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Dreams: The Ultimate Corrs Collection  >>

Irish musical siblings The Corrs--featuring sisters Andrea (vocals), Caroline (drums), Sharon (violin), and brother Jim (guitar/keyboard) --have sold over 30 million albums worldwide with their signature blend of traditional Celtic sounds and contemporary pop/rock. The internationally renowned group's first U.S. compilation spans 1996 --2006 and boasts five Top 10 U.K. singles including the #1 smash "Breathless"(a Billboard® Top 40 hit in the U.S. as well). The treasure-packed disc includes the hits "Summer Sunshine" and "Angel," live cuts featuring U2's Bono and the Stones' Ronnie Wood, a new mix of "Goodbye," and the recording debut of "All I Have To Do Is Dream" with French star Laurent Voulzy. Driven by The Corrs' gorgeous melodies, crystalline vocals, sublime harmonies, and Celtic passion, this new collection is the stuff DREAMS are made of.

Quest For Camelot: Music From The Motion Picture  >>

While many soundtracks offer two takes on a hit single, how many offer alternate cuts on three different songs? Warner Bros.' The Quest for Camelot does, with mixed results. "Looking Through Your Eyes" is performed three times--once by LeAnn Rimes, once by the Corrs and Bryan White, and lastly as a tedious all-instrumental version by David Foster. Compared to her standard fare, Celine Dion's "The Prayer" sounds reserved; there's no over-the-top melisma and her voice sounds almost subdued. Andrea Bocelli's take on the same tune is slightly different, with a slightly more pronounced string section kicking in. Journey frontman Steve Perry delivers one of the more convincing performances with his version of "I Stand Alone" (also covered by Bryan White) and "United We Stand." Gary Oldman's "Ruber" is sinister, while Don Rickles's Cornwall is funny (and a nice change-of-pace from all these megastars) on "If I Didn't Have You." --Jason Verlinde

Home  >>

Almost as famous for their killer cheekbones as their astounding musical chops, this Platinum-selling Irish family band (sisters Andrea, Caroline and Sharon plus brother, Jim) has cut a major swath, garnering an international fan-base with their Celtic-flavored electrified pop and feisty live shows. They decided to cut an album of mostly traditional songs as a memorial to their mother, Jean, a musician and song collector who died in 1999. But as with Sinead O'Connor's 2002 Sean-Nos Nua, their treatments, while perfectly authentic, also reflect their more usual style. The opening selection, a spooky lullaby called "My Lagan Love", features martial-sounding drums, washes of parlor piano and banked strings straight out an Arab-Andalouse orchestra. "Peggy Gordon", about unrequited love, has a retro folk-rock back-beat that works beautifully with the plaintive vocals. "Old Hag" is a rollicking instrumental while the Irish-language "Buachaill On Eirne" and "Brid Og Ni MHaille", if a tad unidiomatic, do not lack charm. But the track that lingers longest in the ear is "Dimming Of The Day", a gloriously moving ballad from the pen of British singer-songwriter Richard Thompson. --Christina Roden

In Blue  >>

Having proved with an MTV Unplugged session that they are more than just a bunch of pretty faces and can actually play their instruments, Celtic-poppers the Corrs returned to the studio for their third "proper" album. Owners of Unplugged will already be familiar with two of the tracks here, "At Your Side" and "Radio," which are given the full studio treatment and endowed with a much fuller sound. Unfortunately, this is not necessarily a good thing, as the album as a whole tends to be overproduced--taking the raw folky qualities and folding them into a far more sanitized whole. As a result, the standout tracks tend to be the more up-tempo ones--"Breathless" and "No More Cry." To be fair, when the Corrs are good, they're very, very good; but when they're bad, they're just dull. Unlike their previous albums, In Blue doesn't seem to be quite so flowing. With several different producers working on it (including Mr. Shania Twain, "Mutt" Lange), maybe it was a case of too many cooks spoiling the broth. --Mel Roberts

Works  >>

2007 three CD anthology featuring the absolute best singles, album tracks and even a few rarities, all from the WEA archives. This triple disc set from the Irish quartet contains 57 tracks including four acoustic cuts, four remixes and more. Features 'Runaway', 'Dreams', 'Forgiven Not Forgotten', 'When The Stars Go Blue' (Featuring Bono) and more. Warner.

Unplugged  >>

The Corrs sound comfortably at home on this orchestrally enhanced acoustic gig, recorded at Ardmore Studios outside Dublin in early October 1999. With only two studio albums to their credit, it may seem a bit early to go for an Unplugged rerun, but the inclusion of two new Corrs-penned songs and a trio of previously unheard covers, in addition to the live greatest hits, means there's something fresh to enjoy. An unplugged session also establishes clearly that the Corrs, in danger of being perceived as pop puppets, are a real band who play and sing beautifully and can deliver the goods live. Encouragingly, the two new songs, "Radio" and "At Your Side," are well up to the usual Corrs standard, while much of the already familiar material benefits from tasty arrangements--"What Can I Do" in particular works better than the dance-remix hit version. --Johnny Black

VH1 Presents the Corrs Live in Dublin  >>

It's fitting that video channel VH1 is partnered with the obscenely attractive sibs of the Corrs for this live recording, captured in Dublin, near the band's hometown in Ireland. Given the stiff competition in the pop arena and the Corrs' rather limited touring, looks have doubtless played a part in their global ascent, although, judging by Live in Dublin, they've earned some props along the way. Both U2's Bono and Rolling Stones guitarist Ron Wood guest, the latter on the Corrs' cover of Jimi Hendrix's "Little Wing" (though oddly not on their reading of "Ruby Tuesday"). Neil Young's "Only Love Can Break Your Heart" rounds out the tribute triumvirate, and fans can expect surprisingly clear-eyed versions of major and lesser hits like "Breathless" and "Runaway," plus a spirited, fiddle-fueled traditional in "Joy of Life/Trout in the Bath." --Kim Hughes

Ten Feet High  >>

Debut solo album from the Corrs member. Warner. 2007.

Forgiven, Not Forgotten  >>

With one foot in traditional Irish music and the other in smooth, sophisticated pop, the Corrs--a family quartet made up of three sisters and their brother--seem to have all the bases covered. On their appealing debut album, the group plays it both ways, leading with fetching love songs such as "Runaway" and the title track but incorporating fiddle, tin whistle, and bodhrán into nearly every track while tossing in snippets of traditional-leaning material such as "Carraroe Jig" and "Erin Shore" for good measure. Imagine the Spice Girls if they could play their own instruments and were inclined to do so down at the local pub. If that seems like a stretch, listen to the gossamer strains of "Heaven Knows" or "The Right Time" while downing a few pints. You'll eventually see the connection. --Daniel Durchholz

Borrowed Heaven  >>

Borrowed Heaven comes a few years after the greatest hits collection and the Corr's last proper studio album, In Blue. It's easy to see it was time well spent as of the 12 new songs here there is very little filler and plenty of catchy, rousing choruses. Lead single and opener "Summer Sunshine" is jolly, guitar-driven, 80s pop-rock and, like much of the album, has a few quirky production gimmicks to fill out the verse while the chorus explodes into big drums and meaty guitar hooks.

It's difficult to pick standouts as the style is quite firmly set and the quality between songs unwavering, but the finale "Silver Strand" is a grandiose Celtic instrumental led by Sharon Corr's sadly under-used violin with Andrea chipping in the occasional "La la la" vocal. "Long Night" is a well-crafted 80s power-ballad and in contrast, "Humdrum" takes a contemporary slant on the Corrs sound with scratching, synths, and breaks creating the rockiest moment on the album. There may be disappointment that it veers towards the commercialism of Fleetwood Mac rather than the traditional folk of their earlier work, but this is the Corrs and has been for some time; so love it or loathe it, it's unmistakably their sound. --David Trueman