/ Forever angel/ I’ll be proud to be like you.”  The song is touching and would seemingly become a new regular at funerals were it not so fast-paced and cheerful.  It is a celebration of life, a celebration of a person, an angel.  The other song is “Goodbye,” whose lyrics, written by oldest sister and violinist Sharon, are a direct response to a loved one’s passing.  Borrowed Heaven and In Blue are dedicated to Jean Corr.


Besides their covers, The Corrs typically write their songs together, but for this release Sharon lends her songwriting abilities to two other songs, the inspirational “Hideaway” and the agonizing break-up and third single “Long Night.”  The group also covers the Golden Globe nominated song “Time Enough for Tears,” written by Bono, Gavin Friday, and Maurice Seezer and featured in the 2002 film In America with Andrea’s vocals.  Borrowed Heaven’s version offers a bluesy feel, while the soundtrack arrangement shares an orchestral sound.

Overall, Borrowed Heaven steers from predominately addressing ideas of love and romance and focuses on intimate reflection, except for heartbreaks “Summer Sunshine” and “Long Night,” mundane-everyday-life praising “Humdrum,” and frothy-sweet “Even If.”  The title track, featuring Ladysmith Black Mambazo as backing vocalists, explores the lack of possession in life and how everything passes and is therefore borrowed.  “Confidence for Quiet” acknowledges one’s own responsibility for validation, while “Baby Be Brave” uses a D minor key to emphasize the dire feelings of addressing a loved one losing themself to self-doubt.



The only complaint about the album is a dropped note performed by Andrea on her tin whistle during “Silver Strand.”  This happens at the end of both verses and sounds like she is simply failing to give full breath support to the end of the note’s required measure.  Besides this flub, the track is gorgeous and a heavenly listen.

Borrowed Heaven is a golden find for anyone who loves their pop pure and unadulterated.  It molds its concept well and is a great presentation of sympathy and healing for those suffering loss, even loss of self.


*My original version included this inserted as the seventh paragraph (third to last), but because its inclusion made the paper exceed the maximum word count by A LOT, I had to cut it down to a phrase in the final version:

The last vocal track of the album, “Baby Be Brave,” is a gem with its superb electronic production of beeps and riffs guaranteed to satisfyingly melt in the ear of anyone craving an electronica savor. The electronic effects aid the song’s D minor key in its effort to sound dire and almost demonic, driven by hard-pressed, determined beats. The empathetic lyrics address someone who throws series of pity parties in a witty, understanding, and caring manner (“Yeah everyone knows but we don’t believe it/ The pain of a pop star you’re breaking my heart/ […] I know what you’re doing ‘cause/ […] I’ve been tempted, you are/ Drowning the special to/ Immortalize the rise/ And what’s the point of it all/ Baby be brave […]/ (Confide in me, tell your story)/ […] (It’s your fear that makes you worthy)”).