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Borrowed Heaven Documentary (Comcast Version) |
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Jim: it’s always a challenge to try and create something that is better than the last album that you had. We feel very strongly that we’ve achieved that and certainly the feedback that we’ve got from other people, anybody who’s heard it, you know it’s pretty much the same, very very good feedback.
Sharon: I suppose it’s difficult to describe a whole album but I think its very much like a journey, sort of like a glimpse into our lives over the last four years, each song has a little story to tell, for whoever wrote it, it’s a little glimpse into their lives, it’s almost like a little sort of biography.
Andrea: it is like a journey from beginning to end, when you turn it on and to the very end, it’s like momentum-like feeling, it’s optimistic yet exactly yet it’s sad, so it’s almost reflective of real life
Caroline: I think it takes confidence to write what you are really feeling; it takes confidence to put it down on paper and actually be vulnerable enough to show that to the world and offer people to hear it
Andrea: we knew we had an album to write, we ended up, we really did it at our leisure, so we would be kind of like, you write a song and kinda get excited and ring up and go “ok Johnny book the studio” you know to get our manager to book the studio you would all come in then. It’s really a natural sort of recognition, you recognise it’s gonna work, somebody else brings a song into the studio, you pretty much know straight away, you know, yeah that works. I don’t think we’ve ever had an album so paced so WOW, you know it just goes PFF PFF PFF, it’s like BAM BAM BAM, let you relax when you want it and then it keeps going.
Jim: it was particularly challenging this year because one of my sisters, Caroline had a wee baby Jake and she had to take time off from that she wasn’t always available for the writing and for her parts, but we worked around her times. Basically we go into the studio in Dublin and take on blocks of time out, maybe two weeks, four weeks and record, do as much work as we could and took our time on it, you know we didn’t rush it, there’s certainly no point in rushing it. We got to take time with songs, we got to live with them cos inevitably there’s gonna be changes you are going to make particularly when the producer creates his influence on them, on the songs.
Andrea: we had talked to Mutt Lange cos obviously we worked with him, we’re still friends, we still talk on the phone and everything and he basically recommended Olle Romo. We didn’t want to go for who was in fashion, we wanted to find somebody that got the Corrs really, who got it and Olle loved the music and was passionate about it and hungry, eagerness, completely if that is possible in this business he is, so he was perfect.
Sharon: like all the producers he provides the dynamics because a band have the tendency to get all lost in their own stuff they can’t see the wood for the trees, they can’t see the songs so he brought up the objectivity, dynamics and I think he made it quite edgy, there’s a lot of guitar stuff that he included that I think made it very edgy a little bit more rock in this album than before.
Caroline: Olle was coming from LA and he had a studio set up there so he wanted to do some stuff made there as well which made absolute total sense, so what we did was some of us went out, I didn’t at the time because I was pregnant so I kinda stayed in Dublin to do all my, whatever I needed to do in Dublin, so he kinda came back and forth which was great of him to be so accommodating to all of us because at this stage of our lives you’ve got a lot more things going on in our lives individually and we just kind of needed that you know
(Long night Acoustic in Studio)
Sharon: it’s funny with Long Night, the melody and the lyrics came really really really fast, it was just like it fell out of me it was just, it was incredible, it’s really about you know breaking up with someone it’s all about sort of pretending trying to be brave, it doesn’t really matter now you’re gone you know, you never were that much around to speak of, so it’s sort of like it’s trying to be flippant, it’s about break-ups I have experienced, it’s about you know how I would feel if I broke up with my husband I noticed, it wouldn’t be good, let’s say that.
(More Long Night Acoustic in Studio)
Caroline: our records have always been a bit of everything actually, you know you look back and there’s always been the trad element which sometimes confuses people, they go, are they pop, are they rock, are they trad, what are they? And I think on this record we still got another, you see we love all these elements so therefore we’re gonna put them on the record and it feels natural to us to do that you know.
Jim: the album sounds very very diverse but it was great to have a chance to collaborate with Ladysmith Black Mambazo in particular, we had, we were invited by Nelson Mandela to go out perform as part of the 46664 concert, an aids benefit concert in Africa to help trying to raise awareness about this devastating disease. Ladysmith Black Mambazo were performing in the concert aswell and we asked them if they would like to work with us and they said yes so we just found a studio in South Africa, got all the lads, they all arrived in this people carrier and we did the track and it turned out great
Andrea: it’s about life transience and our connection with the earth, all being so physical and the beauty of the physical, our bodies they’re miracle of being alive you know and how much more beautiful it is that we will actually, it’s only for a certain time. It’s quite a spiritual song really, so it’s wonderful to have those voices on it, and the way Joseph of the Ladysmith Black Mambazo thought of it was like a prayer, you got to kneel and pray, you know it was a lovely interpretation. I think over the years with writing you just you know nothing gets easy because you just shift the goalposts, you know what I mean, you’re not content easily and I think like four albums on, it’s kinda like that, so I think for everybody you know, when we write a song, we really did, we really did. I suppose with the time and space of not having been completely in it and immersed in it, there was time to appreciate and go, god how lucky I am, you know that I, this can be heard, you know there are so many amazing artists in the world and it never gets heard you know or paintings that never get shown and that kind of things or there’re poems you know all these things, and I just thought with the space, I think we all did believe, god this is fortunate
Sharon: ok babies
One, two, three, four…
(Summer Sunshine in Studio and Video shoot)
Caroline: we are in studio doing the video for Summer Sunshine and it’s been directed by Kevin Godley.
Kevin Godley: and action !
Jim: basically it’s about a couple that have been living in this house hiding in this house and we attempt to break the house down, we get the windows open, allow the light to come in. They are very scared initially but eventually they are kind of consumed by the light and everything’s ok
Caroline: so far Sharon has been pulling open shutters aggressively, Jim has been doing some sort of the same action, he actually gets to kick in some window something like that, and pulls those plaques off the wall, I have got to pull down curtains while other things are going on around us, it’s just sort of letting the light in you know bit by bit.
Andrea: I think when you write a song, you want to give the expression to it in a visual way, it’s very very important because as you said, people when they hear Summer Sunshine, it doesn’t really matter what way they interpret it, whether they find it a happy song or a sad song, but it is one way of showing the depth to it, if you can visually express it. So I find it really important. To me the song, and I meant it in writing it, it’s a sad song, it’s beautiful in that it’s reminiscent on love and on a beautiful time but that couldn’t be had in a way for whatever reason so it’s very bitter sweet in that kinda like, I want that back, and you know it’s nobody else’s business, it’s just ours.
Kevin Godley:and cut! Not bad at all, playback
Andrea: I watched Caroline in the video shoot; I was going, god she looks so happy, you know, is she really happy at work? And I all of sudden saw you know here is a mother getting at a house, she has got the real appreciation of this, she is almost like the way mummy talked about it, mummy always talked to us like we were lucky to be doing this, and she was like, what else would you do it’s your job? You know when we ever got to moan about things and I suddenly saw Caroline actually has that perspective of somebody who goes, right this is, I love my baby and everything, and I love this, this is fun!
(Angel Acoustic in Studio)
Caroline: the impact of mum dying was kind of, if anyone would look back but on In Blue it was sort of very very raw, so I think now we’ve had a lot more time to reflect on it, and I think you can hear it in this record a lot
Sharon: I know certainly feel myself in Goodbye, those lyrics are very much about my mum, they’re totally about trying to deal with her loss and they’re so about just basically frustration and lack of acceptance and I mean I don’t really accept the concept of death, I don’t understand it, nobody ever explained it to me, and to me the idea of saying goodbye is almost, I’d never find time to say goodbye, you know.
(Goodbye Acoustic)
Andrea: Music in itself is, it is a release, so there is something cathartic about it, there definitely is, so in a way I mean in singing goodbye, it feels like I let her go you know.
(More Goodbye Acoustic)
Caroline: I think you know once you have a child yourself, you think about all the things your mum did for you, I think that’s what happens, you go WOW she did all this for so long, she gave so so much, and I think that’s something that I think about like everyday now, d’you know what I mean, it amazes me how much she did, because now I know how much I need to do, you know the sacrifices that, they’re not sacrifices but just what you do for love you know.
(More Goodbye Acoustic)
We knew at some stage the time was gonna come when one of us was gonna have a child, you know it was inevitable, I didn’t know quite when it was going to happen and you know we’re all really really happy about it but then you start thinking about all your career. At the time it was great because we were doing the record, so I was in one place and I had loads of time to spend with my son for the first year but now I think it’s all starting to pick up again and I think you just have to try to fit them in, if you want to do as much as we do, I think you’ve to decide to do it the best you can and sort of keep both things going without obviously sacrificing his happiness whatever happens you know.
(Hideaway Acoustic in Studio)
Andrea: in the last few years I suppose we spent a lot more time apart and kinda go on our own because I think when we started in the first few years there was no other lives, only our lives together as a band, it’s fresher now, because we get back to eachother I suppose if you are constantly around eachother, you can lose the respect of eachother as an individual, we kinda go back to, listen you were like this when you were six and you are still like this, you know it’s like it can kinda get like that.
Jim: in terms of us living and working on the road, we’ve got sufficient breaks in between tours, between promoting tours and live tours, so that we don’t get fatigued, we don’t get too tired with eachother and I’ve said this before, we’re very lucky that we get on as well as we do, wasn’t always the case but we get on extremely well. Sorry no juicy gossips in there I’m afraid.
Andrea: other bands, it’s different, I think other bands get together and they’re a band of individuals and they become a family. I think we’re kind of a family and had to become a band in the way of the respect of the individuals, you know not the judgements that families can do to each other.
(More Hideaway Acoustic in Studio)
Andrea: as you can see, I am the talented one in the band!!
Jim: it’s, well this is our work, we’re back at it now, we’ve been back at it for about two weeks now doing lots and lots of promotion preparation in terms of the videos and the electronic press kits and photo shoots, and it’s great to be back in it, cos we’ve been out of it now for such a long time but in six month’s time when we’ll kind of do it day in day out, it will probably start to get a little bit monotonous but we have to pinch ourselves at times to remember that we are very lucky in what we’re doing you know, it’s a great occupation to have.
(photoshoot)
Andrea: we are in the old bakery in Brixton which is some nice lady’s brilliant loft apartment where we’re doing a photo shoot
Jim: with the photos we’re getting shot it will be enough for the album cover and loads for various publicity photographs that we need
Andrea: we kinda want it to be just reflective of us and who we truly are individually aswell, I am wearing something I am comfy in and that I would wear. For that reason, we’re with people that we really trust, that know us.
Sharon: we’ve a lot of people around us that we’re very comfortable with using, we’ve Jane Woolfenden our stylist, she’s fab and she knows how to, she knows each of us.
Andrea: The photographer is Kevin Westenberg, a wonderful photographer we’ve worked with a number of occasions.
Sharon: it’s a lovely relaxed atmosphere you know, it’s good fun you know.
Jim: we have a certain look and on occasions to be honest we’ve been suggesting that we kind of try, you know just experiment; we’re very open, very open to experiment. We’ve made some mistakes, we certainly have. This is much more natural, much more kind of rock and roll, it’s who we are, who the Corrs are I suppose, so we’re not trying to be any different.
Andrea: we’ve just shot pictures of us performing, rehearsing in a way and we set it up like a rehearsal studio.
Caroline: you’re not aware of the camera, that’s what’s great about Kevin is that he doesn’t make you so aware of him, he doesn’t want that, he doesn’t want that to come across, so you’re just doing your thing like you would normally be in a rehearsal room, chatting, stopping, breaking, you know he just takes the shots.
Sharon: we’re in Wapping, we’re in a boat on the Thames and we’re doing just some more photos. We’re going to go outside later and go to; they’re going to do some upstairs outside of the boat. It just represents a band, you know it’s like, it’s just about music, rather than a fashion shoot or anything like that you know, cos that’s not what we’re about.
Yeah they’re cool but I mean they’re meant for anorexic legs or something.
It’s just a cover that’s styled with our four faces on it, that’s what we’re looking for.
Andrea: of course so many things do have to be posed, still that it looks like kinda rocky and edgy and yet true you know rather then just aesthetically beautiful, you know but we’d like to get both of course. There’s moments you know, it’s quite strange to be you know, the whole thing on your face and you know they touch up while we talk about but I think it’s essential that you work with people that you love and you are comfortable with
Kevin Westenberg: ok thanks
Andrea: The thing is that it all comes down to belief in the album, that’s the thing.
I am really proud of our album and I think that I see the achievement the older I get, how wonderful an achievement it has been, you know if you are immersed in it you don’t see it, right now, I bought a radio the other day for my house, so I can actually hear the single playing, now that sounds normal, I never did that, I never got the joy of going (clapping), it’s our song, you know.
Sharon: It’s funny when you hear yourself in the radio, it’s always surreal, it’s kind of like that’s that band the Corrs, you know because at the time you could be on your way to Sainsbury’s, right to get the milk and bread and all the rest, and even when you are going to the gig, it does seem quite odd, it always seems like (it’s someone else).
(Silver Strand Acoustic)
Andrea: I am probably more ambitious than ever for this, I mean I really, I want to be heard, I believe it’s worthy of it, I really do and that’s actually what it comes down to, I think it’s good music, I think they’re good songs and yeah the more people the better.
Caroline: I just gonna take it week by week, because if I looked into the future I think I’ll probably just go mad, cos if you look at the schedule three months down the line, you just go oh my God, how am I actually gonna do this? But I think you just take it week by week but I really want to do it and I just have a lot of faith in this record and a lot a hope for it, I just wanna, I just wanna, well I wanna work, you know I love being a mum but I like to work too so you can do both if you want, you know.
Jim: We love music, we love writing, you are going to endeavour to continue going for as long as we love what we are doing and as long as people want to hear it you know.
(More Silver Strand Acoustic)
Sharon: Playing live is the most stimulating thing for me to ever do, it’s just the most stimulating thing, and you just get so involved in the songs, and I love that, you know, I was just sitting there thinking: how lucky am I to do this for a job, how lucky am I to be able to do this. It’s just spectacular to have people playing around me, great musicians and just have that lovely sort of harmony with other people, it’s just, I think it’s wonderful, I love it.
(Summer Sunshine Video)
Andrea about Summer Sunshine: Summer Sunshine I wrote on the piano in my home in Dublin and let me see, and it was to do with a few different things, it’s quite interesting actually; I’ve been to New York and I was there with my boyfriend and we were walking along, and I saw a place and I saw a sign “The Bitter End”, and before I’d gone out to New York I had this song in my head, and I had pretty much the chorus, but I saw “The Bitter End” and I though “sweet beginnings” and it kinda led into everything, once you find some words it just kind of flows then. Apparently that’s the place that Bob Dylan first played in New York and I didn’t realise that, so that’s quite interesting, the story about it, but yeah so basically it’s bitter sweet it’s actually bitter completely it’s about really a doomed relationship that cannot be so every moment is so precious and that’s really what it is.
(Summer Sunshine Acoustic)
Andrea about Angel: Angel myself and Jim wrote, Jim came up with these chords on the guitar, he’s been playing the guitar in the studio one day and I just started singing along with it, which is often the way we’ve written and, and come up with the melody and then I was singing different words, I had written different words, it’s kinda like a love song, but it wasn’t true, I didn’t mean any of it so that’s not gonna work, it didn’t work, the song was a better song than what I was writing, so I just was then, what do I care about? And obviously, I suppose it was probably our mother dying, yeah it’s the most life changing thing that ever happened to me and probably will happen, please god.
(Angel Acoustic)
Sharon about Hideaway: I love just even the word Hideaway, I love that word, but it was very very much inspired by a friend of mine who I thought sort of needed to come out of their shell a bit more, and I felt that they were very much being enveloped by a person they didn’t need and taken care of when they didn’t need to be taken care of, sort of like trapped in his arms, safe without harm, but there was no harm coming her way anyway, you know, but she was still trapped in his arms so it’s very much about me believing I suppose really about women you know, you could be what you want to be, you need to take your chance and believe in the potential that you have.
(Hideaway Acoustic)
Andrea about Humdrum: Some journalist said to me that Humdrum is this album’s answer to I Never Loved You Anyway, so there always seems to be a bit of a F – You song in an album, you know what I mean; I didn’t mean that, Humdrum started off as the nature of our lives and my life, it’s so active and always moving that I don’t really get time for domesticity and the mundane, so really what I meant was, god am I getting to a point in a relationship where I actually take you for granted, I wouldn’t notice him to come in and out of the room, so really it was like gone, god I’d like this headiness to leave on love, so that’s kind of what I was meaning, but also you know, it’s like a skit, a picture pleasant feel, when I think of Humdrum and people being so in love and then getting married, and how the hell did it get to that point? How has it got to the point that no milk there is left for your tea is a problem that you feel like crying all the time, only the baby’s drowning out the sound of your own crying, so it’s probably a satire on marriage really, not that I don’t believe in it, but I think it needs to be checked.
(Humdrum Acoustic)
Sharon on Silver Strand: Silver Strand is funnily enough a track that myself and Caroline wrote in Malibu where we were recording the first album and it was something that, we were listening to Penguin Café Orchestra at the time our manager brought in there one of their albums, we were listening to that, it was more or less inspired by them or definitely influenced, and Caroline was just playing the piano and I just came up with this line with it and we just kept going day by day while the guys were doing different parts in the studio, and we kind of, we didn’t record it, we totally forgot about it, and we were sitting around on this album and thinking you know we needed some traditional piece for this album because it’s so much what we are and what we do, we’d like to write a piece and I remembered it and said, well look you know this was always really really good and do you guys remember it? And they did so we started playing with it and you know we really liked it so we decided to include it on the album and the title Silver Strand I came up with because my mother used to tell me about this beach that she absolutely loved called the silver strand, and it just suited the song and the optimism in the music reminded me of her.
(Silver Strand Acoustic)
Sharon on Goodbye: Goodbye I wrote in Belfast on the piano, really just absolutely and utterly what I was thinking at the time, just you know it would have been four years since mum had died and still, no answers no resolutions, no “sorry that was only just a big joke” you know it’s just the finality of death is just the most frustrating thing, the fact that you can’t go back and change it, most things in your life you have a chance to repair or to change but this one just catches you and knocks you over and leaves you lying there with no answers you know that’s basically what it’s about, it’s about I can never accept that, I can never accept the lack of answers, I can never really truly and utterly believe that I have to say goodbye.
(Goodbye Acoustic)
Transcription et translation: GaëlleF
Le 11/05/2006 à 00:04 par GaëlleF
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