Hoy, en The Irish Mail On Sunday, el periodista Eoin Murphy desvela que el grupo, ahora reunido a diario en un estudio de Londres, estaría desafiando sus propios límites musicales trabajando con el productor americano T Bone Burnett para encontrar un sonido totalmente distinto al que conocemos. T Bone ha producido para artistas como Diana Krall, Elton John, Elvis Costello, Lisa Marie Presley o Roy Orbison.
Jupiter Calling’ for The Corrs – New Album Produced By T-Bone Burnett Out Nov 10th – Return To The Royal Albert Hall 19th OctoberThe Corrs are back with a wonderful new album, ‘Jupiter Calling’, produced by T-Bone Burnett and released on November 10th on East West Records. To celebrate the band are returning to The Royal Albert Hall 19th October for what promises to be a very special night.RJ FrometaTwenty years on from the release of their all conquering second album ‘Talk On Corners’, and two years after their acclaimed Gold album ‘White Light’, The Corrs return with an album that is ambitious, earthy and outspoken: an album guaranteed to earn them renewed respect as musicians, songwriters and trailblazers.The Royal Albert Show will be in two halves and have an interval. Tickets for the show will be on general sale Friday 15th September from 9am. You can pre-order the album and gain pre-access for early bird tickets HERE“The most freeing experience we’ve ever had in the studio” is how Caroline describes the making of ‘Jupiter Calling’ at London’s RAK studios. T-Bone had the band play live with minimal overdubs accompanied by bassist Robbie Malone (David Gray) and longtime guitarist Anthony Drennan (Chris Rea, Genesis, Clannad) and insisted that the studio source 40 spools of rare two-inch tape and a 1966 Ludwig drum kit.The results are staggering and will delight their fans while earning admiration from a whole new audience.“I love The Corrs’ deep, generous spirit,” says T-Bone. “I love their writing and their singing and their playing. I love the people of Ireland – their music, their literature, their art- and The Corrs are the most soulful exemplars of that mystical land.”If that sounds like a love letter to The Corrs, the feeling was mutual from vocalist Andrea, multi-instrumentalist Jim, violinist/vocalist Sharon and drummer Caroline.At the heart of ‘Jupiter Calling’, their seventh album, is ‘SOS’- Song of Syria- the most politically outspoken and evocative song The Corrs have ever recorded.“One of the biggest moments for me was when we first played T-Bone ‘Son of Solomon’,” Andrea says of the stunning album opener that sets the tone for this impressive collection. “He said ‘Okay, don’t play that any more’. When you’re on the verge of knowing something you’re much better than when you know it too well. And he was right. That’s when the magic happens.”That magic is alive and kicking within the grooves of the 13 brand new songs that make ‘Jupiter Calling’ one of this year’s most exciting releases. Miss it at your peril.Jupiter Calling full tracklisting:1. Son of Solomon2. Chasing Shadows3. Bulletproof Love4. Road To Eden5. Butter Flutter6. SOS7. Dear Life8. No Go Baby9. Hit My Ground Running10. Live Before I Die11. Season Of Our Love12. A Love Divine13. The Sun And The Moon
De acuerdo con la información publicada a través de la página oficial de la banda en Facebook, mañana a las 10:00h (a las 11:00h horario peninsular) veremos más de Son Of Solomon:
Son of Solomon' from the new album 'Jupiter Calling' is now available to stream and download. Here is a very special video for 'Son of Solomon' that Andrea personally shot and edited during the recording of 'Jupiter Calling' in London Autumn 2016
De acuerdo con el tweet publicado por el equipo de la banda, mañana entre las 11:00h y las 11:30h (12:00h y 12:30h horario peninsular) el programa Ken Bruce estrenará en primicia mundial en la BBC Radio 2 la canción SOS, primer single oficial extraído de Jupiter Calling.
There’s pain on the border as far as the eyes can see,and hell's getting busy while we are on the gypsies.My girl on a tutu, more shoes to pick for her feet.How many lies long until we admit what we see? Blame it on love,blame it on sorrow,blame it on a star that fell to soonor Jupiter calling.Can you hear them cry? SOSSomeone help!SOSSomeone help! They say the victims are dangerous, what a bitter excuse!‘Cause now we are complicit believing a lie is the truth.A doll in the water, her hair are like tendrils,but it’s only a bad day that I’ve ever rescued. Blame it on love,blame it on sorrow,blame it on a star that fell to soonor Jupiter calling.Can you hear them cry? SOSSomeone help!SOSSomeone help! SOSSomeone help!SOSSomeone help! Can’t turn away from the pain,but I don’t wanna see it again.Can’t turn away from the pain,I still hear them cry.
De acuerdo con la información disponible en la programación de la BBC Radio 2, el próximo viernes 20 de octubre, tras su retorno al Royal Albert Hall de Londres, The Corrs asistirá al programa de radio matinal The Chris Evans Breakfast Show donde presentarán en acústico algunas de las canciones de su nuevo álbum Jupiter Calling. El programa se emite de las 06:30h a las 09:30h (07:30h a las 10:30h horario peninsular) y se podrá escuchar a través de su página web.
Bulletproof LoveForgiven Not ForgottenRadioWhat Can I DoRoad To EdenBring On The NightSon Of SolomonLittle WingLough Erin ShoreSummer SunshineEllis IslandDear LifeRunawayJoy Of LifeButter FlutterOnly When I sleepQueen Of HollywoodSOSWhite LightSo YoungI Never Loved You AnywayDreamsBreathlessToss The Feathers
Almost 20 years to the day since their hit album Talk On Corners was released and The Corrs - two of them at least - are sat at a hotel in west London talking about their new record Jupiter Calling, along with the phenomenal, sold-out show at the Royal Albert Hall they played just a week earlier. That venue has a special significance for the Irish quartet, who say it brought them from the “obscure folk section” to a No. 1 UK album - the biggest-selling LP of 1998 that outsold artists including Madonna and Robbie Williams.It was a triumphant show, packed out with a surprisingly diverse audience, that saw the apparently-ageless group perform a perfect balance of their biggest hits and new material. If Talk On Corners was one of the first albums you owned and this was the first time you'd seen them live, you'd be forgiven if those first few notes on “Only When I Sleep” brought a tear to your eye. “When I first went on I was nervous,” lead singer Andrea admits. “It was contagious because Jim starts with this classical piano piece, Sharon [violin, guitar, backing vocals] had to start playing, and it’s like dominos, I'm thinking what if I just ruin this?”“It was a big deal for us,” she adds. “It was very emotional to come back with all that’s happened in between, those that are missing from our lives now. It’s almost like you’re looking back on a different person, but then it’s still us, in the same group.”Following a 10-year hiatus where solo projects were released and families were raised, The Corrs returned with their first album in a decade, White Light, in 2015. It saw the band try out a mature pop sound that toned down the more traditional Irish themes, but not erasing what people loved about them altogether. It also felt as though the band had far less pressure on them than they did on previous records In Blue or Borrowed Heaven, because the fact they were back in the studio was kept relatively quiet.“Obviously every record something new is happening, so you do mature, and I suppose now we have a lot more time to think about what we wanted to do,” drummer Caroline says. “Because there was a lot of pressure at that time in our career, once Talk On Corners happened. We were suddenly in this bubble, everywhere. So now at least we have the time to write and think about what we want to do.” “Particularly on the last two,” Andrea agrees. “But this one, because T Bone Burnett produced it, it was a really different experience for us. He’s like… it’s almost holy to him, it’s ritualistic. He handles your music like it is sacred, and to get that respect from someone like him is all the success we could ever dream of.“His way of doing things is just not a pop world that we might be used to... apart from maybe in our unplugged records. But what T Bone loves is the anomalies,” she says. “Anything can be made perfect. So when he came in on the second week and we played 'Song of Solomon' he said 'don’t play that again'. What he meant is that he didn’t want us to know it too well... there’s something where you don’t know the song so well where it's actually better.” “It’s a beautiful feeling just to play a song and having that as 'the take',” Caroline says. “How we produce music has changed since the Sixties. Some people do entire tracks and put the voices in later, so the idea of saying let’s do this as a whole take… it’s pretty nerve-wracking.”It was as early as when they were putting White Light together that the band realised they might have enough material for another album, where they found that writing wasn't a task. That freedom they speak of to explore their own ideas apparently resulted in songs such as “SOS”, which Andrea wrote after feeling guilty over the ongoing crisis in Syria.Its strangely upbeat instrumentation contrasts darkly with its lyrical content, as Andrea sings: “There's pain on the border as far as the eyes can't see/And hell's getting busy while we're in the cheap seats/My girl in a tutu, more shoes to pick for her feet/How many lies long until we admit what we see.” The narrator sings with a self-awareness of the excuses she's making - “love”, her children, “sorrow” - grief over the death of their father Gerry - without preaching to the listener.“I suppose it’s a mother’s guilt about doing nothing, seeing these horrific images and having that guilt, with your own perfect children beside you,” she nods. “That is the perspective it’s from. I’m not saying I have the answer, I’m not pontificating, that’s jsut what it is. It’s self-loathing, in a way.” Since The Corrs emerged in the Nineties, few other artists have attempted to emulate that blend of Celtic and pop rock, with the most recent example being Ed Sheeran and his divisive song “Galway Girl”. Yet Andrea and Caroline point out that he used their band as an example of how popular and joyous that music can be, regardless of how “uncool” people might view it to be, and nod at the idea that Sheeran, aged 26, better remembers the impact their music had than a 50-year-old label head.They know that feeling all too well. As a writer for The Independent noted last year around the time of their comeback, the band's music was considered “uncool” by certain corners of the music pres yet they enjoyed enormous success, perhaps in part thanks to timing; emerging when Riverdance fever was at its peak and standing out from the pop groups that blatantly targeted the US with a harder, more produced sound. The Corrs avoided tabloid gossip columns, were never busted for drugs or caught up in drunken brawls at BRITs after-parties. Basically they were all about the music.Of course they had their differences, and might still do - having a family history with someone you're working with can be tough: just ask the Gallagher brothers. But they tread carefully, and respect one another's position in the band, with everyone involved appreciative that they still get to work together.“We’ve got better over the years,” Caroline says. “I think there’s a mental shift that happens that makes you realise the arguments can help you get where you need to be. If you’re thinking of disagreements of being entirely negative, that can bring you down. In anything, there’s always differing opinion. It’s probably just a bit more difficult for us because we are family.” “There is an awful lot of history there,” Andrea adds. “There’s what I say to you and what you understand.... I can only be responsible for what I say to you, and not for how you understand it. There’s a minefield that you have to tread carefully around.”'Jupiter Calling', the seventh album by The Corrs, is out on Friday 10 November via East West Records
